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Each iteration of X100 retains its family look but there's been constant evolution throughout the series

Photo: Richard Butler

The word kaizen has increasingly come into the vocabulary of camera enthusiasts. It's often been used in conjunction with Fujifilm but is increasingly applied to any company that adds features during firmware. I think this focus on firmware misses the point and risks obscuring the real meaning of the word.

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Kaizen is the name of a Japanese manufacturing philosophy that essentially says that the production process always has room for improvement. So far as I can tell, it was first used in relation to cameras by a blogger who saw parallels with Fujifilm's continued work on the firmware of the original X100, even after it had been superseded.

Fujifilm's commitment to the X100 was admirable and arguably helped relieve other manufacturers' concerns that firmware updates would signal that their products had previously been somehow unfinished or imperfect.

Kaizen is not just about firmware

But while it's definitely a welcome trend across the industry, this focus on firmware doesn't really represent the full concept of kaizen.

Writing a history of the X100 series and having to address whether the X100V users should upgrade made me realize that it's not Fujifilm's firmware updates that exemplify the kaizen concept: it's the series as a whole.

The X100VI is better than the V in a number of ways: a higher resolution sensor and in-body image stabilization being the most obvious, but there are a host of little changes, too. Do these make it worth upgrading from the previous version? That's hard to say, because the X100V was already a very good camera, but if you don't own the V, then the newer version is definitely the one to go for.

The small details are a big deal

It's a small detail, but just swapping the positions of AF-S and AF-C make the camera a little easier to use. And these little changes have happened throughout the camera, across the series, some of them made in firmware but others requiring different hardware.

Photo: Richard Butler

Looking back, this has always been the case. It's best seen in the small details: the way the X100S switched the order of Single and Continuous AF on its focus selection slider, to make the more useful mode more accessible. Or in the way the means of selecting the AF point has been constantly refined and updated: button hold and cardinal point of the rear dial, button press and cardinal point, assigning the four-way buttons to AF positioning and, finally, a joystick and touchscreen. Each implementation better than the last.

Those incremental changes made with every refresh of the camera represent the kaizen concept every bit as much as firmware updates

Look at the smaller changes made on the X100VI, for instance. Some redesign was necessary to accommodate the IBIS unit, but beyond this, the hand grip was been reworked after much prototyping. It meant Fujifilm had to create entirely new tooling for the new model but also means the camera just fits more comfortably in the hand. Likewise the rear tilt screen: it would have been easier to use the existing cradle, but the new version that pulls out a little further from the viewfinder is just a little better for waist-level shooting.

Those little, incremental changes that have been made with every refresh of the camera, represent the kaizen concept every bit as much as firmware updates and the retrospective addition of a film simulation.

Sometimes kaizen improves your next camera

From above, the changes are a little more apparent: the simplified top-plate of the V and VI, the addition of an ISO dial, which originally needed to be held in the up position as you were rotating it but now clicks up and down, the third-stop increments on the aperture ring...

Photo: Richard Butler

From a practical point of view, no company has the R&D resources to continue to support all its existing models, and many cameras are achieving a level of polish and refinement that means additional features would risk simply being semi-worthless clutter (don't get me started on multi-shot high res modes).

As an owner of an X100 series camera, I've definitely appreciated the feeling that Fujifilm wanted to keep supporting me, when firmware 2.0 was released. But that support can't last for all models, forever. So I appreciate that the kaizen philosophy means I will be able to buy a camera that's better than my current one could possibly be, when the time comes to upgrade.

Star Flyer – the 2013 eclipse as seen from the deck of a four-masted sailing ship racing across the Atlantic. Totality was 42 seconds long and I was on a quickly moving (and rocking) surface.

Photo and caption by Tyler Nordgren

Editor's note: We originally ran this story in conjunction with the solar eclipse of August 21, 2017. We've updated and republished it ahead of the solar eclipse of April 8, 2024.

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Essentially, it's the ultimate photo challenge. On April 8th, photographers across the continental United States – and especially photographers within the band of totality stretching from Texas to Maine – will have no more than a few minutes to get the shot of a lifetime when the moon passes in front of the sun, and a large swath of North America will be treated to a total eclipse.

And if you ask anybody who knows anything about astronomy, it is a huge deal. Dr. Tyler Nordgren is such a man. He's a professor of physics and astronomy, an award-winning photographer and a self-described Night Sky Ambassador. Here's what he had to say about the solar eclipse of August 21, 2017:

"Half the people that are alive right now weren’t even alive the last time something like this was visible from the continental US. Secondly, there are 12 million people just living in the path of totality that are going to get the chance to see it, so it will be the most-viewed total solar eclipse probably in history. The most seen, most photographed, most shared, most tweeted – potentially the most people in total are going to be able to experience this in one form or another."

"See your first eclipse, photograph your second."

But unless you're a seasoned landscape photographer or astrophotographer, Dr. Nordgren thinks you might be better off not photographing it at all and just enjoying the view. He quotes Warren De la Rue, a pioneer of astrophotography, and the first person to photograph a total eclipse. "He wrote in his journal afterwards, that if he ever got the chance to see another one, he hoped to be able to see it without any equipment at all."

In short, "See your first eclipse, photograph your second." But if you're unconvinced, Dr. Nordgren does have some advice.

Hungary – My first eclipse photo that I took in 1999 superimposed on the stamp I bought there comemorating the eclipse by showing its path across the country.

Photo and caption by Tyler Nordgren

How to prepare to photograph the eclipse

Preparation is key. Time is of the essence. Of course, you'll want a tripod and a cable release to lock everything down and minimize shake.

"If you really must photograph this, you’re going to want to practice a whole bunch of techniques in the weeks leading up so it’s as second nature as absolutely possible during those precious seconds."

Don't forget to take off the filter during totality!

Protecting your eyesight and your gear is equally important. It's only safe to point your eyes or your camera sensor directly at the sun during totality. Just seconds before or after and you're risking serious damage. He suggests a pair of solar eclipse glasses and a filter for your lens. Per NASA, your glasses should meet the ISO 12312-2 international standard.

Be sure to use both during partial phases of the eclipse – you risk damaging your eyesight, not to mention your camera, with just a pair of glasses and an unfiltered lens. Crucially, don't forget to take off the filter during totality. You'll be extremely disappointed with the results if you don't.

For nitty gritty details, Lensrentals posted a useful article detailing some specific settings to dial in if you plan on using a longer lens.

What lens to use to photograph the eclipse

What kind of lens should you use? Well, not surprisingly, it all depends on what you're going for. If you want the sun as your main subject, you'll obviously want a longer lens. "To really capture big detail in the corona and the object itself, you'll want a lens with a focal length of around 500mm; between 400 and 600mm at least."

But don't forget that a total eclipse also presents a unique landscape photo opportunity. If you'd rather capture the eerie effect on the scene, a wider lens will produce excellent results too. It's all a matter of personal preference.

No matter what kind of shot you're going for, you can size things up ahead of time by photographing a full moon.

"Something to keep in mind is that during totality the sun turns black, and is surrounded by this ghostly corona, so the spectacle of the object itself is this black disk with this white glow around it. That black disk is the size of the full moon, so take whatever your camera equipment is, take whatever your lens is and go out and photograph the next full moon. See if whatever size dot that appears. If that’s interesting to you, then great – that’s the lens to use."

Should you go to the path of the totality?

In a word: yes.

If you're set on photographing the eclipse and have the safety and gear requirements nailed down, all that's left to do is get yourself into the path of totality for the big moment. Easy enough, right? Well, unless you're lucky enough to live there, or you started planning your eclipse vacation years ago, chances are only getting slimmer that you'll be able to find accommodations. Your best bet is to find what you can within a reasonable driving distance and set out as early as possible.

Ideally, you also want to aim for somewhere that's less likely to have cloud cover. Dr. Nordgren knows all too well what a cloudy eclipse view looks like.

"If you’re going to do the close-up photograph, you could be almost anywhere provided you’ve got clear skies. But I’ve also seen some really spectacular photos of totality through wispy clouds that give this dramatic view as well... just as long as you’re within that path of totality and the cloud cover is not so total that you’re utterly blacked out. And I’ve had that happen."

This is the partial phase just a minute or two before totality in the Faroe Islands. Those clouds totally socked us all in 30 seconds before totality so we saw nothing.

Photo and caption by Tyler Nordgren

If you're hoping to get a wider shot, then great news: this eclipse will cross much of the continental US. Provided you can get there, you can pretty much take your pick of landscapes. "What do you find compelling?"

Whether or not you can get to the path of totality, and whether or not you choose to photograph the event, you'll still be treated to an amazing array of photos and videos from photographers across the US. And unless you're dead set on photographing it, consider leaving the camera at home.

"If you haven’t seen a total solar eclipse, I encourage you, don’t waste your time photographing it."

"If you haven’t seen a total solar eclipse, I encourage you, don’t waste your time photographing it. Chances are, somebody else will get a better photo. But if you are that kind of expert photographer, practice so that you can set your camera up and let it do its thing with as little input as possible." In the very best case scenario, you'll get a couple of minutes.

"That is not a lot of time to see what I think is the most awe-inspiring, unnatural, natural experience in nature."

Image: Photofast

Backing up your smartphone images usually involves sending them to the cloud or manually syncing them to a computer. Seamless? Maybe, until you have to start paying monthly storage fees. And while you can plug a hard drive into many modern smartphones, it isn't quite user-friendly or universal across all smartphones.

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PhotoCube PD+, launched via Kickstarter and Indiegogo by Hong Kong electronics company Photofast, aims to make cloud-free physical backups of phone photos more straightforward.

Built for USB-C devices, the PhotoCube PD+ attaches directly to your smartphone or tablet and is compatible with both iOS and Android. It accepts microSD cards with up to 2TB of storage space, and you can interchange your cards if needed.

Supporting SD cards up to 2TB in size, the PhotoCube PD+ can be configured to automatically back up photos when plugged in, as well as additional data like contacts, without the need for additional cables.

An obvious downside is that the device won’t work with iPhones older than the iPhone 15 or any other device that doesn't have a USB-C port. Android users shouldn’t have an issue using the portable device, even with slightly older handsets.

While there's no monthly fee, PhotoCube PD+ obviously costs money upfront. Also, PhotoCube PD+ doesn’t come with built-in storage or a card included, so prepare to bring your own.

The device is currently available for preorder, with two devices at an early bird price of $115 (USD) through Indiegogo with an estimated ship date of August 2024. As with all crowdfunded campaigns (and preorders in general), caveats apply. Crowdfunded products are no stranger to delays or quality control issues. The company's previous model eventually came to Amazon. Presumably, this one will too. Whether it's worth the gamble to get an early bird discount is up to you.

Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its 'Trust & Safety' page.

Image: Tiffen

Tiffen has announced its new Smartphone 58mm Filter Mount that attaches filters to an iPhone 14 or 15 using Apple's MagSafe attachment system.

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Smartphones have become indispensable tools for many photographers, often supplementing or even replacing a main camera for certain activities. However, one downside to smartphones as cameras is that attaching accessories like filters is more complicated. As a result, those wanting to use something like a polarizing filter for photography or a neutral density filter for video have needed to use add-on accessories to do so.

The Tiffen Smartphone 58mm Filter Mount uses the MagSafe system to quickly attach a 58mm filter to the back of Apple's iPhone 14 and 15 models.

Image: Tiffen

Tiffen's Smartphone Filter Mount doesn't do away with the need for accessories to attach filters, but it does aim to make the process of using them faster and easier. The Tiffen adapter snaps on and off the back of the camera using MagSafe technology instead of relying on clamps or specialized phone cases like many existing products do.

The Tiffen 58mm Smartphone Mount is compatible with all iPhone 14 and 15 models, including the Pro and Pro Max. It retails for $29.99 or bundled with a 58mm circular polarizer for $39.99. It's available for order on Tiffen's website or to pre-order through other retail channels.

Buy now:

$29.99 at Tiffen $29.99 at B&H Tiffen 58mm Filter System Ready for iPhone

Creative Tool for Content Creation, Scouting, iPhone Filmmaking & Photography

For the first time, Tiffen brings award-winning professional motion picture and still lens filters to the iPhone®. With the new Tiffen Smartphone 58mm Filter Mount, any user can benefit from the same trusted tools professionals count on to produce outstanding images.

With seamless integration and user-friendly design, installation is immediate—no tools needed. Thanks to Apple's MagSafe® Technology, the new Tiffen Filter Mount magnetically secures to the back of an iPhone, ready to accept any Tiffen 58mm filter. The filter then simply threads on—to capture images with enhanced creativity, light control, depth, and detail.

By adding the 58mm Filter Mount, the family of Tiffen Emmy and Academy Award® winning filters, (sold separately), offers a multitude of creative choices to enhance the camera-phone in most everyone's pocket. To control light, there's Neutral Density (NDs), UV Protectors, and Polarizers. To smooth complexions and enhance the atmosphere, there's Glimmerglass®, Pro-Mist®, Smoque, and Fog diffusion. For in-camera-phone effects, users can select Star FX, Digital Diffusion FX, and a rainbow of individual Color filters including Sunrise, plus dozens more.

The Tiffen Smartphone 58mm Filter Mount is precision made of black anodized aluminum, built for light weight and long life. It is compatible with iPhone 14/15, 14/15 Pro, 14/15 Plus, and 14/15 Pro Max models. The Tiffen Smartphone 58mm Filter Mount is priced at $29.99 list. Kits are also available. Tiffen Filters are available separately from top dealers worldwide.

There's been a fair amount of chatter, excitement and some cynicism around Fujifilm's announcement that it's making a limited run of X100VI etched with the company's original 1934 logo, but another company making rangefinder-style cameras has a more established history of doing the same.

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Leica, whose commitment to the rangefinder style that it makes actual rangefinder cameras, has regularly produced defined-number runs of its products.

The latest example is a production run of 200 copies of the M-Summilux 35mm F1.4 with an anodized black coating on its aluminum shell. The lens, whose original design dates back to the 60's, and that the company describes as 'the true king of bokeh,' was re-introduced in 2022. Part of the Leica Classic line, it usually comes in silver chrome with a stainless steel ring around the front.

The black version sees the distance scales on the lens reversed, compared with the standard version, with the metric markers further away from the camera. This change and the black anodized coating means it more closely matches the original version. It also says Leitz Wetzlar on the front, distinguishing it from the reissued version that simply says Leica.

Although unconfirmed by Leica, 200 is around the number of black copies of the original lens thought to have been made. The special edition will sell for $10,945, rather than the $3,895 of the standard silver chrome version.

New: Leica Summilux-M 35 f/1.4 now available as a limited special edition in black.

Teaneck, March 21, 2024. Leica M-Lenses’ legendary reputation precedes them. One of these outstanding lenses is the Leica Summilux-M 35 f/1.4. Still sought after today, it appeared in 1961 as the world’s fastest wide-angle lens at the time and experienced a renaissance with its new 2022 edition. Now, Leica Camera AG presents the classic lens in a strictly numbered, limited edition design variant.

Based on the first edition, the Summilux-M 35 f/1.4 now emerges in a black anodized finish, featuring the iconic silver stainless steel front ring, commonly referred to as the “Steel Rim”. The engraving on the front reads “LEITZ WETZLAR”. Another detail of the lens is the black painted brass focus lock button which acquires a unique patina with frequent use. To come as close as possible to the original, the engravings on the special edition’s focus ring have been adjusted. The arrangement of the feet and meter scale is also modelled on the original in terms of color and has been swapped in comparison to the silver series lens.

Regarding its imaging performance, the special edition corresponds to the series model. Photographing with open aperture creates pictures with an especially soft, almost magical bokeh which is hard to achieve even with digital image processing. Its extraordinary image look earned the Summilux-M 35 f/1.4 the title “True King of Bokeh”. When stopping down to f/2.8, it produces very sharp and particularly distortion-free pictures which also meet modern requirements for image quality.

The special packaging with its vintage look already hints at the origin of this edition. In addition to the lens, it also comprises of a lens container, a clip-on lens hood as well as an additional round lens hood with E46 thread for the use of filters.

The numbered, limited edition black anodized Leica Summilux-M 35 f/1.4 is available at select Leica Stores worldwide starting today. This lens is limited to 200 pieces worldwide and is priced at $10,495.

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Japan is one of my favorite places for photography, so when I traveled there last month for the annual CP+ camera expo, I thought about what camera to take. Since I'm working on finishing up our reviews of the Panasonic Lumix S5II and S5IIX twins, I decided it would be a perfect opportunity to get some extra shooting time on the S5IIX. As a bonus, it allowed me to test Panasonic's new 28-200 F4-7.1 Macro OIS, a lens so small it just begs to be used for travel.

If there's one theme that's consistent throughout this gallery, it's umbrellas. This was one of the rainiest trips I've taken in years, and except for a couple of days, I was hard-pressed to take a picture of anything without an umbrella in the frame. Although it wasn't specifically my mission, it was an excellent opportunity to test the S5IIX's weather sealing. On several occasions, the camera was exposed to constant rain for several hours, dripping wet the entire time. I'm happy to report that it never missed a beat. Kudos to Panasonic for that.

This gallery includes street photography from Tokyo and Yokohama, as well as photos of snow monkeys at Jigokudani Monkey Park near Nagano.

View our Panasonic Lumix S5IIX sample gallery from Japan

Want to see more images from the camera? Check out our original Lumix S5IIX sample gallery.

Buy now:

$1997 at Amazon.com$1997 at B&H Photo$1997 at Adorama

Image: Samsung

Samsung is working on a fix for an issue affecting photographers who take pictures using its flagship smartphone.

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Since its launch in January, users have complained of a bug on the Samsung S24 Ultra that results in dark or underexposed photos under particular conditions. According to Samsung, which acknowledged the problem and an upcoming fix in a recent post on its community forum, the bug occurs if users lock the auto exposure at specific zoom magnifications (1.6~1.9x, 4.6~9.9x) in the camera app. Fortunately, it's not a hardware issue, and Samsung says it can be fixed through a software update.

Samsung has advised users to “update your phone to the latest software in the event of a software update pop-up." The company is yet to confirm when exactly users can expect the update.

The Samsung S24 Ultra has a list price of $1,299.99 and comes with three rear cameras that provide 3x and 5x optical reach.

Buy now:

$1,150 on Amazon

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7Artisans' has introduced its first autofocus lens, a 50mm F1.8, for full-frame Sony E-mount bodies. The company has built up an extensive collection of manual focus lenses (for numerous mounts), and we imagine that this "nifty fifty" is the first of many AF lenses to come.

Spec-wise, the 50mm F1.8 has 11 elements, including aspherical, extra-low dispersion and high-refractive glass. The focus group is driven by a stepping motor (STM) for quick and quiet autofocus. 7Artisans claims that the lens supports all of Sony's AF features, including eye detection. The minimum focus distance is 0.5m (20") from the end of the lens.

The lens has an all-metal chassis, though there's no indication that it's weather-resistant. It's 104mm (4.1") long and weighs in at 421g (14.9oz)

The 7Artisans 50mm F1.8 AF is available for $228.

Buy now:

$228 at B&H Photo$228 at Amazon.com

Fujifilm's Jun Watanabe and Yuji Igarashi, speaking to us, following the X100 VI's launch. Photo: Richard Butler

"We wouldn’t be here if we didn’t have the X100," says Fujifilm's Yuji Igarashi, "If that failed, we would have been in a very difficult position."

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Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group was speaking to us just before the launch of the X100VI. He and his colleague, Product Planning Manager Jun Watanabe discussed the importance of the X100 series in establishing the Fujifilm brand as it's now recognized. They also spoke about the future of the industry, the role AI has to play and perhaps even hinted at the possibility of a video-centered camera.

"That was the first camera when we stepped up from selling point-and-shoot, entry-level compact cameras," Igarashi remembers: "Smartphones were becoming popular and demand for point-and-shoot cameras was declining so fast."

"But we were determined to continue and to grow in this industry, so we thought very hard, how can we change our business model. This was our first attempt to do that, using the APS-C-sized sensor. X100 was a huge success, which gave us confidence."

What happens next?

Nearly fifteen years later and it feels like the industry is facing up to another existential threat, as the quality of computational photography and the always with you, always connected convenience of smartphones along with the arrival of AI image generation threaten even high-end cameras. But Igarashi sees room for growth, still.

“It’s the younger generation that will drive photography," he says: "People who are photo literate, who use their smartphones all the time, those people have a huge potential”

And he believes there's still room for dedicated cameras, alongside smartphones. “Taking images with your smartphone is great, it’s fun, and you can share those images instantly, but many people don’t know there’s more to it. So if you take time to take pictures or even print your photos you get to learn more about photography and then photography passion will grow.”

But to do this, the camera has to offer something distinctive, he suggests. “We have to think about where the differences are between smartphones and cameras. What is the difference between these two, and what makes them [want to] use a camera."

What can a dedicated camera offer? Yuji Igarashi - Divisional Manager of Fujifilm's Professional Imaging Division

Watanabe puts forward some suggestions: “Smartphone connectivity is, of course, the most important thing. And the joy of operability of the camera is an important factor”

"The operability and image quality," Igarashi agrees. “and the quality of the product,” says Watanabe.

That ease of sharing is improving, suggests Igarashi: “Most people feel you have to transfer the image. Frame.io, camera-to-cloud has been a game-changer in that sense, but I think we can make it even more seamless in future.”

"When people think it’s one ecosystem, that’s when I think people who use smartphones will feel that a camera is part of their photography life.”

The role of AI

Chatting about smartphones led, perhaps inevitably, to discussions about computational photography and the role AI will play in the coming years.

“I think AI technology has been the trend, in both a good and bad sense," says Igarashi: "It’s helped us improve our subject detection, and make huge improvements in the autofocus, so it can help us enhance our gear a lot. But there are also concerns about what’s a real photographic image, about who created that image, et cetera. So it’s good and bad and I think as an industry we’re still trying to work that out.”

But he thinks the role AI will play in dedicated cameras will be different from those in smartphones.

“For smartphones, in most cases, it would support you automatically. It gives you probably the best-looking picture for a lot of people, but less personality," says Igarashi: "cameras like to assist you to be more creative. How can the AI support you to be more creative, to do what you imagined? So it won't be like smartphone AI.”

But, he says, "I think the biggest impact of AI technology probably has yet to come."

Room for improvement

One area AI might continue to provide benefits is autofocus, says Watanabe: “We think there is some room for improvement. For example, in group sports such as football or basketball it is not possible for the camera to precisely follow the athlete that the photographer wants to follow.”

Also, despite the arrival of AF tracking in the recent GFX 100 II and X100 VI, he also highlights video AF as an area still developing: "The demands of video autofocus are different than for stills photographers. For video the focus has to change smoothly or to change at the speed the creator wants. So there is much room for improvement," he says.

Balancing stills and video Jun Watanabe - Product Development manager for Fujifilm's X Series

The idea of new video AF features making their X-series debut in the stills-focused X100 VI prompted us to ask about the company's thinking about stills and video, and how they're offered in different products.

"It depends on our product lineup," says Igarashi: "For example, the X100 VI, we’d never have a flip-out screen in this camera. We’re still enhancing the video capabilities but making sure it’s still a photography-centric camera. Then, for example, our hybrid range is totally different: we try to accommodate both as well as possible. And then we would probably have products that are more video-centric. So we try to look at the customers on a case-by-case basis: how and what they want to use it for. I think it’s impossible to have everything [in one camera]."

For this, he says, they listen to customer feedback. "We get feedback on video capability from the X-H side and more requests on the stills side from X-T. So we’re learning a lot and we’re thinking more about the cameras depending on the situation, which camera should be used, how? So it’s been very helpful for us, having different ranges, T and H. I don’t think they’re getting closer but maybe not much further apart. It’s about trying to figure out the right balance."

In discussing the challenges of improving video, Watanabe made a similar point: "In terms of design for a stills and video hybrid, we achieved a successful level. But for a more video-orientated camera we can create another kind of form-factor for easy-to-use, easy-to-handle for video recording. I think we can create another type of design."

The future of X-Pro

For all these apparent hints at a more video-centric model, Igarashi ended the interview by raising the subject of one of the company's most photo-focused models: the rangefinder style X-Pro series. "That's an important category for us. We started with the rangefinder-style X100, then we introduced the rangefinder-style interchangeable [model], the X-Pro," he reminds us. "That's a line we're determined to continue."

Image: Logitech

Today, Logitech announced the Mevo Core, a 4K-capable live-streaming camera built around a Micro Four Thirds sensor and lens mount. It's an upgrade from Logitech's existing Mevo cameras which served a similar purpose as wireless, battery-powered streamers, but had a smaller sensor and a fixed lens.

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The Mevo Core is rated at 6 hours of battery life and supports Wi-Fi 6E connectivity for streaming video in 4K/30p or 1080/30p. With its Micro Four Thirds lens mount, it's compatible with any MFT lens but has been officially tested with four:

• Olympus 14-42mm EZ
• Lumix 14-42mm PZ
• Lumix 45-175mm PZ
• Sigma 16mm

Users can set up multiple Mevo Core cameras in a single setup through the use of Logitech's Mevo Multicam App or opt for wires and make use of the camera's HDMI out, even setting the Core up as a traditional webcam.

The Mevo Core is available now for $1,000 (body only).

Buy now:

$1,000 at Amazon $1,000 at B&H Photo New Logitech Mevo Core 4K Camera Enables Seamless Wireless Live Streaming of Any Event, Anywhere

Choose your lens, connect multiple Mevo Core cameras wirelessly and stream directly to your favorite platforms using the Mevo Multicam app

LAUSANNE, Switzerland & SAN JOSE, Calif.--(BUSINESS WIRE)--Today, Logitech International (SIX: LOGN) (Nasdaq: LOGI) introduced Mevo Core, the next generation live streaming camera in the Mevo ecosystem.

Mevo Core is a new intuitive 4K camera, built for live streaming and content creation, which can be fully controlled from a smartphone or tablet. Featuring a compact, sleek design with versatile mounting options, Mevo Core’s interchangeable lens design gives streamers the freedom to accomplish high-quality results every time.

“We are on a journey to democratize live content creation for everyone at any skill level. Mevo Core embodies this value by bringing beautiful 4K DSLR level quality but with a fraction of the complexity of a traditional camera,” said Otto Cedeno, head of Mevo. “Every single aspect, from adjusting the optical zoom, to setting the right focus are simple taps, making it an incredibly accessible pro-level camera, even for beginners.”

For many content creators, setting up a professional camera takes time and often requires added software, encoders and endless cords that can be costly and complicated to set up. Managing multiple devices can be discouraging, especially for new streamers that are looking to bring their vision to life with the highest quality possible. With Mevo Core, streamers get a professional 4k camera that plugs natively into a mobile production studio, the Mevo Multicam App, that they can take anywhere. The Mevo Multicam app is a free download available on the Apple App Store and in Google Play. With Mevo Multicam, content creators can connect and control several Mevo Core cameras at one time.

With Mevo Core’s powerful 6-hour battery life and the power of built-in Wi-Fi 6E support, multiple Mevo Core devices can be connected at once and placed nearly anywhere. Designed with a Micro Four Thirds sensor, Mevo Core enables professional video capturing in fantastic 4K30p quality, and high-definition 1080p30 live streams. With Mevo Core’s Micro Four Thirds lens compatibility, content creators have the opportunity to choose the lens that works for them—simply tap to focus and start streaming.

Mevo Core was designed from the ground up for customization and creativity. Creators can select a lens and adjust key professional features like aperture and focus. The built-in 3-mic array, enhanced with spatial audio processing and noise cancellation, allows the camera to detect and eliminate unwanted background noise. And content can be streamed directly to YouTube or Twitch—all with the power of Mevo Multicam.

"Logitech's Mevo Core is the best solution for my Multicam live streaming setup, both in the studio and while on tour with DragonForce,” said Grammy-nominated musician and content creator Herman Li.

For more advanced scenarios, creators can now connect to additional workflows via the camera’s HDMI output and built-in NDI and SRT integration for an efficient video connectivity experience. Mevo Core can also be used as a wireless or wired HD webcam that is compatible with any computer running Mac or Windows. With these added-in capabilities, Mevo Core removes the limits of video connectivity and creates a more versatile production experience.

Image: Fujifilm

When Fujifilm announced its new X100VI rangefinder-style camera at a press event in Japan last month, it teased a special version of the camera: the X100VI Limited Edition. Following an announcement on its Instagram channel today, we now know that sales of the Limited Edition model in the US will be limited to just 300 cameras.

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According to Fujifilm, 100 cameras will be sold daily in the US from March 21st to March 23rd on a first-come, first-served basis, and you'll need to buy them directly from Fujifilm's online store, so if you want one, you'll need to move quickly (and maybe have a bit of luck to boot).

Here's a rundown of where to order the X100VI Limited Edition in different countries:

• US: Fujifilm online store (300 cameras, March 21-23, first come, first served)
• UK: Fujifilm House of Photography (April 6, according to Amateur Photographer)
• Australia: Fujifilm House of Photography (75 cameras, window closed)

Have information on where to order the X100VI in other markets? Let us know in the comments, or send us a message, and we'll add it to the list.

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A post shared by FUJIFILM X/GFX USA (@fujifilmx_us)

Fujifilm tells us the X100VI Limited Edition is a nod to the company's founding 90 years ago in 1934, with a production run of just 1934 units worldwide. The Limited Edition model is functionally identical to the regular X100VI but will be adorned with Fujifilm's original logo on the camera's top plate and matching lens cap, and each unit will be individually numbered. The camera will also come with a box including some "Fujifilm history cards" and a special strap.

At the camera's launch event, Fujifilm indicated that the Limited Edition would have an MSRP of $2,000, a $400 premium over the standard model's list price of $1,600. However, considering the cult following recent models of the X100 series have developed, we'll likely see prices go higher on the resale market. Although one hopeful eBay seller famously listed a Limited Edition model at an eye-watering $18,000, a search of sold items on eBay shows that at least a couple of Limited Edition cameras have sold for prices over $4,000.

Even the standard edition X100VI can be hard to come by right now, but if you're OK with not having a Limited Edition model, you can order or pre-order it from resellers now.

Buy now:

$1599 at B&H Photo$1599 at Adorama

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All gallery images are uncropped out-of-camera JPEGs with accompanying lossless-compressed Raw files.

In spite of all the coverage coming out of CP+, we've been quietly at work in the background pushing through our final Sony a9 III review. While we've got some more shooting lined up with it in the coming weeks, we've been getting a feel for just how effective its novel global shutter sensor is when combined with subject-detection autofocus in a variety of scenarios. And for those that just want to see the real-world impact on outright image quality, there are a few low ISO landscape images in the gallery as well.

Is the new a9 III on your shortlist or in your bag already? Let me know how you'd take advantage of Sony's speedy new sports flagship in the comments.

This image, released by the UK's Royal family on March 10, 2024, was later found to have been manipulated. Several news agencies took the rare step of issuing a 'photo kill.'

Image credit: Kensington Palace

The best way to turn a few burning embers into a roaring fire is to give it oxygen. That's just what we saw this week when a photo of Kate Middleton, Princess of Wales, that was in part meant to show she was perfectly safe, healthy and happy was found to have been digitally altered. The photo backfired, royally.

What happened with Kate Middleton's photo? The picture was shared through social media and provided as a handout to media on March 10, 2024.

It should have been a humdrum affair; last Sunday was Mother's Day in the UK, and Kensington Palace published a picture of Kate with her children. It was the first official photo of Kate, who has been in the public eye since a January abdominal surgery. During her absence, there were rumors and increasing speculation about her health and whereabouts, and the photo was pulling double duty to show she was doing great. That should have been the end, but instead, the royal family Photoshopped their way into a scandal.

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Upon the photo's release on March 10, several social media posts pointed out odd inconsistencies that suggested the image may have been manipulated. Later in the day, news agencies that had distributed the photo confirmed some of the allegations and notified newsrooms of edits they'd uncovered that contradicted journalistic norms for news photography, The Guardian reported.

"It appeared the source had manipulated the image in a way that did not meet AP's photo standards," the AP wrote in its 'kill' notice. Reuters, Getty Images and Agence France-Presse also took the same rarely-used action of alerting newsrooms to 'kill' the photo. The UK's largest agency, PA Media, had initially resisted issuing a similar order to remove the image, saying they were seeking clarification from the royal family. The next day, they reported, "In the absence of that clarification, we are killing the image from our picture service."

Among the tells: a hand not aligning naturally with a sweater sleeve, a zipper that abruptly ends and starts again a few pixels to the right and various points of oddly blurred hair and misaligned straight lines that confirm edits were made.

The metadata also shows that the file was edited twice, once at 9:54 pm (GMT) on March 8, 2024, and then again at 9:39 am (GMT) the next day. Kensington Palace claims Prince William took the photo earlier in the week in Windsor, but the file does not reveal when the photo was taken. Several online reports have also suggested it was taken with a Canon EOS 5D Mark III, but our independent verification did not reveal such information.

About 24 hours after the image's release, the Prince and Princess of Wales confirmed on social media that the photo had been manipulated. Kate explained it as an "experiment with editing."

An apology for photo manipulation was issued on social media just over 24 hours after the initial release of the altered official photo handout.

The fallout further fueled a fervor about the absence of the royals from public life this year. This attempt to pass a heavily manipulated image as authentic only reignited rumors and outright conspiracy theories on the health and safety of the Princess of Wales.

Don't keep calm and carry on

On the surface, this may seem like much ado about nothing. Let's take the apology at face value. It may be easy to dismiss it as an edited family photo carelessly manipulated by a mother trying to make her family look perfect. Defenders of the royals have argued that manipulating social media images is a fact of life and played up a whataboutism spin of "everyone is doing it."

But this is not just any photo; this was an official handout from a seat of power entered into the public record as authentic and factual. The UK monarchy may essentially be ceremonial today, but as a head of state for the British government, its actions signal to others what is 'proper' or acceptable. There is also an expectation that the monarchy will be truthful to the public. Setting a precedent that news images can be fake is not an ideal message to send. There is a higher standard at play in this case.

AP's 'kill' notice. Reuters' 'kill' notice.

The photo was released, at best, as a mistake and, at worst, as intentional misdirection, but it does not matter whether the motives were malicious or careless.

As the British Press Photographrers' Association pointed out, it's also concerning that the family did not recognize the importance of truth in images and "... whether there is something else behind their actions is not as important as getting the message out there that it is wrong."

"News consumers need to be able to trust that the news reported to them is truthful."

Troubling still, once the manipulation was brought to light, Kensington Palace rebuked media requests to release the unedited image. Doing so would allow the record to be corrected and to get a fuller sense of how the manipulation came to be. One of the goals of journalism is to be a first draft of history by accurately gathering the day's events and then reporting them on behalf of the public to maintain an informed citizenry. This is a big deal.

This moment is also a wake-up call to news agencies to re-evaluate policies toward using and distributing handout photos. The agencies failed to recognize the need to apply the same journalistic standards for verification to a handout image that they apply to a first-time freelancer working on an assignment for them.

"The agencies failed to recognize the need to apply the same journalistic standards for verification to a handout image that they apply to a first-time freelancer."

Handout photos from any entity are essentially PR images (it's why at DPReview we take our own product photos and publish out-of-camera sample images). This is a moment when the press needs to make a definitive call about whether to treat handouts from anyone, including the monarchy, as a source of news or as a source of PR.

Beyond rethinking handout policies, I hope every newsroom that has accepted handouts from Kensington Palace is re-examining everything in its archive. It's all questionable now and throws doubt over everything ever released as an official handout from the royal family.

Ethics and why holding power accountable to truth matters

In a span of a few hours, we moved from a fairly pedestrian handout for tabloid fodder into a controversy about image manipulation, the use of handouts by news media and seats of (ceremonial) power leveraging images to spin a narrative.

An explanation has been shared. Whether it is true or not is beside the point. It happened. It shouldn't have happened.

To see the UK's royal family suggest through their actions that doctoring photos and passing them as authentic is kosher is troubling. As figureheads for the state, along with ribbon cuttings and charity work, they set the tone for suitable etiquette and grace. To offer a half-hearted 'oopsie' apology and double down on refusing to correct the record with an unedited photo is unsettling.

"To knowingly hand out falsified images to the public and the press and tell journalists they are authentic is akin to handing newsrooms a ticking timebomb to sit on."

Even if you prefer to ignore the UK royal family, they have an influence on global affairs as representatives of the British government. World leaders meet with them, industry titans discuss policy with them, and causes are taken up at their behest. When the queen addresses climate change or a princess shakes hands with an AIDS patient, it makes headlines.

Kate-gate (from the school of everything is a 'gate' in the US) is also about the integrity of news photos and the credibility of journalists during a time when attacks and mistrust of journalists are at historic highs. To knowingly hand out falsified images to the public and the press and tell journalists they are authentic is akin to handing newsrooms a ticking timebomb to sit on. This is why the reaction from the AP, Getty, Reuters and other newsrooms has been quick and decisive. News consumers need to trust that the news reported to them is truthful.

It should also not be lost that we're having this discussion during a time of weaponized misinformation and the dawn of AI-generated images lowering the threshold for anyone to attempt to mislead others.

In this case, a closer look made the manipulation fairly obvious, but as AI image generation improves, looking closely may not make it so easy. This royal attempt at Photoshop manipulation is our wake-up call to the threat of misinformation. It's not as hard as you might think. Even the people at the top who should know better are capable of doing it (purposely or not). And the next time around, it may not be so poorly done to where we notice it.

About 20 manipulations have been identified in the official handout image so far. Here are three of them: 1. A line in the background appears to have shifted. 2. A zipper abruptly ends and begins again a few pixels over. 3. A wrist does not align with the sweater. Avoiding another dodgy affair

One silver lining: amid the posts about "I also edit my photos" and "Leave Kate alone," I've also seen many, many more wondering where the line should be when it comes to photos shared by people with influence for images that are presented as news.

It does my heart good and gives me hope that the world has taken an interest in photo manipulation and ethics, if only for a moment. We should expect better from images that purport to represent something that actually happened, and not something that someone idealized in their mind and wished happened. Be that three kids smiling with eyes open simultaneously or something more serious.

It's good to see that truth still matters.

Lest I leave you in despair, let me offer some solutions. Moving forward, there are some tactics the press and the public can use to spot potential misinformation.

"The photo backfired, royally."

By year's end, expect to see some open-source authentication software that will allow anyone to check an image's provenance and authenticity to know when an image was made and how it was edited before it was shared. C2PA and CAI authentication standards will be built into cameras and software to give us the tools to verify and practice media literacy.

In a case like the royal photo, such implementation would have captured in great detail what was done in each edit and not just a date stamp that an edit occurred. News agencies would have been able to verify the image history and 'kill' it for manipulation before sharing it with the public as authentic. Once published, you and I can also do our independent check with CAI tools.

A lower-tech consideration is to look at the captions associated with a photo. Captions can tell us the who/what/where, and the intention of how the image is meant to be seen. In the royal photo, the text tacitly acknowledged the speculation about Kate not being seen in public. Few other details were offered, but this suggested a possible motivation for why the photo was shared (and why the fallout has only reignited more speculation).

Such tools and methods may help, but newsrooms must also be more responsible for how they use handouts, and they need to establish new norms going forward. My advice: stop using handout images. If a photo of Kate is newsworthy, then newsrooms must insist on being allowed to take their own pictures. Years of disinvestment in photojournalism and accepting handout photos as 'news' have made it possible for something like Kate's manipulated PR photo to attempt to masquerade as a news photo.

"If a photo of Kate is newsworthy, then newsrooms must insist on being allowed to take their own pictures."

Time will tell what comes from the fallout in the coming weeks and years. Will this be a footnote about a photo that launched a thousand conspiracy theories, or will it start a needed conversation about world leaders and their responsibility to truth, which will help lead to real accountability?

This brings us to a crossroads: do we make jokes and move on, forgetting what happened here? Or do we question if we should allow people in power to put out only the images they approve so that we can accept them as factual? The choice is up to you, my friend.

Photo: Brendan Nystedt

As we enter the final phase of our Panasonic Lumix DC-G9 II review, we've added the test scene images to our image comparison tool.

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These have been shot using our standard process meaning that they can be directly compared with the hundreds of cameras we've previously shot. As usual we've shot in two different lighting conditions and uploaded both JPEGs and Raws processed using Adobe Camera Raw.

Buy now:

$1897 at Amazon.com$1898 at Adorama$1898 at B&H Photo

High resolution images shot using the G9 II's pixel shift high resolution mode have also been included (100MP Tripod mode, no motion correction). These have been shot at F4 to reduce the impact of diffraction.

As always, the original out-of-camera JPEGs and Raws can be downloaded and subjected to your preferred processing workflow, to see whether they suit your needs.

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-37574222","widgetId":907,"initialStateId":5889}) })

Updated: March 13, 2024

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It's not so long ago that $2000 would buy you the lowliest, entry-level full-frame camera. Now, for around the same money, you get a choice of high spec cameras that shoot excellent stills and video, and include autofocus systems approaching the performance of professional sports cameras.

Choosing a camera also means committing to a lens mount, and the wider system that goes with it, so we advise checking whether the lenses you want to use are available at a price you're willing to pay. Not all camera makers allow other lens makers to produce lenses for thier mount, for instance, which can limit choice.

It's worth noting that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, it's worth considering whether they're good enough that you need to stick with a camera to which they can be adapted. You might get better results by selling-up and buying modern equivalents of your most-used lenses.

Several cameras have arrived in this price bracket fairly recently, and we've not yet completed our full reviews. We've only recommended cameras we've used extensively enough to be confident you'll be happy with them.

Our recommendations:

• Best camera around $2000: Canon EOS R6 II
• Best camera under $2000: Nikon Zf
• The compact, versatile option: Sony a7C II
• Best for stills and video: Panasonic Lumix DC-S5 II
• Best for vlogging: Sony ZV-E1
• A fixed-lens option: Fujifilm X100VI

Best camera around $2000: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

Buy now:

$2499 at Amazon $2499 at B&H Photo $2499 at Adorama What we like:

• Simple, powerful AF for stills
• Fast 40fps shooting with continuous AF
• Excellent battery life

What we don't:

• AF less reliable in video mode
• SD cards limit burst duration
• E-shutter can distort fast-moving subject

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.

Read our full review of the Canon EOS R6 II

See the Canon EOS R6 II studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7953502801","isMobile":false}) }) Best camera under $2000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

The Nikon Zf is a retro-styled camera built around an image-stabilized 24MP full-frame BSI CMOS sensor.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our initial review of the Nikon Zf

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• No joystick control
• No fully mechanical shutter

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control. Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate. “The a7C II is a surprisingly capable camera for its size.” The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks. The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.

Read our full review of the Sony a7C II

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0861943200","isMobile":false}) }) Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is, in several ways, a better camera than the a7C II. It has a much nicer viewfinder and slightly better ergonomics. It also has a full mechanical shutter, which means there's no risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If compactness doesn't matter to you then it might be worth your while to pay a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.

What about other sensor sizes?

There are a couple of high-end APS-C cameras that fall in the realm of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.

Also worth mentioning is the OM System OM-1 II, released in early 2024, holding the torch as a flagship for Micro Four Thirds. At a price of $2,400, it's quite a bit more than $2,000 and really only makes sense for adventurers who demand high speed from the most compact possible kit.

Best for video and stills: Panasonic Lumix DC-S5 II

24MP BSI CMOS sensor | 6K/30p 10-bit video | 96MP high-resolution mode

Photo: Richard Butler

Buy now:

$1998 at B&H Photo $1998 at Adorama $1998 at Amazon What we like:

• Great ergonomics
• Effective subject recognition
• Fan gives long video record periods

What we don't:

• Subject tracking could be stickier
• E-shutter not as fast as rivals
• Middling battery life

The Panasonic Lumix DC-S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.

The S5 II can't quite keep up with the latest Sony and Canon bodies for AF reliability, but it's pretty close, and its video feature list is particularly strong. Features such as waveforms and a built-in fan for recording dependability make it the strongest option in its class if you plan to shoot both stills and video.

The mid-sized, weather-sealed body has good ergonomics. It includes a lot of external control points, including a dedicated AF mode switch, which isn’t common at this level, and an articulating rear screen. The menu system and touchscreen interface are among the best at any level. Phase detect autofocus provides more predictable AF than previous Panasonic models. Human subject recognition is effective, prioritizing the eyes, followed by faces, heads, and bodies. An 8-way joystick makes manual AF point selection easy. 30fps bursts use e-shutter, with moderate risk of rolling shutter distortion. “The Panasonic S5 II is one of the most well-rounded cameras in its class... For an enthusiast-level camera, there’s a lot to like.” The S5 II captures detailed video in a variety of resolutions and aspect ratios, all in 10-bit color. There are also advanced video tools that are rare or unique in this class of camera, including waveform and vectorscopes, shutter angle, and advanced audio options like dual input gain.

There's also an S5 IIX model which can record video directly to an external SSD, allowing higher quality capture in All-I and ProRes codecs. It's a better choice if you're serious about video.

The Panasonic S5 II is one of the most well-rounded cameras in its class. Its excellent ergonomics make for great handling, and its AF system is adept at identifying subjects, though subject tracking could be stickier and more decisive. It produces great photos and video and includes one of the deepest video feature sets for its price range.

Read our initial review of the Panasonic DC-S5 II

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1023117505","isMobile":false}) }) What's best for video?

If you're only interested in video, Sony's FX30 might be a better choice than the S5 II or S5 IIX. The Panasonics offer full-frame 4K up to 30p, which give a potential image quality benefit over the APS-C FX30, but the Sony will exhibit less rolling shutter distortion. The FX30 also has the benefit that its 60p footage isn't cropped-in, compared with its 24 and 30p capture, meaning you won't have to zoom or swap lenses if you change frame rates. It applies a heavy crop for its 4K/120p mode, but that's something the Panasonics can't offer at all.

The S5 II also offers a waveform display and control in terms of shutter angle, which the Sony lacks, but the Sony's gimbal or rig-friendly design and superior autofocus make it the better choice if video is your primary focus.

Best for vlogging

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

Photo: Richard Butler

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon What we like:

• 4K footage up to 120p
• Auto-cropped modes aid one-person operation
• Effective autofocus

What we don't:

• Recording times can be short in warm conditions
• 12MP resolution not optimal for stills
• Cropped footage is upscaled to 4K

The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.

The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.

The ZV-E1 has two command dials, both on the back of the camera, which makes manual video control a little fiddly, there's a touchscreen-led interface to encourage more automated presenter/operator working, though. The ZV-E1's subject recognition system is highly reliable. The lack of a fan means it's much more susceptible to overheating than the otherwise similar FX3. It adds automated modes that crop and follow a recognized subject around the frame, adding dynamism to single-operator footage. "The ZV-E1 has some clever automated modes but can be a bit fiddly to operate. It's hard to match the power for the price, though" The camera's 4K footage (up to 120p) is detailed with relatively little rolling shutter, but you'll want to use the strongest level of image stabilization (with crop) for hand-held shooting as it's a little juddery in less intensive modes. The camera's 12MP sensor takes perfectly attractive images with plenty of dynamic range and pleasant JPEG color but the low resolution means it wouldn't be our choice if stills shooting is important to your work. The ZV-E1 tries to marry the capability of the FX3 cinema camera with automated ease-of-use, but can end up being quite confusing in the auto modes and quite fiddly if you try to take a more hands-on approach. It's hard to match the power for the price, though.

Read our initial review of the Sony ZV-E1

A fixed-lens option: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

$1,599 at B&H Photo $1,599 at Adorama What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

• Lens not especially fast to focus
• Hard to find in stock

While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

If you're looking to make an investment in a camera with a ton of versatility, the X100VI can't quite go toe-to-toe with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7109242674","isMobile":false}) }) Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Nikon has released firmware 5.0 for its Z9 pro sports flagship, enhancing the Auto Capture function introduced last Jun, offering presets for countering LED flicker, adding the portrait color mode and processing options from the Z8 and Zf, along with a series of smaller refinements.

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The full list of changes is in the press release below but one eye-catching improvement is the addition of a series of preset frequencies that can be used to mitigate flicker from common LED lights and signboards, for use with the High-Frequency Flicker Reduction function.

Pros using the Auto Capture mode to take photos when certain criteria (ie subject type, distance and direction of movement) will appreciate the ability to set the camera to only activate at a particular time and for a particular period. This prevents a remotely sited camera running-down its battery or filling its memory before the event starts. Auto Capture now also works with the Airplane detection mode added in firmware v4.10.

Other changes include refinements in the way playback mode works, to make it quicker and easier to review the large numbers of images the Z9 can shoot, as well as expanding both the number of custom functions that can be assigned to buttons, and the range of buttons to which they can be assigned.

The Rich Tone Portrait color mode from the Zf has been added, along with Skin Softening and a Portrait Impression Balance processing function which fine-tunes skin tone rendering and brightness.

Press Release:

Nikon releases firmware version 5.00 for the Nikon Z 9 full-frame mirrorless camera

Nikon Also Updates SnapBridge App to V 2.11 and Adds Easy Shooting Setup Feature

MELVILLE, NY (March 13, 2024) – Nikon is pleased to announce the release of firmware version 5.00 for its flagship full-frame/FX-format mirrorless camera, the Nikon Z 9.

Firmware version 5.00 is the fourth major update since the release of the Z 9 and increases usability for sports photography by expanding the Auto Capture and High-Speed Frame Capture+ functions. Portrait photography is also enhanced for more effective capture of the images photographers want, with the Skin Softening and Portrait Impression Balance functions, and Rich Tone Portrait Picture Control that enables rendering of details of the subject’s complexion with rich tones. Furthermore, the evolution of the Z 9 continues with improved operability achieved in response to feedback from professionals requesting increased speed and efficiency.

Nikon will continuously meet users' needs through firmware updates that expand the functionality of its cameras.

Primary features of firmware version 5.00 for the Z 9:

• Expanded functions for sports photography
  • A function that lets users specify the shooting start date/time and duration in advance has been added to Auto Capture. This helps to reduce battery consumption for more efficient shooting, even when the camera must be positioned and configured well before it will actually be used. Auto Capture flexibility has also been increased to allow users to shoot using the DX crop (24×16) image area, and also adds the addition of an [Airplanes] AF subject-detection mode, plus the display of a yellow frame when the camera is in standby for shooting.
  • In addition, a low-speed [C15] item has been added to High-Speed Frame Capture+ options for increased usability with continuous shooting. What’s more, frequency presets for common LED lighting and signboards have been added to the High-Frequency Flicker Reduction function, making it easier to choose the optimal shutter speed and efficiently reduce the effects of high-frequency flicker.
• Enhanced portrait functions
  • A Rich Tone Portrait Picture Control suitable for creating base images in situations that require retouching, such as wedding and studio photography, has been added. Also, a variety of functions designed to improve portrait photography, including Portrait Impression Balance and Skin Softening have been incorporated. Further, Nikon offers NIKKOR Z lenses including the NIKKOR Z 50mm f/1.2 S, NIKKOR Z 85mm f/1.2 S, and NIKKOR Z 135mm f/1.8 S Plena, all of which support the capture of portraits that accurately express the user’s intent.
  • Overall, convenience has been increased with the ability to use the continuous LED light of the Profoto A10 as an AF-assist illuminator1 and the addition of a [Prefer focus point (face priority)] option for frame advance when reviewing images displayed with playback zoom enabled.
• Other features added for enhanced operability
  • When [Extended menu banks] is enabled, users can now manage the shooting modes for photo mode and video mode, which were previously linked, separately.
  • Visibility is improved with an option that allows the user to adjust the width of the focus point border.
  • Manual focusing is now possible with maximum aperture live view in manual focus mode.
  • A function that allows the user to cancel zoom when focus mode is set to manual focus and the view through the lens is zoomed in by pressing the shutter-release button halfway has been added.
  • High-Res Zoom operability has been improved, and the AF-area brackets display color when the subject is in focus has been changed from red to green.2
  • The number of functions that can be assigned to custom controls has been increased, as has the number of controls that can be customized.
  • The addition of a [Customize retouch options] item allows the user to choose the functions displayed in the retouch menu.
  • [Loop playback], [Wait before playback], and [Auto series playback speed] options have been added for playback of a series of images captured with a burst of continuous shooting.
  • Playback speed for all videos can now be specified in advance from the i menu ([Original speed], [1/2× speed], [1/4× speed]).
  • Wi-Fi station mode has been added to enable connection to SnapBridge without occupying the entire Wi-Fi connection on a smartphone.

Nikon SnapBridge Update:

SnapBridge is Nikon’s companion Android and iOS app that connects to your camera to automatically download photos and videos, and remotely activate the shutter. Now with Ver.2.11.0, SnapBridge adds new functions such as Easy Shooting Setup, which allows users to configure camera shooting settings suited to a particular scene or subject directly from a user’s smart device3.

The new Easy Shooting Setup function can be used by tapping [Easy Shooting Setup]4 in the SnapBridge camera tab, selecting a main subject or situation, and deciding output parameters, such as having a soft out-of-focus background or motion blur. It allows even those who are unsure about camera functions and terms to easily create camera shooting settings that achieve desired results. Settings are applied the moment they are sent to the camera, allowing users to immediately begin capturing their vision. Easy Shooting Setup also provides tips for available scenes and subjects such as people, landscapes and pets to help users better achieve the intended results. Furthermore, favorite shooting settings can be assigned to one of the user setting positions5.

Supported operating systems:


Android™ (version 10 or later), iOS (version 15.7 or later)

Cameras that support Ver.2.11.0’s Easy Shooting Setup:

Nikon Z f, Nikon Z 5, Nikon Z fc, Nikon Z 50 and Nikon Z 30

The NX Ready app available in some regions will be discontinued with the release of SnapBridge Ver.2.11.0.

1. It is necessary to update the firmware of the Profoto A10 to the latest version. Please refer to the Profoto website for details.
2. In any focus mode except AF-F.
3. The SnapBridge app can be downloaded free of charge from the Google Play™ and App Store®. See Nikon's website for further information.
See Google Play™ for Android™ device system requirements. See the App Store® for iOS device system requirements. There is no guarantee that this app will run on all devices.

4. Not displayed if the camera with which the smart device running SnapBridge is paired does not support Easy Shooting Setup.

5. Z 50, Z 30, and Z 5 only (as of March 13, 2024).

Nikon has updated its SnapBridge remote control and image transfer app, adding an "Easy Shooting Setup" option that sets up a camera to suit a series of common shooting situations. This function works with the company's entry and mid-level cameras, from the Z30 up to the Zf.

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The 'Easy Shooting Setup' button only appears in the app when it's paired with a camera that supports the function. It lets you select from subject types such as people, landscape or pets, then, through options for out-of-focus-background and motion-blur lets the user set the aperture and shutter speed. These settings are then sent to the camera, leaving it set-up and ready to go.

Press Release:

Nikon SnapBridge Update:

SnapBridge is Nikon’s companion Android and iOS app that connects to your camera to automatically download photos and videos, and remotely activate the shutter. Now with Ver.2.11.0, SnapBridge adds new functions such as Easy Shooting Setup, which allows users to configure camera shooting settings suited to a particular scene or subject directly from a user’s smart device1.

The new Easy Shooting Setup function can be used by tapping [Easy Shooting Setup]2 in the SnapBridge camera tab, selecting a main subject or situation, and deciding output parameters, such as having a soft out-of-focus background or motion blur. It allows even those who are unsure about camera functions and terms to easily create camera shooting settings that achieve desired results. Settings are applied the moment they are sent to the camera, allowing users to immediately begin capturing their vision. Easy Shooting Setup also provides tips for available scenes and subjects such as people, landscapes and pets to help users better achieve the intended results. Furthermore, favorite shooting settings can be assigned to one of the user setting positions3.

Supported operating systems:


Android™ (version 10 or later), iOS (version 15.7 or later)

Cameras that support Ver.2.11.0’s Easy Shooting Setup:

Nikon Z f, Nikon Z 5, Nikon Z fc, Nikon Z 50 and Nikon Z 30

The NX Ready app available in some regions will be discontinued with the release of SnapBridge Ver.2.11.0.

1. The SnapBridge app can be downloaded free of charge from the Google Play™ and App Store®. See Nikon's website for further information.
See Google Play™ for Android™ device system requirements. See the App Store® for iOS device system requirements. There is no guarantee that this app will run on all devices.

2. Not displayed if the camera with which the smart device running SnapBridge is paired does not support Easy Shooting Setup.

3. Z 50, Z 30, and Z 5 only (as of March 13, 2024).

Image: Richard Butler

Less than a month after its announcement, the Fujifilm X100VI is in ridiculously high demand. The the camera already back-ordered at B&H Photo and Adorama (the latter of which predicts a June restock date), buyers and sellers are turning to eBay.

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An eBay user known as elar-9021 briefly attempted to sell a "confirmed order" for a Fujifilm X100VI Limited Edition camera for a whopping $18,000. As first reported by Fuji Rumors, the seller claimed to have purchased the camera from the Fujifilm House of Photography for a price censored out of the receipt.

The listing has since disappeared, but other sellers who are asking slightly more modest prices (in relative terms) are making actual sales. A search of sold items on eBay shows that, at the time of this writing, two cameras have sold for a price in excess of $4,000.

Completed eBay listings for the X100VI, in limited edition and non-limited varieties.

Other sellers are trying to make a quick buck by selling the regular model for $3,000 or more (list price $1,599). Several of them claim that the camera is "in hand," which is possible since the X100VI is now shipping in small batches.

We'll likely never know the story of the $18,000 X100VI Limited Edition, now that the profiteer seller has removed the listing. Your chance to pay a 1000% markup may be gone, but a 100% markup is still very much on the menu.

Sony World Photography Awards: Open competition winners

The World Photography Organisation has announced the category winners for the 2024 Sony World Photography Awards 'Open' competition. The ten winners took home awards in popular photo categories, including portraiture, landscape, travel, street photography and more. We previously covered the finalists for the competition's Professional and Student and Youth categories.

The 2024 Sony World Photography Awards drew entries from photographers from over 220 countries, who submitted 395,000 photos to the free-to-enter competition.

The overall winner of the Open competition will be announced in London on April 18, but you can see the ten category-winning photos right here. Let us know what you think in the comments.

Portraiture: Michelle Sank (United Kingdom)

Photographer Name: Michelle Sank

Image Name: Zenande, Sinawe, Zinathi and Buhle at Sea Point Pavilion, Cape Town

Image Description: This image is part of my ongoing series Ballade, which is a poetic homage to my birthplace. My strongest memories are of Sea Point Promenade and the Pavilion swimming pool, although due to apartheid it was only for the privileged white population. Returning in 2023 I was again drawn to these spaces where little seems to have changed in terms of structure and recreation, but they now celebrate cultural and social diversity.

Copyright: © Michelle Sank, United Kingdom, Winner, Open Competition, Portraiture, Sony World Photography Awards 2024

Landscape: Liam Man (United Kingdom)

Photographer Name: Liam Man

Image Name: Moonrise Sprites over Storr

Image Description: As a moonrise burns across the horizon, lights dance above the Old Man of Storr in Scotland. This iconic rock formation was illuminated with powerful lights attached to drones, which cut through the darkness to reveal the icy landscape. Blizzards howled for the majority of the night, leaving mere minutes to execute this photograph before the moon became too bright.

Copyright: © Liam Man, United Kingdom, Winner, Open Competition, Landscape, Sony World Photography Awards 2024

Architecture: Ana Skobe (Slovenia)

Photographer Name: Ana Skobe

Image Name: Falling Out of Time

Image Description: Bathed in soft evening light, a lighthouse rises into the clear sky, its clean, sleek, geometric design contrasting with the coastal landscape. Positioned at its base is a figure – a contemplative man gazing out at the expanse of the ocean before him. The juxtaposition of the solitary silhouette against the infinite horizon creates a moment of reflection and connection with the vastness of the ocean.

Copyright: © Ana Skobe, Slovenia, Winner, Open Competition, Architecture, Sony World Photography Awards 2024

Lifestyle: Alvin Kamau (Kenya)

Photographer Name: Alvin Kamau

Image Name: Twende Ziwani (Let’s go to the Lake)

Image Description: This editorial photoshoot was inspired by haute couture fashion culture. The photograph was taken in a studio in Nairobi, Kenya. ‘Twende Ziwani' is Swahili for 'Let's go to the Lake'. The model's pose shows him carrying his shoes on his shoulders while looking to his side. The title also refers to Lake Victoria, the largest lake in Africa and the source of the Nile River.

Copyright: © Alvin Kamau, Kenya, Winner, Open Competition, Lifestyle, Sony World Photography Awards 2024

Natural World & Wildlife: Ian Ford (United Kingdom)

Photographer Name: Ian Ford

Image Name: Caiman Crunch

Image Description: We had bid farewell to our São Lourenço River lodge, marking the end of our Pantanal adventure, but as we were leaving we heard that a jaguar had been spotted roughly 30 minutes away. We raced to the scene and encountered this sleek female jaguar stalking her prey. Our boat – and my camera – was perfectly positioned as she pounced on an unsuspecting caiman.

Copyright: © Ian Ford, United Kingdom, Winner, Open Competition, Natural World & Wildlife, Sony World Photography Awards 2024

Street Photography: Callie Eh (Malaysia)

Photographer Name: Callie Eh

Image Name: The Hand

Image Description: A groom waves enthusiastically while passing by during a ceremonial procession for a wedding in Bhaktapur, Nepal.

Copyright: © Callie Eh, Malaysia, Winner, Open Competition, Street Photography, Sony World Photography Awards 2024

Motion: Samuel Andersen (Norway)

Photographer Name: Samuel Andersen

Image Name: Rider Getting Down and Dirty

Image Description: A rider passes through a muddy part of the course at the Norwegian National Championships in Hafjell Bike Park, Norway. As I was using an 11mm fisheye lens I needed to get really close to get this shot, and both myself and my gear ended up getting splashed. It was worth it though, as the backlighting from this angle was very effective.

Copyright: © Samuel Andersen, Norway, Winner, Open Competition, Motion, Sony World Photography Awards 2024

Creative: Rob Blanken (Netherlands)

Photographer Name: Rob Blanken

Image Name: Untitled

Image Description: A 5x enlargement of crystals of amino acids (B-alanine, L-glutamine and glycine), photographed with the help of polarising filters.

Copyright: © Rob Blanken, Netherlands, Winner, Open Competition, Creative, Sony World Photography Awards 2024

Travel: Yan Li (China Mainland)

Photographer Name: Yan Li

Image Name: Between Calm and Catastrophe

Image Description: On Lake Titicaca, between Peru and Bolivia, a tranquil floating village stands in stark contrast to the approaching wildfire, a dramatic testament to nature’s dual disposition.

Copyright: © Yan Li, China Mainland, Winner, Open Competition, Travel, Sony World Photography Awards 2024

Object: Toni Rinaldo (Indonesia)

Photographer Name: Toni Rinaldo

Image Name: Coalition

Image Description: I took this picture in a waiting room. The difference in colour of the two chairs next to one another caught my eye. This reminded me of my country, Indonesia, where different cultures exist side by side, and that is what makes people interested in visiting it.

Copyright: © Toni Rinaldo, Indonesia, Winner, Open Competition, Object, Sony World Photography Awards 2024

Introduction Photo: Richard Butler

At the core, both Sony's a7R V and Leica's SL 3 share a fundamental building block: a 60MP BSI CMOS sensor. But almost everything layered on top of that foundation diverges in radically different directions. With the SL3 having dropped earlier this week, we decided to take a look at this pair in detail.

Sony a7R V:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon

Leica SL3:

$6995 at B&H Photo $6995 at Adorama Sensor and specs Built around the same sensor, these two cameras take different approaches.

How they're similar: The main similarity, and primary basis for comparison between these two cameras, is the sensor they share. The 60MP BSI CMOS sensor in each is almost certainly the same, produced by industry juggernaut Sony Semiconductor Solutions. As such, both have comparable image quality, and both can do 8K video, with some caveats and differences we'll get into.

Where they differ: The Sony has better stabilization, rated for 3 extra stops of IBIS (8 EV to Leica's 5). The a7R V also has a multi-shot pixel shift high-res mode, which is somewhat unwieldy in that it requires post-processing on a computer, but the Leica has no comparable mode at all, so there may be some niches where this gives the Sony an advantage.

The SL3 can technically shoot faster, up to 15fps (at 12-bit, using the e-shutter, with focus and exposure locked at the first frame). That's a higher rate than the a7R V's 10fps max, but Leica’s speed tops out at a sluggish 4fps if you want AF and full bit-depth, which the Sony will deliver at its highest speed, so long as you don't want to shoot compressed Raw.

Body and handling The Sony a7R V sports a wonderland of buttons and dials.

How they're similar: Both the Leica and the Sony are interchangeable-lens cameras with protruding handgrip, external buttons and dials, and an articulating screen. Both are moisture and dust resistant, but not fully weather sealed. However, while the Sony is stated as being resistant, the Leica is certified to the IP54 standard.

How they're different: While both cameras share the same general form, they each take it to a different extreme. The a7R V, with its numerous dials and buttons, takes a "more is more" approach to design. If you might ever want to do it, there's a button for it, somewhere.

The Leica SL3 takes a much more reserved and focused approach, going back to the drawing board with its design. There are just enough dials for the three fundamental settings (shutter speed, aperture, and ISO), but far more emphasis on the clever, clean and customizable UI on its tilting screen.

Autofocus The SL3's autofocus options are fewer than the a7R V's.

Where they're similar: Both cameras feature phase-detection autofocus with a variety of smart-recognition modes.

Where they differ: The a7R V's autofocus is excellent, with a broad range of subject recognition modes that sit on top of one of the more tenatious tracking systems on the market, snapping to specified subjects that are in proximity to an AF area. Each layer of the system is individually tunable, adding complexity, but for the most part it just works.

We still need to do more testing with the SL3's autofocus, it's Leica's first use of on-sensor phase detection and offers smaller selection of options for subject recognition mode, one of which was still designated as "beta" at launch. It's behaved well in our usage so far but we've not yet had a chance to really challenge it, as we have with the a7R V.

Video Both stills-focused cameras are capable of 8K video, though the quality differs.

How they're similar: Neither the Leica SL3 or Sony a7R V are video-focused cameras, but they both have some chops and can deliver up to 8K 10-bit video in addition to 4K/60p.

How they're different: The Leica SL3 can shoot UHD 8K up to 30p at a 1.24 crop, with a DCI 8K/30p mode as well. However, it suffers from significant rolling shutter.

The Sony a7R V is limited to 24p for its UHD 8K, with the same 1.24 crop and similar rolling shutter numbers. But, the Sony can shoot UHD 4K at the full width of the sensor (up to 30p). The Leica’s UHD and DCI 4K modes, meanwhile, are taken from the 8K capture region meaning crops of 1.17 or worse, regardless of the framerate.

Viewfinder and screens Both cameras have flexible rear screens and high-res OLED finders

How they're similar: Both cameras have very DSLR-like designs with prominent viewfinder humps housing high-resolution finders and movable rear touchscreens.

How they're different: The a7R V has a 9.44M dot EVF (2048 x 1536px) with 0.9x magnification, rather than the Leica's 5.76M dot (1600 x 1200px) finder with 0.76x magnification. You need to engage a 'high quality' mode to get that full resolution on the Sony, and the display becomes less detailed as you focus. The Sony has a fully-articulated rear screen on a tilting cradle, making it more flexible than the Leica's.

Lenses Sony's E-mount gives you access to a wide array of third-party options.

How they're similar: Both the Leica and the Sony are interchangeable-lens cameras with full-frame sensors, so their lenses are broadly similar in size and weight across the various focal lengths.

How they're different: Leica's L-mount system was designed in partnership with Panasonic and Sigma, which gives it a wide breadth of options including very high-end and pricey Leica glass as well as more mid-range and affordable options from Panasonic and Sigma.

Sony's E-mount is the oldest full-frame mirrorless mount, meaning Sony's own suite of lenses is quite broad, the recent additions have included some excellent performers and a variety of interesting focal lengths. Sony's E-mount is also open to third parties, which means there are also loads of options from Sigma, Tokina, Tamron, Samyang, and more.

Price Neither is cheap, but only the Leica is a Leica.

How they're similar: Both the SL3 and the a7R V are premium cameras. Both are serious investments that will cost you multiple thousands of dollars new or used.

How they're different: The Leica SL3, perhaps unsurprisingly, puts a premium on premium. At a list price of $6,995, the SL3 is not fully twice as expensive as the $3,898 Sony a7R V; it's merely close. Whether or not that differential is even worth entertaining depends in large part on your preference for, or investment in, L-mount glass.

Sony a7R V:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon

Leica SL3:

$6995 at B&H Photo $6995 at Adorama