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At first glance, you'd be forgiven to assume that Fujifilm's X100VI doesn't deviate too far from its predecessor. The exterior is virtually identical and it's easy to confuse the two. But under that nostalgia-inspired body lies improvements to the sensor, autofocus and the introduction of in-body image stabilization (IBIS).

The camera also remains very pocketable and we took it along through city streets, coffee shops, nightlife and across oceans from our home in Seattle to Fujifilm's turf in Japan.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama

A darling of Tik Tok, the X100V became the must-have camera of the last couple of years. We gave the former model high marks for its image quality, lens, and video performance, and we agreed, that it did feel like an "object of desire."

The X100VI seems to retain everything that worked well in the X100V and ratcheted it up a notch. We'll be looking to see how well it meets that expectation in our final review after additional testing and some longer-term use.

View our Fujifilm X100VI sample gallery

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

Sigma announced a pair of lenses at CP+ in Japan, and the larger of the two (literally) is the 500mm F5.6 DG DN OS "Sports". Despite that range, the lens is relatively compact and light. It's 234mm (9.2") long and weighs in at 1.4kg (3 lbs). It will be available for Sony E-mount and bodies that support L-mount glass.

Buy now:

$2,999 at Amazon $2,999 at B&H $2,999 at Adorama

The 500mm F5.6 has 20 elements in 14 groups and has both FLD (similar to fluorite) and SLD glass. The focus groups are driven by an "HLA" linear motor, which Sigma claims is quick and quiet. You'll want stabilization on a lens like this, and the "OS2" algorithm reduces shake by up to 5 stops, according to the company. The lens supports Sigma's 1.4x and 2x teleconverters as well as its USB dock.

The lens is sealed against dust and moisture and has a number of switches on its left side, one of which is customizable. A button near the aperture ring is also customizable.

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You'll be able to pick up the 500mm F5.6 for yourself in March for $2999.

Manufacturer's sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_0799774977","galleryId":"0799774977","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); Press release

SIGMA 500mm F5.6 DG DN OS

The crystallization of technology. A whole new ultra-telephoto experience.

1. Perfect for hand-held shooting, a 500mm lens with unparalleled optical performance
2. Compact, lightweight and excellent build quality
3. A wealth of functions to assist in a variety of shooting situations

Clear, sharp images and amazing mobility

A handy-size 500mm that offers a whole new shooting experience

The SIGMA 500mm F5.6 DG DN OS | Sports is an ultra-telephoto prime lens exclusively for mirrorless cameras that features a 500mm focal length with outstanding image quality in a remarkably compact and lightweight body. By incorporating multiple large-diameter, exclusive low-dispersion glass elements that are challenging to process, SIGMA succeeded in significantly downsizing the lens construction without the use of diffractive optical elements. At the same time, the lens has achieved high resolving power that meets the expectations for a 500mm prime lens. The lens body, composed mainly of high-precision engineering plastic parts, has excellent build quality and weather resistance, including dust and splash resistant structure*, despite its compact size. With its rich descriptive power and incredibly compact size for its focal length, the handy-size SIGMA 500mm F5.6 DG DN OS | Sports offers a whole new photographic experience for wildlife, aviation, sports and other fast-action photographers.

* The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

[Key features]

1. Perfect for hand-held shooting, a 500mm lens with unparalleled optical performance

The latest optical design using exclusive low-dispersion glass elements has succeeded in achieving both an extremely compact lens construction and high optical performance with excellent correction of aberrations. In addition to its size that allows hand-held shooting, the high-speed AF with HLA (High-response Linear Actuator) and the OS2 optical stabilization algorithm support comfortable shooting.

High optical performance and compact lens construction

The latest optical design has succeeded in significantly downsizing the optical system for a 500mm ultra-telephoto lens. By utilizing exclusive low-dispersion convex elements at the front of the lens, the lens delivers both a high aberration correction capability and a short overall length. The high level of production technology at SIGMA’s only manufacturing base, the Aizu factory, provides the exacting precision necessary for processing the exclusive low-dispersion glass elements with a large aperture. The lens has excellent correction of all aberrations, especially axial chromatic aberration, which cannot be corrected by the camera body, ensuring a stable high resolution from the center to the periphery of the image.

Excellent backlight resistance

The SIGMA 500mm F5.6 DG DN OS | Sports uses refractive lenses in its optical system to prevent flare and ghosting that are characteristics of diffractive optical elements, allowing for clear images without concern for flare or ghosting even in backlit conditions or when a light source is included in the image. Furthermore, measures are taken against all conditions of incident light based on state-of-the-art simulation technology.

High-speed AF with a linear motor HLA

A linear motor HLA (High-response Linear Actuator) is used for the actuator, which is characterized by its high driving accuracy owing to the advanced electronic control, as well as its quietness. The HLA enables fast and accurate autofocus even in ultra-telephoto photography, such as sports and bird, where extremely precise focusing is required.

OS2 algorithm in optical stabilizer function

The latest OS2 optical stabilization algorithm provides an outstanding image stabilization effect of 5.0 stops*. The lens is equipped with two OS modes: Mode 1 is suitable for general shooting, and Mode 2 is ideal for panning shots of motorsports and other sports. In Mode 2, SIGMA’s Intelligent OS, an algorithm specially designed for panning shots, enables effective image stabilization even when the camera is moved vertically or diagonally, irrespective of the horizontal and vertical orientation. This ensures that the subject’s movement can be captured without losing the panning shot effect.

* Based on CIPA guidelines (Measured at 500mm with a 35mm full-frame image sensor)

2. Compact, lightweight and excellent build quality

The lens body has been designed to be small and lightweight in line with the optical system, which has been made significantly more compact. Not only is the lens easy to handle in hand-held use, but it also has the weather resistance of SIGMA’s Sports line specifications and the excellent build quality that SIGMA prides itself on in terms of texture and the operating quality of each ring and control.

High-precision TSC* parts enable both high performance and compact, lightweight design

In order to achieve such a compact, lightweight and robust body, materials such as TSC and magnesium have been used in appropriate places. In particular, the production of a large TSC part that integrates functions as an internal structure, as well as an exterior part to reduce size and weight of the lens are manufactured with micron-level precision and they also have a sleek finish that gives the lens its premium feel. The sophisticated processing and production technology of the Aizu factory, SIGMA's only manufacturing base in Japan, enables the high degree of precise production and ensures the high performance and durability of the lens.

* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts which contributes to high quality product manufacturing.

Weatherability of Sports line specifications

The mount connection, manual focus ring, switches and exterior connection are all dust and splash resistant to prevent dust and dirt from entering the lens. Further, the front element of the lens features a water and oil repellent coating to facilitate maintenance when water droplets or dust adhere to the lens.

Cover-type lens hood included

A lightweight, high-strength, exclusive cover-type lens hood made of TSC is included. The tip of the hood is rubberized to protect the lens from abrasion and scratches caused by placing the lens upside down.

3. A wealth of functions to assist in a variety of shooting situations

The SIGMA 500mm F5.6 DG DN OS | Sports is equipped with a full range of assist functions including an aperture ring and three AFL buttons* ready to be assigned to preferred functions using the camera. The L-Mount version is also compatible with SIGMA’s tele converters for AF-enabled shooting at ultra-telephoto focal lengths of up to 1,000mm.

* Function available on supported cameras only. Available functions may vary depending on the camera used.

Full range of customizable functions

Equipped with a Focus Limiter switch, the lens enables users to limit the focus driving range during AF when necessary, allowing quick and precise focusing. Further, the lens features three AFL buttons which can be assigned to a range of functions via the menu on selected cameras. The AFL buttons are easy to operate regardless of how the camera is oriented, and make accessing important settings quick and easy. For the L-Mount version, the SIGMA USB DOCK UD-11 can be used to set OS operation or the focus limiter range for the Custom Mode switch*.

* The assigned setting for lenses for Sony E-mount cannot be changed from the default setting because a USB DOCK for the mount is not available. The default setting allows users to switch the visibility of the OS effect in the viewfinder and live view.

Equipped with an aperture ring

In addition to an aperture ring, the lens is also equipped with an aperture ring click switch and an aperture ring lock switch, allowing for aperture operation suited to the shooting application.

Detachable tripod socket

The lightweight and sturdy magnesium alloy tripod socket is Arca-Swiss compatible. The detachable socket comes with a ring that clicks into position at 90° intervals.

* The tripod socket TS-151 is compatible with the SIGMA 70-200mm F2.8 DG DN OS | Sports.

Tele Converter for L-Mount (1.4x / 2.0x)

The L-Mount version of the lens is compatible with the SIGMA TELE CONVERTER TC-1411 (1.4x) and TC-2011 (2.0x). Using a tele converter, the focal length can be multiplied by 1.4x and even 2x, for AF-enabled shooting at ultra-telephoto focal lengths of up to 1,000mm.

[Additional features]

• Lens construction: 20 elements in 14 groups (3 FLD, 2 SLD elements)
• OS (Optical Stabilizer) function with the latest “OS2” algorithm
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction

* Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.

* On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON'(AUTO).

• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Super Multi-Layer Coating
• Water and Oil Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (3 buttons)
  * Function available on supported cameras only. Available functions may vary depending on the camera used.
• Focus Limiter switch
• Focus Mode switch
• Support for switching between linear focus / non-linear focus ring settings (for L-Mount only)
  * Function available on supported cameras only.
• OS switch
• Custom Mode switch
• Dust and Splash Resistant Structure
• LENS HOOD LH1034-02
• TRIPOD SOCKET TS-151 *Detachable lens foot type
• Compatible with SIGMA TELE CONVERTER TC-1411 / TC-2011 (sold separately / for L-Mount only)
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan” craftsmanship

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Sigma has announced its 15mm F1.4 DG DN "Art" diagonal fisheye lens at CP+ in Japan. The lens is well-suited for astrophotography, with a 180-degree field-of-view, manual focus lock button, and lens heater support. Sigma claims that the lens has "unparalleled resolving power" thanks to its use of FLD and SLD elements.

Buy now:

$1999 at B&H Photo $1999 at Adorama $1999 at Amazon

The lens is weather-sealed and offers an aperture ring that can click or rotate smoothly. There are a grand total of 21 elements inside the lens, and the AF glass is driven by a linear motor. For those looking to use filters, you'll find a drop-in slot on the mount. An Arca-Swiss tripod adapter is included in the box.

The Sigma 15mm F1.4 DG DN "Art" will be available for E and L mounts next month for $1999.

Press Release

SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE

180° of high resolution

An innovative diagonal fisheye lens

1. Resolving power that overturns the conventional wisdom about fisheye lenses
2. An addition to the Art F1.4 lineup, meticulously crafted for astrophotography
3. A wealth of latest functions and excellent build quality

The world's first* F1.4 diagonal fisheye interchangeable lens for 35mm full-frame. Unparalleled resolving power that overturns the conventional wisdom about fisheye lenses

In developing a fisheye lens featuring an ultra-wide-angle and powerful fisheye distortion, SIGMA has achieved a completely new level of artistic potential, combining the world's first F1.4 aperture for consumer use with outstanding resolving power across the entire image. In terms of optical performance, the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art has achieved excellent point image reproducibility and high resolution by correcting various aberrations, especially sagittal coma flare. The lens is capable of handling astrophotography, which demands particularly high-quality performance, even when wide-open. Unlike conventional fisheyes, the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art is exceptionally sharp across its entire 180° angle-of-view and offers an ultra-fast F1.4 aperture, making it perfect for a wide range of applications including astrophotography, landscapes and architecture. The expressive power of this all-new full-frame mirrorless lens opens a wealth of creative possibilities in wide-angle photography.

* As an interchangeable lens for full-frame cameras for consumer use. (As of February 2024 by SIGMA）

[Key features]

Resolving power that overturns the conventional wisdom about fisheye lenses

The latest optical design thoroughly corrects each type of aberration. This diagonal fisheye lens has the unique expressiveness of a fisheye lens and high resolution throughout the entire image from a wide-open aperture. The performance of the lens is guaranteed by a full inspection with SIGMA's proprietary MTF measuring system.

Even wide-open, high resolution and point image reproducibility across the entire image

The lens consists of 21 elements in 15 groups, including 4 FLD and 3 SLD exclusive low-dispersion glass elements, and 2 aspherical lens elements. By correcting sagittal coma flare and other aberrations, the lens can precisely reproduce bright points of light across the whole frame even wide-open, making it ideal for astrophotography.

Diagonal fisheye lens with 180° angle of view

The powerful distortion effect, which is the appeal of fisheye lenses, allows users to enjoy expressions such as a unique perspective and emphasis on the subject at a 180° angle of view. In addition, the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art is designed with the strict performance standards of the Art line. Furthermore, all lenses are inspected with SIGMA's proprietary MTF measuring system. The unique descriptive power of this new fisheye lens, which combines an incredible 180° angle-of-view with very high resolution optics, delivers a level of artistic potential that exceeds other fisheye lenses.

Designed to minimize flare and ghosting

To prevent flare and ghosting, which reduce image quality, the lens is designed to handle all conditions of incident light based on state-of-the-art simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

2. An addition to the Art F1.4 lineup, meticulously crafted for astrophotography

The SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art offers abundant functions to support astrophotography. With the introduction of this lens, SIGMA now has four F1.4 wide-angle prime Art line lenses with functions specifically designed for astrophotography, including the 14mm, 20mm, and 24mm. In terms of both lineup and functionality, SIGMA fully supports the joy of capturing the stars.

MFL (Manual Focus Lock) switch

The lens is equipped with an MFL switch. When the MFL switch is set to “LOCK,” the focus ring operation is disabled, ensuring that once focus is acquired, it will not be changed by unintentional movement of the ring. This is useful for long exposures and other situations where the focus should be fixed while shooting.

Lens heater retainer

A small step at the front of the lens called a lens heater retainer prevents the lens heater* from protruding over the front element, eliminating the risk of vignetting.

* A belt-shaped heat strip that is wrapped around the lens to prevent condensation from forming inside the lens when the temperature drops.

Rear filter holder

A standard-equipped rear filter holder at the lens mount allows sheet-type filters to be used.

Special cover lens cap with a locking mechanism and filter slots

The included cover lens cap features two slots to securely store rear filters, as well as a locking mechanism. The cap is specially designed for the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art, allowing users to carry sheet-type filters without the risk of confusing or forgetting them, while protecting them from scratches and dirt.

Tripod Socket

The lens is equipped with an Arca-Swiss compatible, lightweight and sturdy magnesium alloy tripod socket. The detachable leg can be mounted on a tripod for stable conditions even during long exposures. The shape has been deliberately designed to prevent interference when using a lens heater.

* The tripod socket TS-141 is also compatible with the SIGMA 14mm F1.4 DG DN | Art.

A wealth of latest functions and excellent build quality

The SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art is equipped with various functions to assist shooting, including an AFL button*1 to which preferred function can be assigned and an aperture ring, and uses a linear motor HLA (High-response Linear Actuator) as the AF actuator to enable fast, quiet, and highly accurate AF shooting. The lens is also equipped with a dust and splash resistant structure*2 to ensure a high level of weather resistance and robustness, as well as excellent build quality that allows for long and reliable use in any environment.

*1 Function available on supported cameras only. Available functions may vary depending on the camera used.

*2 The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Various shooting assist functions

The lens is equipped with an AFL button which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

Dust and splash resistant structure and water and oil repellent coating

In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

Adopts a linear motor HLA

The AF actuator is a linear motor HLA (High-response Linear Actuator). The high thrust motor and advanced electronic control operate the focus lens at high speed and with high precision to provide comfortable AF shooting.

Excellent build quality

To support the heavy optical system and enhance robustness and reliability, metal parts are used in key parts of the lens body. Meanwhile, the lightweight engineering plastic TSC* is also used in appropriate places to reduce weight. Furthermore, each control part, such as rings and switches, is designed to feel good. SIGMA is proud of the exceptional build quality of its products, which do not compromise on durability, operability, and a satisfying sense of ownership.

* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts which contributes to high quality product manufacturing.

[Additional features]

• Lens construction: 21 elements in 15 groups (4 FLD, 3 SLD, 2 aspherical elements)
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction

* Due to being a fisheye lens, distortion will not be corrected.

* Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.

* On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON'(AUTO).

• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Super Multi-Layer Coating
• Water and Oil Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button

* Function available on supported cameras only. Available functions may vary depending on the camera used.

• MFL (Manual Focus Lock) switch
• Rear filter holder (compatible with GUIDE PLATE GP-21)
• Lens heater retainer
• Focus Mode switch
• Support for switching between linear focus / non-linear focus ring settings (for L-Mount only)
  * Function available on supported cameras only.
• Dust and Splash Resistant Structure
• TRIPOD SOCKET TS-141
• Special COVER LENS CAP LC1040-01 with a locking mechanism and filter slots
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan” craftsmanship

Sigma announced a pair of lenses at CP+ in Japan, and the larger of the two (literally) is the 500mm F5.6 DG DN OS "Sports". Despite that range, the lens is relatively compact and light. It's 234mm (9.2") long and weighs in at 1.4kg (3 lbs). It will be available for Sony E-mount and bodies that support L-mount glass.

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The 500mm F5.6 has 20 elements in 14 groups and has both FLD (similar to fluorite) and SLD glass. The focus groups are driven by an "HLA" linear motor, which Sigma claims is quick and quiet. You'll want stabilization on a lens like this, and the "OS2" algorithm reduces shake by up to 5 stops, according to the company. The lens supports Sigma's 1.4x and 2x teleconverters as well as its USB dock.

The lens is sealed against dust and moisture and has a number of switches on its left side, one of which is customizable. A button near the aperture ring is also customizable.

You'll be able to pick up the 500mm F5.6 for yourself in March for $2999.

Official sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_0799774977","galleryId":"0799774977","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); Press release

SIGMA 500mm F5.6 DG DN OS

The crystallization of technology. A whole new ultra-telephoto experience.

1. Perfect for hand-held shooting, a 500mm lens with unparalleled optical performance
2. Compact, lightweight and excellent build quality
3. A wealth of functions to assist in a variety of shooting situations

Clear, sharp images and amazing mobility

A handy-size 500mm that offers a whole new shooting experience

The SIGMA 500mm F5.6 DG DN OS | Sports is an ultra-telephoto prime lens exclusively for mirrorless cameras that features a 500mm focal length with outstanding image quality in a remarkably compact and lightweight body. By incorporating multiple large-diameter, exclusive low-dispersion glass elements that are challenging to process, SIGMA succeeded in significantly downsizing the lens construction without the use of diffractive optical elements. At the same time, the lens has achieved high resolving power that meets the expectations for a 500mm prime lens. The lens body, composed mainly of high-precision engineering plastic parts, has excellent build quality and weather resistance, including dust and splash resistant structure*, despite its compact size. With its rich descriptive power and incredibly compact size for its focal length, the handy-size SIGMA 500mm F5.6 DG DN OS | Sports offers a whole new photographic experience for wildlife, aviation, sports and other fast-action photographers.

* The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

[Key features]

1. Perfect for hand-held shooting, a 500mm lens with unparalleled optical performance

The latest optical design using exclusive low-dispersion glass elements has succeeded in achieving both an extremely compact lens construction and high optical performance with excellent correction of aberrations. In addition to its size that allows hand-held shooting, the high-speed AF with HLA (High-response Linear Actuator) and the OS2 optical stabilization algorithm support comfortable shooting.

High optical performance and compact lens construction

The latest optical design has succeeded in significantly downsizing the optical system for a 500mm ultra-telephoto lens. By utilizing exclusive low-dispersion convex elements at the front of the lens, the lens delivers both a high aberration correction capability and a short overall length. The high level of production technology at SIGMA’s only manufacturing base, the Aizu factory, provides the exacting precision necessary for processing the exclusive low-dispersion glass elements with a large aperture. The lens has excellent correction of all aberrations, especially axial chromatic aberration, which cannot be corrected by the camera body, ensuring a stable high resolution from the center to the periphery of the image.

Excellent backlight resistance

The SIGMA 500mm F5.6 DG DN OS | Sports uses refractive lenses in its optical system to prevent flare and ghosting that are characteristics of diffractive optical elements, allowing for clear images without concern for flare or ghosting even in backlit conditions or when a light source is included in the image. Furthermore, measures are taken against all conditions of incident light based on state-of-the-art simulation technology.

High-speed AF with a linear motor HLA

A linear motor HLA (High-response Linear Actuator) is used for the actuator, which is characterized by its high driving accuracy owing to the advanced electronic control, as well as its quietness. The HLA enables fast and accurate autofocus even in ultra-telephoto photography, such as sports and bird, where extremely precise focusing is required.

OS2 algorithm in optical stabilizer function

The latest OS2 optical stabilization algorithm provides an outstanding image stabilization effect of 5.0 stops*. The lens is equipped with two OS modes: Mode 1 is suitable for general shooting, and Mode 2 is ideal for panning shots of motorsports and other sports. In Mode 2, SIGMA’s Intelligent OS, an algorithm specially designed for panning shots, enables effective image stabilization even when the camera is moved vertically or diagonally, irrespective of the horizontal and vertical orientation. This ensures that the subject’s movement can be captured without losing the panning shot effect.

* Based on CIPA guidelines (Measured at 500mm with a 35mm full-frame image sensor)

2. Compact, lightweight and excellent build quality

The lens body has been designed to be small and lightweight in line with the optical system, which has been made significantly more compact. Not only is the lens easy to handle in hand-held use, but it also has the weather resistance of SIGMA’s Sports line specifications and the excellent build quality that SIGMA prides itself on in terms of texture and the operating quality of each ring and control.

High-precision TSC* parts enable both high performance and compact, lightweight design

In order to achieve such a compact, lightweight and robust body, materials such as TSC and magnesium have been used in appropriate places. In particular, the production of a large TSC part that integrates functions as an internal structure, as well as an exterior part to reduce size and weight of the lens are manufactured with micron-level precision and they also have a sleek finish that gives the lens its premium feel. The sophisticated processing and production technology of the Aizu factory, SIGMA's only manufacturing base in Japan, enables the high degree of precise production and ensures the high performance and durability of the lens.

* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts which contributes to high quality product manufacturing.

Weatherability of Sports line specifications

The mount connection, manual focus ring, switches and exterior connection are all dust and splash resistant to prevent dust and dirt from entering the lens. Further, the front element of the lens features a water and oil repellent coating to facilitate maintenance when water droplets or dust adhere to the lens.

Cover-type lens hood included

A lightweight, high-strength, exclusive cover-type lens hood made of TSC is included. The tip of the hood is rubberized to protect the lens from abrasion and scratches caused by placing the lens upside down.

3. A wealth of functions to assist in a variety of shooting situations

The SIGMA 500mm F5.6 DG DN OS | Sports is equipped with a full range of assist functions including an aperture ring and three AFL buttons* ready to be assigned to preferred functions using the camera. The L-Mount version is also compatible with SIGMA’s tele converters for AF-enabled shooting at ultra-telephoto focal lengths of up to 1,000mm.

* Function available on supported cameras only. Available functions may vary depending on the camera used.

Full range of customizable functions

Equipped with a Focus Limiter switch, the lens enables users to limit the focus driving range during AF when necessary, allowing quick and precise focusing. Further, the lens features three AFL buttons which can be assigned to a range of functions via the menu on selected cameras. The AFL buttons are easy to operate regardless of how the camera is oriented, and make accessing important settings quick and easy. For the L-Mount version, the SIGMA USB DOCK UD-11 can be used to set OS operation or the focus limiter range for the Custom Mode switch*.

* The assigned setting for lenses for Sony E-mount cannot be changed from the default setting because a USB DOCK for the mount is not available. The default setting allows users to switch the visibility of the OS effect in the viewfinder and live view.

Equipped with an aperture ring

In addition to an aperture ring, the lens is also equipped with an aperture ring click switch and an aperture ring lock switch, allowing for aperture operation suited to the shooting application.

Detachable tripod socket

The lightweight and sturdy magnesium alloy tripod socket is Arca-Swiss compatible. The detachable socket comes with a ring that clicks into position at 90° intervals.

* The tripod socket TS-151 is compatible with the SIGMA 70-200mm F2.8 DG DN OS | Sports.

Tele Converter for L-Mount (1.4x / 2.0x)

The L-Mount version of the lens is compatible with the SIGMA TELE CONVERTER TC-1411 (1.4x) and TC-2011 (2.0x). Using a tele converter, the focal length can be multiplied by 1.4x and even 2x, for AF-enabled shooting at ultra-telephoto focal lengths of up to 1,000mm.

[Additional features]

• Lens construction: 20 elements in 14 groups (3 FLD, 2 SLD elements)
• OS (Optical Stabilizer) function with the latest “OS2” algorithm
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction

* Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.

* On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON'(AUTO).

• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Super Multi-Layer Coating
• Water and Oil Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (3 buttons)
  * Function available on supported cameras only. Available functions may vary depending on the camera used.
• Focus Limiter switch
• Focus Mode switch
• Support for switching between linear focus / non-linear focus ring settings (for L-Mount only)
  * Function available on supported cameras only.
• OS switch
• Custom Mode switch
• Dust and Splash Resistant Structure
• LENS HOOD LH1034-02
• TRIPOD SOCKET TS-151 *Detachable lens foot type
• Compatible with SIGMA TELE CONVERTER TC-1411 / TC-2011 (sold separately / for L-Mount only)
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan” craftsmanship

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Sigma has announced its 15mm F1.4 DG DN "Art" diagonal fisheye lens at CP+ in Japan. The lens is well-suited for astrophotography, with a 180-degree field-of-view, manual focus lock button, and lens heater support. Sigma claims that the lens has "unparalleled resolving power" thanks to its use of FLD and SLD elements.

The lens is weather-sealed and offers an aperture ring that can click or rotate smoothly. There are a grand total of 21 elements inside the lens, and the AF glass is driven by a linear motor. For those looking to use filters, you'll find a drop-in slot on the mount. An Arca-Swiss tripod adapter is included in the box.

The Sigma 15mm F1.4 DG DN "Art" will be available for E and L mounts next month for $1999.

Press Release

SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE

180° of high resolution

An innovative diagonal fisheye lens

1. Resolving power that overturns the conventional wisdom about fisheye lenses
2. An addition to the Art F1.4 lineup, meticulously crafted for astrophotography
3. A wealth of latest functions and excellent build quality

The world's first* F1.4 diagonal fisheye interchangeable lens for 35mm full-frame. Unparalleled resolving power that overturns the conventional wisdom about fisheye lenses

In developing a fisheye lens featuring an ultra-wide-angle and powerful fisheye distortion, SIGMA has achieved a completely new level of artistic potential, combining the world's first F1.4 aperture for consumer use with outstanding resolving power across the entire image. In terms of optical performance, the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art has achieved excellent point image reproducibility and high resolution by correcting various aberrations, especially sagittal coma flare. The lens is capable of handling astrophotography, which demands particularly high-quality performance, even when wide-open. Unlike conventional fisheyes, the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art is exceptionally sharp across its entire 180° angle-of-view and offers an ultra-fast F1.4 aperture, making it perfect for a wide range of applications including astrophotography, landscapes and architecture. The expressive power of this all-new full-frame mirrorless lens opens a wealth of creative possibilities in wide-angle photography.

* As an interchangeable lens for full-frame cameras for consumer use. (As of February 2024 by SIGMA）

[Key features]

Resolving power that overturns the conventional wisdom about fisheye lenses

The latest optical design thoroughly corrects each type of aberration. This diagonal fisheye lens has the unique expressiveness of a fisheye lens and high resolution throughout the entire image from a wide-open aperture. The performance of the lens is guaranteed by a full inspection with SIGMA's proprietary MTF measuring system.

Even wide-open, high resolution and point image reproducibility across the entire image

The lens consists of 21 elements in 15 groups, including 4 FLD and 3 SLD exclusive low-dispersion glass elements, and 2 aspherical lens elements. By correcting sagittal coma flare and other aberrations, the lens can precisely reproduce bright points of light across the whole frame even wide-open, making it ideal for astrophotography.

Diagonal fisheye lens with 180° angle of view

The powerful distortion effect, which is the appeal of fisheye lenses, allows users to enjoy expressions such as a unique perspective and emphasis on the subject at a 180° angle of view. In addition, the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art is designed with the strict performance standards of the Art line. Furthermore, all lenses are inspected with SIGMA's proprietary MTF measuring system. The unique descriptive power of this new fisheye lens, which combines an incredible 180° angle-of-view with very high resolution optics, delivers a level of artistic potential that exceeds other fisheye lenses.

Designed to minimize flare and ghosting

To prevent flare and ghosting, which reduce image quality, the lens is designed to handle all conditions of incident light based on state-of-the-art simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

2. An addition to the Art F1.4 lineup, meticulously crafted for astrophotography

The SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art offers abundant functions to support astrophotography. With the introduction of this lens, SIGMA now has four F1.4 wide-angle prime Art line lenses with functions specifically designed for astrophotography, including the 14mm, 20mm, and 24mm. In terms of both lineup and functionality, SIGMA fully supports the joy of capturing the stars.

MFL (Manual Focus Lock) switch

The lens is equipped with an MFL switch. When the MFL switch is set to “LOCK,” the focus ring operation is disabled, ensuring that once focus is acquired, it will not be changed by unintentional movement of the ring. This is useful for long exposures and other situations where the focus should be fixed while shooting.

Lens heater retainer

A small step at the front of the lens called a lens heater retainer prevents the lens heater* from protruding over the front element, eliminating the risk of vignetting.

* A belt-shaped heat strip that is wrapped around the lens to prevent condensation from forming inside the lens when the temperature drops.

Rear filter holder

A standard-equipped rear filter holder at the lens mount allows sheet-type filters to be used.

Special cover lens cap with a locking mechanism and filter slots

The included cover lens cap features two slots to securely store rear filters, as well as a locking mechanism. The cap is specially designed for the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art, allowing users to carry sheet-type filters without the risk of confusing or forgetting them, while protecting them from scratches and dirt.

Tripod Socket

The lens is equipped with an Arca-Swiss compatible, lightweight and sturdy magnesium alloy tripod socket. The detachable leg can be mounted on a tripod for stable conditions even during long exposures. The shape has been deliberately designed to prevent interference when using a lens heater.

* The tripod socket TS-141 is also compatible with the SIGMA 14mm F1.4 DG DN | Art.

A wealth of latest functions and excellent build quality

The SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art is equipped with various functions to assist shooting, including an AFL button*1 to which preferred function can be assigned and an aperture ring, and uses a linear motor HLA (High-response Linear Actuator) as the AF actuator to enable fast, quiet, and highly accurate AF shooting. The lens is also equipped with a dust and splash resistant structure*2 to ensure a high level of weather resistance and robustness, as well as excellent build quality that allows for long and reliable use in any environment.

*1 Function available on supported cameras only. Available functions may vary depending on the camera used.

*2 The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Various shooting assist functions

The lens is equipped with an AFL button which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

Dust and splash resistant structure and water and oil repellent coating

In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

Adopts a linear motor HLA

The AF actuator is a linear motor HLA (High-response Linear Actuator). The high thrust motor and advanced electronic control operate the focus lens at high speed and with high precision to provide comfortable AF shooting.

Excellent build quality

To support the heavy optical system and enhance robustness and reliability, metal parts are used in key parts of the lens body. Meanwhile, the lightweight engineering plastic TSC* is also used in appropriate places to reduce weight. Furthermore, each control part, such as rings and switches, is designed to feel good. SIGMA is proud of the exceptional build quality of its products, which do not compromise on durability, operability, and a satisfying sense of ownership.

* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts which contributes to high quality product manufacturing.

[Additional features]

• Lens construction: 21 elements in 15 groups (4 FLD, 3 SLD, 2 aspherical elements)
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction

* Due to being a fisheye lens, distortion will not be corrected.

* Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.

* On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON'(AUTO).

• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Super Multi-Layer Coating
• Water and Oil Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button

* Function available on supported cameras only. Available functions may vary depending on the camera used.

• MFL (Manual Focus Lock) switch
• Rear filter holder (compatible with GUIDE PLATE GP-21)
• Lens heater retainer
• Focus Mode switch
• Support for switching between linear focus / non-linear focus ring settings (for L-Mount only)
  * Function available on supported cameras only.
• Dust and Splash Resistant Structure
• TRIPOD SOCKET TS-141
• Special COVER LENS CAP LC1040-01 with a locking mechanism and filter slots
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan” craftsmanship

Photo: Richard Butler

The Fujifilm X100VI is here, and you can preorder it right now. Does that feel just a little too easy? You're in luck! The X100VI is also being released in a limited edition variety, with Fujifilm's founding logo, in a run of just 1934 units, with quantities varying based on geographic location.

Image: Fujifilm

Each of the 1934 cameras in the run (a number that harkens back to Fujifilm's founding 90 years ago) will be adorned with the original Fujifilm logo on the lens cap and along the top of the camera, along with an individual serial number. The camera also comes in a fancy box with some "Fujifilm history cards" and a special strap.

Image: Fujifilm

The special edition comes at a MSRP of $2,000, which is a $400 premium over the X100VI's $1,600 list price, itself a $200 increase over the launch price of the X100V. Getting your hands on one will require a little sleuthing; Fujifilm instructs interested parties to "contact your local Fujifilm sales and marketing company to explore the opportunity to purchase." That is, if you don't want to try and buy one of the secondary market for an additional markup.

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Otherwise, the vanilla X100VI is waiting for you.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon Limited Edition X100VI Units Announced

To celebrate Fujifilm’s 90th anniversary year in 2024, a special Limited Edition of 1,934 X100VI cameras will be made available by Fujifilm, worldwide. The Limited Edition camera body is engraved with the corporate brand logo from Fujifilm’s founding in 1934, and each unit bears a unique serial number. These numbered X100VI units are packaged in a special, soft-release box that includes a special strap and Fujifilm history cards. The Limited Edition X100VI units will be available in extremely limited quantities and vary depending geographical location. Please contact your local Fujifilm sales and marketing company to explore the opportunity to purchase the item in your area.

Pricing and Availability:

X100VI is expected to be available from Fujifilm dealers early March 2024 at a Manufacturer’s Suggested Retail Price of $1,599.95 USD and $2,159.99 CAD.

X100VI Limited Edition is expected to be available directly from Fujifilm commencing in late March 2024 at a Manufacturer’s Suggested Retail Price of $1,999.99 USD and $2,699.99 CAD.

For more information about X100VI, please visit https://fujifilm-x.com/en-us/products/cameras/x100vi.

Image: Fujifilm

The Fujifilm X100VI is here, and you can preorder it right now. Does that feel just a little too easy? You're in luck! The X100VI is also being released in a limited edition variety, with Fujifilm's founding logo a run of just 1934 units, with quantities varying based on geographic location.

Image: Fujifilm

Each of the 1,934 cameras in the run (a number that harkens back to Fujifilm's founding 90 years ago) will be adorned with the original Fujifilm logo on the lens cap and along the top of the camera, along with an individual serial number. The camera also comes in a fancy box with some "Fujifilm history cards" and a special strap.

Image: Fujifilm

The special edition comes at a MSRP of $2,000, which is a $400 premium over the X100VI's $1,600 list price, itself a $200 increase over the launch price of the X100V. Getting your hands on one will require a little sleuthing; Fujifilm instructs interested parties to "contact your local Fujifilm sales and marketing company to explore the opportunity to purchase." That is, if you don't want to try and buy one of the secondary market for an additional markup.

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

Otherwise, the vanilla X100VI is waiting for you.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon Limited Edition X100VI Units Announced

To celebrate Fujifilm’s 90th anniversary year in 2024, a special Limited Edition of 1,934 X100VI cameras will be made available by Fujifilm, worldwide. The Limited Edition camera body is engraved with the corporate brand logo from Fujifilm’s founding in 1934, and each unit bears a unique serial number. These numbered X100VI units are packaged in a special, soft-release box that includes a special strap and Fujifilm history cards. The Limited Edition X100VI units will be available in extremely limited quantities and vary depending geographical location. Please contact your local Fujifilm sales and marketing company to explore the opportunity to purchase the item in your area.

Pricing and Availability:

X100VI is expected to be available from Fujifilm dealers early March 2024 at a Manufacturer’s Suggested Retail Price of $1,599.95 USD and $2,159.99 CAD.

X100VI Limited Edition is expected to be available directly from Fujifilm commencing in late March 2024 at a Manufacturer’s Suggested Retail Price of $1,999.99 USD and $2,699.99 CAD.

For more information about X100VI, please visit https://fujifilm-x.com/en-us/products/cameras/x100vi.

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The Fujifilm X100VI is a photographers' fixed-lens camera which combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens.

Key features:

• 40MP BSI CMOS APS-C X-Trans sensor
• 35mm equiv F2 lens
• In-body IS rated at up to 6EV of correction
• Hybrid optical/electronic viewfinder (3.69M dot OLED panel)
• Machine-learning trained subject recognition AF
• 14 film simulations
• 6.2K video capture and 10-bit recording
• Built-in ND filter
• Tilt up/down rear touchscreen

The X100VI will be available at an MSRP of $1599, a $200 increase over the previous models. It will be available from early March 2024.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon Index:

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

What's new?

The biggest change in the X100VI is the addition of in-body image stabilization.

Interestingly, Fujfilm says the IS performance drops from 6.0EV of correction to 5.5EV of correction if you use the viewfinder in optical mode. We weren't given a reason for this, so can only speculate that the 6.0EV figure is achieved with some degree of analyzing images for shake that for some reason doesn't occur when the live view feed isn't being used. We'll correct this if Fujifilm provides any further explanation.

Very little appears to have changed on the back of the X100VI, except the disappearance of the phrase 'Made in Japan.' We traditionally don't take a position on such issues but feel it's worth mentioning when it comes in conjunction with a price rise.

The X100VI also sees a move to the 40MP BSI CMOS sensor used in the X-H2 and X-T5. It's a sensor that delivers high levels of detail capture, and from what we've shot so far, we don't have much concern about the lens's ability to make the most of this resolution bump.

The VI also features Fujifilm's X Processor V, that brings with it the machine-learning trained subject recognition algorithms. This means the X100VI has modes to recognize animals, birds, automobiles, motorcycles and bikes, airplanes or trains. As with other recent Fujifilm cameras, human face and eye detection is a separate mode, so you'll need to configure two buttons or positions on the Q Menu if you plan to swap between photographing people and a different subject type.

Film simulations

The X100VI gains the Reala ACE film simulation first seen in the GFX 100 II. Alongside this are added the Nostalgic Neg and Eterna Bleach Bypass simulations, taking the total number to 14 simulated filmstocks or 20 if you include the faux-color-filtered variations of the mono modes.

This is a lot to choose from, even for experimenting with them after the fact, using in-camera Raw conversion. For the most part the options available represent film responses that you might actually choose to use, but the distinction between some of the modes are becoming quite subtle and there's a balance between providing useful options and feature-bloat.

Camera to cloud

The X100VI becomes Fuijfilm's first camera to support the camera-to-cloud (c-2-c) system using its built-in Wi-Fi. This comes in addition to the usual Wi-Fi-to-smartphone options. It lets you pair the camera with a Wi-Fi network and then have the camera upload images and video directly to Adobe's Frame.io cloud-based collaboration platform. Even on the preproduction model we have we found it was easy to set up and gives the option to auto upload files as they're created or to let you manually select the ones you wish to upload. You can select specific file types, too, so that it only uploads video or JPEGs, or just Raws or HEIFs, as you prefer.

Video

The X100 series has always offered video to some degree, but we've not heard of a lot of people making use of that capability. The X100VI offers essentially the same options as the X-T5 (itself not the company's most video-focused model), so you gain 10-bit recording, 6.2K capture from a 1.23x (43mm equiv) cropped region or 'HQ' 4K derived from this footage. This exhibits appreciable rolling shutter. Alternatively there's sub-sampled 4K at up to 30p from the sensor's full with or at up to 60p with a 1.14x crop.

Like the recent GFX 100 II, the X100VI now has AF tracking in video mode, and this isn't restricted to the subjects it's been trained to recognize.

The X100VI has a mic input and can use its USB-C socket for audio monitoring though, unlike the X-T5, no USB-to-3.5mm adapter is provided.

It's interesting to note that many of the movie mode's settings are now accessible only when the camera is in Movie drive mode. This way there's only a single page of basic video functions in the menu when you're shooting stills.

Other changes:

In addition to the updates of some of the camera's main specs, the X100VI also inherits many of the smaller refinements and updates that Fujifilm has developed in the four years since the last model was released. These include:

• HEIF capture
• Skin smoothing effect
• White priority and Ambience Priority Auto WB modes
• Custom AF zone areas
• Option to limit available AF area types for AF-S or AF-C shooting
• Pre-shot bursts (E-shutter + Cont H)
• Self timer lamp on/off
• Interval shooting with external timer
• Interval priority mode (prioritizes chosen interval, irrespective of exposure time)

Body and controls

The X100VI is 2mm deeper than the existing X100V, and 43g heavier. In practice, neither of these changes are especially noticeable. The camera still doesn't feel overly heavy.

The body's dimensions are similar enough that it'll still fit in the existing LC-X100V leather camera case. It's also still compatible with the existing tele and wide-angle converter lenses. It uses the same lens as the previous model, so you can weather-seal the camera if you add the filter ring adapter and a filter of some sort.

The rear screen on the X100VI is a refinement of the tilting touchscreen on the previous model. It now tilts down a little further (45° rather than 30°) and pulls away from the body and viewfinder a little when tilted up for waist-level shooting. It's a small change, but a welcome one.

Controls

The control layout is identical to the previous model, with dedicated controls for aperture, shutter speed, exposure comp and ISO (albeit an ISO control that's fiddly to the point of primarily being decorative). As with previous models and many historic film cameras, the exposure mode is dictated by the position of the dedicated dials. Essentially you turn the dial to 'A' if you want the camera to control that value:

Manual Aperture Priority Shutter Priority Program Aperture ring setting F-number F-number A A Shutter speed dial setting Shutter speed A Shutter speed A

Exposure compensation is available in all modes, including Manual, if you have Auto ISO selected. And, since the shutter speed dial only has whole-stop steps, you can use a command dial to give you 1/3rd stop precision, ±2/3 EV from the value selected on the dial.

Command dials

In addition there are two pressable command dials on the front and back of the camera, which can have a series of functions applied to them if the dedicated controls aren't being used.

This is where things get a little complicated: the exposure comp and ISO dials have dedicated 'C' positions to pass control over to the command dials. The shutter speed dial doesn't have a C position, so instead should be turned to its 'T' (Time) setting. The aperture ring doesn't have a C position but its 'A' (Auto) position can be reconfigured to act as 'C', via the menus. This may not be obvious, given the ISO dial has both an A and a C position, but this is where the X100 series development has brought us to.

We find it hard to imagine many people are assigning three settings to the command dials, and hence needing the pressable dials to make their function toggleable, but for most permutations we can anticipate, we think you can configure them only to the functions you want to control, so at least you won't accidentally press the dial and adjust anything unexpected.

Disappointingly, if you set ISO to 'A' you can't use a command dial to select between the three Auto ISO presets that you can configure. For that you'll need to select 'C' and be careful not to scroll the command dial too far and disengage Auto ISO altogether.

Hybrid viewfinder

The X100VI has the same hybrid optical/electronic viewfinder as its immediate predecessor. This has three modes: fully electronic, fully optical and optical with an inset electronic display.

As with all viewfinders that are offset from the lens and sensor, it's affected by parallax: when focused at infinity, the difference in position between the lens and viewfinder is irrelevant, but becomes increasingly important as the focus distance decreases. Not only does the framing of the photo diverge at closer focus distances, the position of the AF points effectively moves down and to the right as you focus on closer subjects.

The X100VI finder includes the improvements made in firmware 2.0 for the X100V. A 'Corrected AF point' option (AF/MF Settings pg 3) that displays a bracketed indicator in the OVF, showing where your AF point will move to if you focus close to the camera. Another menu option, 'Bright Frame Position Memory' (Setup/Screen Setup pg 1) lets you decide if you want the AF box to revert to infinity after each shot or stay at the correct position for the last time you focused. Between these two options you should be able to get the OVF to work the way you're most comfortable with.

Battery

The X100VI uses the same NP-W126S battery as the previous few X100 models. It's an 8.2Wh unit from which the camera is rated to deliver 450 shots per change using the optical viewfinder or 310 shots if you use the EVF. The usual caveats come into play: in many shooting scenarios you can expect to get around double this number.

Initial impressions

Richard Butler

It's easy to be a little underwhelmed by the X100VI at first. It looks so much like its predecessors that it's hard to appreciate what's new. I rarely have the need for vast pixel counts, so appreciate the move to 40MP without being especially thrilled.

Likewise, the addition of subject recognition AF is a pleasant enough addition, but like the arrival of 10-bit video and tap-to-track focus in video, it feels a lot like a feature that makes a lot more sense for a camera such as the X-H2S, instead of on a camera with a fixed 35mm equiv lens. The byproduct of Fujifilm's developments elsewhere in its range, rather than things that the X100 series was crying out for.

And, as we noted when the lens was updated with the X100V, the new lens isn't especially fast to focus: its design moves most of the lens to focus, prioritising sharpness over speed. So, even if you decided that you want to go birding with a 35mm-equiv camera, it's not going to keep up with fast-moving subjects, no matter how much more sophisticated the AF algorithms are.

But then I started digging a little deeper, and started to research a look back at the development of the series. As someone who bought the original model and remembers the buzz in the office when Fujifilm first presented it to us, and who's been involved to at least some degree in reviewing all the subsequent versions, I was still caught a little offguard by how many changes the company has made with each iteration.

So here we have the addition of a major feature: in-body image stabilization, but also a host of little tweaks and refinements. There are the subtle physical tweaks like the screen that tilts further down and pulls further away from the viewfinder when turned upwards. But there are also minor updates, such as the addition of HEIF capture, the option to use an external intervalometer and the ability to modify which of the camera's many AF area modes are available when you go to select them. All individually minor, and probably each relevant only to a subset of users, but cumulatively these little adjustments build up into something.

For both better and worse, the X100VI operates a lot like an X100V: the model where we finally felt Fujifilm's 'use it however you prefer' approach to operation risked overwhelming the camera's original simplicity. But it also behaves like an improved, more refined X100V, which itself behaved like an improved, more refined X100F, and so on. At its heart it's still the latest incarnation of the camera that more DPReview writers have spent their own money on than any other.

With each release of the X100 series, the question of whether owners of the current model should upgrade has typically been a fairly nuanced one. But the answer for new inductees to the question "which one should I get?" has always been "the latest one."

Plus ça change...

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon Sample gallery

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

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Photo: Richard Butler

Today in Japan, Fujifilm announced the X100VI, the long-awaited successor to the virally popular X100V that has been almost impossible to buy at retail for the better part of several years. Whether you managed to snag an X100V before it became so hard to come by or were stuck hoping to find a reasonably-priced one on the used market, the X100VI absolutely changes the calculus.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon Does the X100VI have a better sensor than the X100V?

The X100V has a 26MP X-Trans APS-C sensor it shares with the X-T4 and X-S20 as well as both cameras' previous versions. We found the sensor's image quality impressive (especially in low-light) when it turned up in the X-T3 and we liked the sharpening and color profile of the X100V's JPEG engine.

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But the X100VI ups the ante with the 40MP BSI CMOS sensor found in Fujifilm's X-T5 and X-H2 which captures an impressive amount of detail for an APS-C camera. It's higher resolution and arguably better for stills but it's worse for video.

Does the X100VI have a better lens than the X100V?

No. While the internals of the X100VI have changed over its predecessor, the glass is the same. The X100V's 23mm F2 pancake was redesigned from its forebear, the 2017 X100F, adding one more aspherical element and a stronger built-in ND filter, and correcting haziness issues that cropped up with that then 7-year-old (and now 13-year-old) design.

The X100VI sports this same improved-for-2020 23mm F2 lens, and that's not a problem; the improved performance of the X100VI rests on what the new sensor is able to pull out of that same great lens.

Does the X100VI have in-body image stabilization?

Yes. One of the biggest quality-of-life improvements the X100VI offers is 6.0EV of correction (but only 5.5EV if you're using the hybrid viewfinder in optical mode). The X100V, by contrast, has no IBIS, which makes shooting with low shutter speeds in lower light a dicier proposition. The X100VI's stabilization also makes it considerably more suitable for video, but that's not the only reason why.

Is the X100VI better for video than the X100V?

The X100VI is probably better overall, but it's not clear cut. First, there is the in-body stabilization, but also the X100VI has Fujifilm's latest and greatest X Processor 5, which brings many of the same video features as the X-T5. That includes 10-bit recording, 6.2K capture from a 1.23x (43mm equiv) cropped region, and sub-sampled 4K at up to 30p from the sensor's full with or at up to 60p with a 1.14x crop. That, plus machine learning-trained subject recognition AF. It also has tap-to-track AF in video and the ability to track non-recognized subjects.

The X100V is limited to 8-bit 4:2:0 files without an external recorder, and the lack of stabilization makes it less-than-practical as a first resort for recording video unless you've got a gimbal on hand. But it can also shoot oversampled 4K from its full width with less rolling shutter.

Does the X100VI look different than the X100V?

No. The easiest way to tell them apart is to look at where the model number is printed. There are a few differences, technically. The X100VI is 2mm deeper and 43g heavier, but we found it hard to notice the difference even when they were sitting right next to each other. If you see them weeks, days, or even minutes apart, you will have a very difficult time noticing any difference.

Should you upgrade to the X100VI from the X100V?

As always, the answer is conditional. The addition of in-body stabilization is probably the biggest quality of life improvement, which will make the X100VI much more practical for low-light shooting, so if that's a major element of your craft and you've found the X100V lacking, the X100VI will be sizable step up. There is also, of course, the increased resolution of the sensor if the X100V's has left you wanting.

Otherwise, there are a lot of other creature comforts – a screen with slightly more articulation, subject recognition AF - none of which are revelatory enough to recommend an upgrade on their own, but which can help you justify your decision.

Is the X100V still worth buying?

It depends in part how the used market shakes out over the next days and weeks. For the past few months, X100Vs have been selling on eBay for as much as $2,000, well in excess of both the X100V's $1,399 list price and the new X100VI's $1,599 price tag. That overheated market is destined to cool. If you have an X100V, the best time to sell was yesterday. If you're in the market, the best bet is to wait.

While the X100VI is a plainly superior camera, the X100V isn't suddenly prehistoric. Its excellent lens and still-capable sensor remain a terrific pair. And its retro-vibe that remains basically unchanged with the X100VI means you'll look just as cool out on the street.

But if the waiting game isn't your speed and you've got a few hundred extra bucks to spare, the X100VI has one objectively unbeatable advantage: you can go pre-order it new right now.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon

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The Fujifilm X100VI is an photographers' fixed-lens camera which combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens.

Key features:

• 40MP BSI CMOS APS-C X-Trans sensor
• 35mm equiv F2 lens
• In-body IS rated at up to 6EV of correction
• Hybrid optical/electronic viewfinder (3.69M dot OLED panel)
• Machine-learning trained subject recognition AF
• 14 film simulations
• 6.2K video capture and 10-bit recording
• Built-in ND filter
• Tilt up/down rear touchscreen

The X100VI will be available at an MSRP of $1599, a $200 increase over the previous models. It will be available from early March 2024.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama Index:

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

What's new?

The biggest change in the X100VI is the addition of in-body image stabilization.

Interestingly, Fujfilm says the IS performance drops from 6.0EV of correction to 5.5EV of correction if you use the viewfinder in optical mode. We weren't given a reason for this, so can only speculate that the 6.0EV figure is achieved with some degree of analyzing images for shake that for some reason doesn't occur when the live view feed isn't being used. We'll correct this if Fujifilm provides any further explanation.

Very little appears to have changed on the back of the X100VI, except the disappearance of the phrase 'Made in Japan.' We traditionally don't take a position on such issues but feel it's worth mentioning when it comes in conjunction with a price rise.

The X100VI also sees a move to the 40MP BSI CMOS sensor used in the X-H2 and X-T5. It's a sensor that delivers high levels of detail capture, and from what we've shot so far, we don't have much concern about the lens's ability to make the most of this resolution bump.

The VI also features Fujifilm's X Processor V, that brings with it the machine-learning trained subject recognition algorithms. This means the X100VI has modes to recognize animals, birds, automobiles, motorcycles and bikes, airplanes or trains. As with other recent Fujifilm cameras, human face and eye detection is a separate mode, so you'll need to configure two buttons or positions on the Q Menu if you plan to swap between photographing people and a different subject type.

Film simulations

The X100VI gains the Reala ACE film simulation first seen in the GFX 100 II. Alongside this are added the Nostalgic Neg and Eterna Bleach Bypass simulations, taking the total number to 14 simulated filmstocks or 20 if you include the faux-color-filtered variations of the mono modes.

This is a lot to choose from, even for experimenting with them after the fact, using in-camera Raw conversion. For the most part the options available represent film responses that you might actually choose to use, but the distinction between some of the modes are becoming quite subtle and there's a balance between providing useful options and feature-bloat.

Camera to cloud

The X100VI becomes Fuijfilm's first camera to support the camera-to-cloud (c-2-c) system using its built-in Wi-Fi. This comes in addition to the usual Wi-Fi-to-smartphone options. It lets you pair the camera with a Wi-Fi network and then have the camera upload images and video directly to Adobe's Frame.io cloud-based collaboration platform. Even on the preproduction model we have we found it was easy to set up and gives the option to auto upload files as they're created or to let you manually select the ones you wish to upload. You can select specific file types, too, so that it only uploads video or JPEGs, or just Raws or HEIFs, as you prefer.

Video

The X100 series has always offered video to some degree, but we've not heard of a lot of people making use of that capability. The X100VI offers essentially the same options as the X-T5 (itself not the company's most video-focused model), so you gain 10-bit recording, 6.2K capture from a 1.23x (43mm equiv) cropped region or 'HQ' 4K derived from this footage. This exhibits appreciable rolling shutter. Alternatively there's sub-sampled 4K at up to 30p from the sensor's full with or at up to 60p with a 1.14x crop.

Like the recent GFX 100 II, the X100VI now has AF tracking in video mode, and this isn't restricted to the subjects it's been trained to recognize.

The X100VI has a mic input and can use its USB-C socket for audio monitoring though, unlike the X-T5, no USB-to-3.5mm adapter is provided.

It's interesting to note that many of the movie mode's settings are now accessible only when the camera is in Movie drive mode. This way there's only a single page of basic video functions in the menu when you're shooting stills.

Other changes:

In addition to the updates of some of the camera's main specs, the X100VI also inherits many of the smaller refinements and updates that Fujifilm has developed in the four years since the last model was released. These include:

• HEIF capture
• Skin smoothing effect
• White priority and Ambience Priority Auto WB modes
• Custom AF zone areas
• Option to limit available AF area types for AF-S or AF-C shooting
• Pre-shot bursts (E-shutter + Cont H)
• Self timer lamp on/off
• Interval shooting with external timer
• Interval priority mode (prioritizes chosen interval, irrespective of exposure time)

Body and controls

The X100VI is 2mm deeper than the existing X100V, and 43g heavier. In practice, neither of these changes are especially noticeable. The camera still doesn't feel overly heavy.

The body's dimensions are similar enough that it'll still fit in the existing LC-X100V leather camera case. It's also still compatible with the existing tele and wide-angle converter lenses.

The rear screen on the X100VI is a refinement of the tilting touchscreen on the previous model. It now tilts down a little further (45° rather than 30°) and pulls away from the body and viewfinder a little when tilted up for waist-level shooting. It's a small change, but a welcome one.

Controls

The control layout is identical to the previous model, with dedicated controls for aperture, shutter speed, exposure comp and ISO (albeit an ISO control that's fiddly to the point of primarily being decorative). As with previous models and many historic film cameras, the exposure mode is dictated by the position of the dedicated dials. Essentially you turn the dial to 'A' if you want the camera to control that value:

Manual Aperture Priority Shutter Priority Program Aperture ring setting F-number F-number A A Shutter speed dial setting Shutter speed A Shutter speed A

Exposure compensation is available in all modes, including Manual, if you have Auto ISO selected. And, since the shutter speed dial only has whole-stop steps, you can use a command dial to give you 1/3rd stop precision, ±2/3 EV from the value selected on the dial.

Command dials

In addition there are two pressable command dials on the front and back of the camera, which can have a series of functions applied to them if the dedicated controls aren't being used.

This is where things get a little complicated: the exposure comp and ISO dials have dedicated 'C' positions to pass control over to the command dials. The shutter speed dial doesn't have a C position, so instead should be turned to its 'T' (Time) setting. The aperture ring doesn't have a C position but its 'A' (Auto) position can be reconfigured to act as 'C', via the menus. This may not be obvious, given the ISO dial has both an A and a C position, but this is where the X100 series development has brought us to.

We find it hard to imagine many people are assigning three settings to the command dials, and hence needing the pressable dials to make their function toggleable, but for most permutations we can anticipate, we think you can configure them only to the functions you want to control, so at least you won't accidentally press the dial and adjust anything unexpected.

Disappointingly, if you set ISO to 'A' you can't use a command dial to select between the three Auto ISO presets that you can configure. For that you'll need to select 'C' and be careful not to scroll the command dial too far and disengage Auto ISO altogether.

Hybrid viewfinder

The X100VI has the same hybrid optical/electronic viewfinder as its immediate predecessor. This has three modes: fully electronic, fully optical and optical with an inset electronic display.

As with all viewfinders that are offset from the lens and sensor, it's affected by parallax: when focused at infinity, the difference in position between the lens and viewfinder is irrelevant, but becomes increasingly important as the focus distance decreases. Not only does the framing of the photo diverge at closer focus distances, the position of the AF points effectively moves down and to the right as you focus on closer subjects.

The X100VI finder includes the improvements made in firmware 2.0 for the X100V. A 'Corrected AF point' option (AF/MF Settings pg 3) that displays a bracketed indicator in the OVF, showing where your AF point will move to if you focus close to the camera. Another menu option, 'Bright Frame Position Memory' (Setup/Screen Setup pg 1) lets you decide if you want the AF box to revert to infinity after each shot or stay at the correct position for the last time you focused. Between these two options you should be able to get the OVF to work the way you're most comfortable with.

Battery

The X100VI uses the same NP-W126S battery as the previous few X100 models. It's an 8.2Wh unit from which the camera is rated to deliver 450 shots per change using the optical viewfinder or 310 shots if you use the EVF. The usual caveats come into play: in many shooting scenarios you can expect to get around double this number.

Initial impressions

Richard Butler

It's easy to be a little underwhelmed by the X100VI at first. It looks so much like its predecessors that it's hard to appreciate what's new. I rarely have the need for vast pixel counts, so appreciate the move to 40MP without being especially thrilled.

Likewise, the addition of subject recognition AF is a pleasant enough addition, but like the arrival of 10-bit video and tap-to-track focus in video, it feels a lot like a feature that makes a lot more sense for a camera such as the X-H2S, instead of on a camera with a fixed 35mm equiv lens. The byproduct of Fujifilm's developments elsewhere in its range, rather than things that the X100 series was crying out for.

And, as we noted when the lens was updated with the X100V, the new lens isn't especially fast to focus: its design moves most of the lens to focus, prioritising sharpness over speed. So, even if you decided that you want to go birding with a 35mm-equiv camera, it's not going to keep up with fast-moving subjects, no matter how much more sophisticated the AF algorithms are.

But then I started digging a little deeper, and started to research a look back at the development of the series. As someone who bought the original model and remembers the buzz in the office when Fujifilm first presented it to us, and who's been involved to at least some degree in reviewing all the subsequent versions, I was still caught a little offguard by how many changes the company has made with each iteration.

So here we have the addition of a major feature: in-body image stabilization, but also a host of little tweaks and refinements. There are the subtle physical tweaks like the screen that tilts further down and pulls further away from the viewfinder when turned upwards. But there are also minor updates, such as the addition of HEIF capture, the option to use an external intervalometer and the ability to modify which of the camera's many AF area modes are available when you go to select them. All individually minor, and probably each relevant only to a subset of users, but cumulatively these little adjustments build up into something.

For both better and worse, the X100VI operates a lot like an X100V: the model where we finally felt Fujifilm's 'use it however you prefer' approach to operation risked overwhelming the camera's original simplicity. But it also behaves like an improved, more refined X100V, which itself behaved like an improved, more refined X100F, and so on. At its heart it's still the latest incarnation of the camera that more DPReview writers have spent their own money on than any other.

With each release of the X100 series, the question of whether owners of the current model should upgrade has typically been a fairly nuanced one. But the answer for new inductees to the question "which one should I get?" has always been "the latest one."

Plus ça change...

Buy now:

$1,599 at B&H Photo $1,599 at Adorama Sample gallery

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

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Photo: Richard Butler

Today in Japan, Fujifilm announced the X100VI, the long-awaited successor to the virally popular X100V that has been almost impossible to buy at retail for the better part of several years. Whether you managed to snag an X100V before it became so hard to come by or were stuck hoping to find a reasonably-priced one on the used market, the X100VI absolutely changes the calculus.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama Does the X100VI have a better sensor than the X100V?

The X100V has a 26MP X-Trans APS-C sensor it shares with the X-T4 and X-S20 as well as both cameras' previous versions. We found the sensor's image quality impressive (especially in low-light) when it turned up in the X-T3 and we liked the sharpening and color profile of the X100V's JPEG engine.

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But the X100VI ups the ante with the 40MP BSI CMOS sensor found in Fujifilm's X-T5 and X-H2 which captures an impressive amount of detail for an APS-C camera. It's higher resolution and arguably better for stills but it's worse for video.

Does the X100VI have a better lens than the X100V?

No. While the internals of the X100VI have changed over its predecessor, the glass is the same. The X100V's 23mm F2 pancake was redesigned from its forebear, the 2017 X100F, adding one more aspherical element a stronger built-in ND filter, and correcting haziness issues that cropped up with that then 7-year-old (and now 13-year-old) design.

The X100VI sports this same improved-for-2020 23mm F2 lens, and that's not a problem; the improved performance of the X100VI rests on what the new sensor is able to pull out of that same great lens.

Does the X100VI have in-body image stabilization?

Yes. One of the biggest quality-of-life improvements the X100VI offers is 6.0EV of correction (but only 5.5EV if you're using the hybrid viewfinder in optical mode. The X100V, by contrast, has no IBIS, which makes shooting with low shutter speeds in lower light a dicier proposition. The X100VI's stabilization also makes it considerably more suitable for video, but that's not the only reason why.

Is the X100VI better for video than the X100V?

The X100VI is probably better overall, but it's not clear cut. First, there is the in-body stabilization, but also the X100VI has Fujifilm's latest and greatest X Processor 5, which brings many of the same video features as the X-T5. That includes 10-bit recording, 6.2K capture from a 1.23x (43mm equiv) cropped region, and sub-sampled 4K at up to 30p from the sensor's full with or at up to 60p with a 1.14x crop. That, plus machine learning-trained subject recognition AF. It also has tap-to-track AF in video and the ability to track non-recognized subjects.

The X100V is limited to 8-bit 4:2:0 files without an external recorder, and the lack of stabilization makes it less-than-practical as a first resort for recording video unless you've got a gimbal on hand. But it can also shoot oversampled 4K from its full width with less rolling shutter.

Does the X100VI look different than the X100V?

No. The easiest way to tell them apart is to look at where the model number is printed. There are a few differences, technically. The X100VI is 2mm deeper and 43g heavier, but we found it hard to notice the difference even when they were sitting right next to each other. If you see them weeks, days, or even minutes apart, you will have a very difficult time noticing any difference.

Should you upgrade to the X100VI from the X100V?

As always, the answer is conditional. The addition of in-body stabilization is probably the biggest quality of life improvement, which will make the X100VI much more practical for low-light shooting, so if that's a major element of your craft and you've found the X100V lacking, the X100VI will be sizable step up. There is also, of course, the increased resolution of the sensor if the X100V's has left you wanting.

Otherwise, there are a lot of other creature comforts – a screen with slightly more articulation, subject recognition AF - none of which are revelatory enough to recommend an upgrade on their own, but which can help you justify your decision.

Is the X100V still worth buying?

It depends in part how the used market shakes out over the next days and weeks. For the past few months, X100Vs have been selling on eBay for as much as $2,000, well in excess of both the X100V's $1,399 list price and the new X100VI's $1,599 price tag. That overheated market is destined to cool. If you have an X100V, the best time to sell was yesterday. If you're in the market, the best bet is to wait.

While the X100VI is a plainly superior camera, the X100V isn't suddenly prehistoric. Its excellent lens and still-capable sensor remain a terrific pair. And its retro-vibe that remains basically unchanged with the X100VI means you'll look just as cool out on the street.

But if the waiting game isn't your speed and you've got a few hundred extra bucks to spare, the X100VI has one objectively unbeatable advantage: you can go pre-order it new right now.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama

Fujifilm has used its X Summit event in Tokyo to announce the X100VI, the latest version of its premium large sensor compact. We've been shooting with the new camera for the past few weeks. Click here to read our initial review and see our sample gallery.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon

Fujifilm Holding's President and CEO Teiichi Goto says this year marks the 90th anniversary of the company. As the company's original business, image making will remain at the heart of the business, he says.

Fujifilm Holding's President and CEO Teiichi Goto reveals the X100VI

And, with that, the company has unveiled the latest version of its premium large sensor compact camera: the X100VI.

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

The X100VI is a 90th anniversary product, says Yuji Igarashi, head of the company's imaging group. X100VI represents the core value of Fujifilm, he says.

The new camera uses a 5th generation processor and 40.2MP X-Trans 5 HR sensor and adds 5-axis in-body image stabilization, rated to 6.0EV of correction. The lens "seamlessly resolves 40 megapixels," says Justin Stailey from the company's product development team. He describes IBIS as "essential" to getting the most out of the high resolution sensor but the team was determined not to make the camera significantly larger.

It has a base ISO of 125 and gains the subject detection autofocus system we've seen in recent X series models.

The camera retains the external dials and the hybrid optical/electronic hybrid viewfinder used in previous X100 cameras. It adds the Reala ACE film simulation: first seen in the GFX 100 II and arriving for the first time in the X series.

It's able to shoot video at up to 6.2K/30p resolution in up to 10-bit 4:2:2 detail, internally. The X100VI also becomes the first X-series camera to offer tap-to-track AF in video, and the first to allow camera-to-cloud direct upload to Adobe's Frame.io collaboration platform without the need for any accessories.

The X100VI gains 43g (1.5oz) compared with the previous model but the addition of IBIS only adds 2mm (0.08") of depth.

Despite the addition of IBIS, the camera is able to achieve a battery rating of 450 shots per charge, an increase over the figure delivered by the X100V. This is made possible by "the power saving features of the X-Processor 5" says Stailey.

The camera will be available from late February at a price of $1599, in black or silver.

One more thing:

Fujifilm likes to add a surprise reveal at the end of these events. In this case it's announced an addition to its X lens roadmap: with the XF16-50 F2.8-4.8, a successor to its well-respected 18-55mm F2.8-4.0 OIS, intended for the fifth-generation cameras.

The company has also promised improved subject detection when used with electronic shutter for the fifth-gen cameras: X-H2S, X-H2, X-T5 and X-S20. AF Tracking will also be improved for all but the X-H2. Reala ACE will come to all four models. The two X-H models will also gain direct camera-to-cloud uploading, using their internal Wi-Fi. These updates will come in Spring 2024, it says.

In addition, Igarashi has announced the X100VI limited edition: a 90th Anniversary model limited to 1934 units, sold with a specially-designed box and kit.

This won't be the only X Summit event this year, he says: with the announcement that the next event will be held in Sydney, Australia, later this year.

In the entranceway of the Tokyo Midtown building, is a display showing the 20-year history of film simulations, dating back to the S3 Pro DSLR and 2008's Finepix S100fs, which was the first to name the modes after historic filmstocks.

Buy now:

$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon Fujifilm's X Summit presentation live feed:

Fujifilm has used its X Summit event in Tokyo to announce the X100VI, the latest version of its premium large sensor compact. We're at the event, reporting from the presentation as it happens. Please refresh this page for the latest updates.

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Fujifilm Holding's President and CEO Teiichi Goto says this year marks the 90th anniversary of the company. As the company's original business, image making will remain at the heart of the business, he says.

Fujifilm Holding's President and CEO Teiichi Goto reveals the X100VI

And, with that, the company has unveiled the latest version of its premium large sensor compact camera: the X100VI.

The X100VI is a 90th anniversary product, says Yuji Igarashi, head of the company's imaging group. X100VI represents the core value of Fujifilm, he says.

The new camera uses a 5th generation processor and 40.2MP X-Trans 5 HR sensor and adds 5-axis in-body image stabilization, rated to 6.0EV of correction. The lens "seamlessly resolves 40 megapixels," says Justin Stailey from the company's product development team. He describes IBIS as "essential" to getting the most out of the high resolution sensor but the team was determined not to make the camera significantly larger.

It has a base ISO of 125 and gains the subject detection autofocus system we've seen in recent X series models.

The camera retains the external dials and the hybrid optical/electronic hybrid viewfinder used in previous X100 cameras. It adds the Reala ACE film simulation: first seen in the GFX 100 II and arriving for the first time in the X series.

It's able to shoot video at up to 6.2K/30p resolution in up to 10-bit 4:2:2 detail, internally. The X100VI also becomes the first X-series camera to offer tap-to-track AF in video, and the first to allow camera-to-cloud direct upload to Adobe's Frame.io collaboration platform without the need for any accessories.

The X100VI gains 43g (1.5oz) compared with the previous model but the addition of IBIS only adds 2mm (0.08") of depth.

Despite the addition of IBIS, the camera is able to achieve a battery rating of 450 shots per charge, an increase over the figure delivered by the X100V. This is made possible by "the power saving features of the X-Processor 5" says Stailey.

The camera will be available from late February at a price of $1599, in black or silver.

One more thing:

Fujifilm likes to add a surprise reveal at the end of its events. In this case it's announced an addition to its X lens roadmap: with the XF16-50 F2.8-4.8, a successor to its well-respected 18-55mm F2.8-4.0 OIS, intended for the fifth-generation cameras.

The company has also promised improved subject detection and tracking performance for recent cameras such as the X-H2 and X-H2S. Reala ACE will come to the X-T5, X-S20, X-H2 and X-H2S. The two X-H models will also gain direct camera-to-cloud uploading, using their internal Wi-Fi. These updates will come in Spring 2024, it says.

In addition, Igarashi has announced the X100VI limited edition: a 90th Anniversary model limited to 1934 units, sold with a specially-designed box and kit.

This won't be the only X Summit event this year, he says: with the announcement that the next event will be held in Sydney, Australia, later this year.

In the entranceway of the Tokyo Midtown building, is a display showing the 20-year history of film simulations, dating back to the S3 Pro DSLR and 2008's Finepix S100fs, which was the first to name the modes after historic filmstocks.

Fujifilm's X Summit presentation live feed:

The Olympus XA sports a sharp, fixed 35mm F/2.8 lens.
Photo: Dan Bracaglia

Olympus Cameras, now OM Digital Solutions, has been in the photography business long before most of us were born. From the original analog Pen F to the cult-status Stylus Epic (Mju II), there’s no shortage of legendary models to drool over. And I’m not just talking about film cameras – the modern digital Pen F is a sure-fire classic, too, as is the OG Pen E-PL1.

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

However, of all the brand’s releases – from 1936 to 2024 – my favorite is the charmingly petite Olympus XA rangefinder point-and-shoot from the late 1970s.

See used listings:

KEH Camera Amazon eBay Olympus XA design and history The XA is made for shooting from the hip.
Photo: Dan Bracaglia

Gone are the days when a simple sliding mechanical door doubled as a lens cover and an on/off switch. And that’s a shame. Sure, the aughts had their fair share of crappy, sliding-door, CC-sensor compacts. While some photographers certainly revel in that nostalgia, it's still mostly a Gen Z thing.

Launched in May 1979, the Olympus XA goes back a little further. Built for maximum portability without the need for a case, it's an aperture priority-only camera, and features a rather unique vertical lever for setting one’s F-stop, located to the left of the lens. Other controls include a small manual focus lever at the bottom, a large red square shutter release on top, and… that’s about it.

Olympus XA sample.
Photo: Dan Bracaglia

Given the lens's teeny, tiny size, you might have some low expections of the optics. But peruse our samples below, and those on the greater internet, and you’ll come to one conclusion: it punches well above its weight. The optical formula is unsurprisingly simple: six elements in four groups – but sometimes, uncomplicated is better.

Olympus XA sample shot with the side-mounted Olympus A11 flash attached.
Photo: Dan Bracaglia

The XA has a four-bladed aperture but no onboard flash. Olympus sold several side-mounting accessory flash units alongside the XA. The Olympus A11 flash, in particular, produces some lovely, well-balanced results (see above). That said, the flash recycle time is comically long.

Olympus XA in use A focus depth scale on top of the lens makes nailing sharp shots a breeze.
Photo: Dan Bracaglia

It’s cute, it’s capable, and it’s a bit of a pain in the ass to shoot with, mostly due to the small size of the focus tab and viewfinder. That said, once you conquer the Olympus XA learning curve, i.e., learn to shoot without relying too much on the undersized viewfinder, it’ll be smooth sailing.

Depending on the condition of your particular XA, the center focus patch in the viewfinder can be faint. This is not an issue I’ve encountered, but it is well-documented. Fortunately, an easy-to-read focus distance scale on the top of the lens serves as a reliable method for nailing sharp subjects.

A lever on the bottom of the camera pulls triple duty. In position one, it adds 1.5EV exposure compensation. Push it one position further, and it checks the battery with a delightfully piercing beep. In the furthest position, it engages the self-timer.
Photo: Dan Bracaglia

Semi-auto or not, the XA doesn’t leave you in the dark about its exposure decisions. A match needle display on the left of the viewfinder indicates the camera’s current shutter speed of choice. Want to override that? You have one option: a lever on the bottom, when engaged, adds +1.5EV.

Olympus XA's modern digital equivalents The XA has no true digital equivalent, but the Ricoh GR IIIx comes close.
Photo: Dan Bracaglia

There are no tit-for-tat modern digital equivalents to the legendary film Olympus XA, but the Ricoh GR IIIx comes closest. Sporting a fixed 40mm equivalent F/2.8 lens and an APS-C sensor, it’s similarly built for shooting from the hip. Snap Focus mode allows users to set a default focus distance of choice, which is particularly handy for candids and street photography.

The next nearest digital equivalent is probably the Fujifilm X100 series. Though considerably larger than the XA and GR, these retro beauties boast a comparably faster 35mm equivalent f/2 lens paired with an APS-C sensor. They also sport a nifty hybrid optical/electronic viewfinder and plenty of old-school charm.

If you want to stick with the Olympus DNA, the rugged and compact OM System TG-7 is a great bet. Though it sports a smaller sensor than the cameras mentioned above (and can zoom), it’s highly pocketable, fairly simple to use and built to take a bruising.

Final thoughts and samples Olympus XA sample.
Photo: Dan Bracaglia

The Olympus XA may be a relatively uncomplicated, semi-automatic relic of the analog photography era, but it’s still darn fun to shoot with and seriously capable, particularly given its diminutive size. A sharp lens in a tough-built, simple-to-use (once you get the hang of it) package — what’s not to love? And it’s full-frame!

These days, the cat’s out of the bag, and XA prices have gone through the roof. As little as seven years ago, tracking down a minty one for under $50 was a fairly simple feat. Now, you can expect to pay around $250.

Olympus XA sample.
Photo: Dan Bracaglia

However, don’t let the price deter you, especially if you’re curious about experiencing the joys of shooting with this charmingly little rangefinder. After all, you can always resell a working XA to another film fiend if the vibes aren’t meshing, without taking a financial shellacking. The fixed-lens 35mm compact camera market remains as hot as ever.

But I suspect that few who experience the XA will end up going that route. Moreover, if you’re lucky to come across a truly clean model with a bright focus patch, I have no doubt it’ll serve you well for years to come.

What’s your favorite fixed-lens 35mm camera? Let us know in the comments below.

See used listings:

KEH Camera Amazon eBay Olympus XA sample photos

Sample images are owned by Dan Bracaglia and provided to DPReview. Please do not reproduce them without written permission from the photographer. All images are digital scans with light processing.

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_4032431114","galleryId":"4032431114","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

The Olympus XA sports a sharp, fixed 35mm F/2.8 lens.
Photo: Dan Bracaglia

Olympus Cameras, now OM Digital Solutions, has been in the photography business long before most of us were born. From the original analog Pen F to the cult-status Stylus Epic (Mju II), there’s no shortage of legendary models to drool over. And I’m not just talking about film cameras – the modern digital Pen F is a sure-fire classic, too, as is the OG Pen E-PL1.

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However, of all the brand’s releases – from 1936 to 2024 – my favorite is the charmingly petite Olympus XA rangefinder point-and-shoot from the late 1970s.

See used listings:

KEH Camera Amazon eBay Olympus XA design and history The XA is made for shooting from the hip.
Photo: Dan Bracaglia

Gone are the days when a simple sliding mechanical door doubled as a lens cover and an on/off switch. And that’s a shame. Sure, the aughts had their fair share of crappy, sliding-door, CC-sensor compacts. While some photographers certainly revel in that nostalgia, it's still mostly a Gen Z thing.

Launched in May 1979, the Olympus XA goes back a little further. Built for maximum portability without the need for a case, it's an aperture priority-only camera, and features a rather unique vertical lever for setting one’s F-stop, located to the left of the lens. Other controls include a small manual focus lever at the bottom, a large red square shutter release on top, and… that’s about it.

Olympus XA sample.
Photo: Dan Bracaglia

Given the lens's teeny, tiny size, you might have some low expections of the optics. But peruse our samples below, and those on the greater internet, and you’ll come to one conclusion: it punches well above its weight. The optical formula is unsurprisingly simple: six elements in four groups – but sometimes, uncomplicated is better.

Olympus XA sample shot with the side-mounted Olympus A11 flash attached.
Photo: Dan Bracaglia

The XA has a four-bladed aperture but no onboard flash. Olympus sold several side-mounting accessory flash units alongside the XA. The Olympus A11 flash, in particular, produces some lovely, well-balanced results (see above). That said, the flash recycle time is comically long.

Olympus XA in use A focus depth scale on top of the lens makes nailing sharp shots a breeze.
Photo: Dan Bracaglia

It’s cute, it’s capable, and it’s a bit of a pain in the ass to shoot with, mostly due to the small size of the focus tab and viewfinder. That said, once you conquer the Olympus XA learning curve, i.e., learn to shoot without relying too much on the undersized viewfinder, it’ll be smooth sailing.

Depending on the condition of your particular XA, the center focus patch in the viewfinder can be faint. This is not an issue I’ve encountered, but it is well-documented. Fortunately, an easy-to-read focus distance scale on the top of the lens serves as a reliable method for nailing sharp subjects.

A lever on the bottom of the camera pulls triple duty. In position one, it adds 1.5EV exposure compensation. Push it one position further, and it checks the battery with a delightfully piercing beep. In the furthest position, it engages the self-timer.
Photo: Dan Bracaglia

Semi-auto or not, the XA doesn’t leave you in the dark about its exposure decisions. A match needle display on the left of the viewfinder indicates the camera’s current shutter speed of choice. Want to override that? You have one option: a lever on the bottom, when engaged, adds +1.5EV.

Olympus XA's modern digital equivalents The XA has no true digital equivalent, but the Ricoh GR IIIx comes close.
Photo: Dan Bracaglia

There are no tit-for-tat modern digital equivalents to the legendary film Olympus XA, but the Ricoh GR IIIx comes closest. Sporting a fixed 40mm equivalent F/2.8 lens and an APS-C sensor, it’s similarly built for shooting from the hip. Snap Focus mode allows users to set a default focus distance of choice, which is particularly handy for candids and street photography.

The next nearest digital equivalent is probably the Fujifilm X100 series. Though considerably larger than the XA and GR, these retro beauties boast a comparably faster 35mm equivalent f/2 lens paired with an APS-C sensor. They also sport a nifty hybrid optical/electronic viewfinder and plenty of old-school charm.

If you want to stick with the Olympus DNA, the rugged and compact OM System TG-7 is a great bet. Though it sports a smaller sensor than the cameras mentioned above (and can zoom), it’s highly pocketable, fairly simple to use and built to take a bruising.

Final thoughts and samples Olympus XA sample.
Photo: Dan Bracaglia

The Olympus XA may be a relatively uncomplicated, semi-automatic relic of the analog photography era, but it’s still darn fun to shoot with and seriously capable, particularly given its diminutive size. A sharp lens in a tough-built, simple-to-use (once you get the hang of it) package — what’s not to love? And it’s full-frame!

These days, the cat’s out of the bag, and XA prices have gone through the roof. As little as seven years ago, tracking down a minty one for under $50 was a fairly simple feat. Now, you can expect to pay around $250.

Olympus XA sample.
Photo: Dan Bracaglia

However, don’t let the price deter you, especially if you’re curious about experiencing the joys of shooting with this charmingly little rangefinder. After all, you can always resell a working XA to another film fiend if the vibes aren’t meshing, without taking a financial shellacking. The fixed-lens 35mm compact camera market remains as hot as ever.

But I suspect that few who experience the XA will end up going that route. Moreover, if you’re lucky to come across a truly clean model with a bright focus patch, I have no doubt it’ll serve you well for years to come.

What’s your favorite fixed-lens 35mm camera? Let us know in the comments below.

See used listings:

KEH Camera Amazon eBay Olympus XA sample photos

Sample images are owned by Dan Bracaglia and provided to DPReview. Please do not reproduce them without written permission from the photographer. All images are digital scans with light processing.

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_4032431114","galleryId":"4032431114","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Introduction The Panasonic S5 II and Nikon Zf are very different attempts to engage with the enthusiast photographer market

The Panasonic Lumix DC-S5 II and Nikon Zf look like very different cameras but they currently represent their respective manufacturer's main offering for keen photographers in the circa-$2000 part of the market.

Sony and Canon have both nudged their competing models up to the $2500 mark, leaving the Panasonic and Nikon looking quite keenly priced, by comparison. And, while they might outwardly look rather different, the two cameras are both based around the same 24MP BSI CMOS sensor and offer a lot of features in common.

We'll have a look at what each camera offers, discuss their relative strengths and weaknesses and hopefully help you understand which (if any) might be right for you.

Sensor and specs The two cameras differ in many regards, but we suspect they're built around the same sensor

Where they're the same: Both cameras share the same full-frame 24MP BSI CMOS sensor that's almost certainly from Sony Semiconductor Solutions (by far the camera industry's largest supplier). Both have phase detection autofocus, support 4K video up to 30p derived from the full width of the sensor but need to apply a 1.5x crop (to an APS-C sized region) to deliver their 4K/50p and 60p modes.

Where they differ: The Nikon can shoot JPEGs at up to 15fps in e-shutter mode, or Raws at up to 11fps using its mechanical shutter mode, whereas the S5 II can shoot JPEGs at up to 30fps (with focus fixed) using its e-shutter or Raws at up to 7fps, if you want continuous AF.

Handling The Panasonic offers customizable control points for a wide range of functions

Where they're similar: Both are mirrorless interchangeable-lens cameras with some external controls, electronic viewfinders and fully articulated rear displays, but that's where the similarities end.

Where they differ: Handling is perhaps the biggest difference between the two. The Panasonic has a pronounced, hand-shaped grip at the front, increasingly standard on modern cameras, whereas the Nikon Zf has a more classic design that hearkens back to the brand's cameras from the early 80's.

Modeled on the company's original pro and enthusiast-focused DC-S1, the Panasonic has a host of dedicated buttons and switches to change drive mode or AF-S/AF-C/MF and more at a moment's notice, plus an AF joystick. There's a control point for just about everything, and a wide range of customization options. The Zf has no joystick, no focus mode control and a more limited range of customizable buttons, leaving you more dependent on the on-screen menus.

Autofocus The Zf looks like a product of the early '80s, but its AF system comes from Nikon's latest flagship Z9 and Z8 models

Both cameras represent major steps forward in autofocus for their respective brands.

For Nikon, the Zf sees the arrival of the machine-learning-trained subject recognition system from the high-end Z8 and Z9 cameras. It also gains a version of the 3D Tracking system from Nikon's DSLRs, which makes selecting a (non-recognized) subject to track much quicker and simpler. The performance isn't quite as consistent as on the latest Sony and Canon cameras around the same price, but it's very close and is a significant step forward.

The Panasonic S5 II is the first of the company's cameras to gain phase detection autofocus, meaning it can directly assess the distance to a subject, rather than trying to infer it, as previous models did. This, combined with Panasonic's subject recognition algorithms produce a camera that can be more decisive than existing Lumix cameras but our experience is of a system that isn't as predictable or reliable as the best in class. The Panasonic's tracking is less good at sticking to subjects (recognized or not) and can occasionally refuse to focus altogether, if you're really unlucky.

High-resolution mode Panasonic's high-res mode requires fewer shots, can combine the images in-camera and perform motion correction on the final images

Where they're similar: Both cameras offer some degree of multi-shot high resolution mode, combining multiple shots into an image with a higher resolution than the sensor can capture in one go. Both systems expect you to use a tripod, but Panasonic developed its mode before so many patents restricting multi-shot modes arrived.

Where they differ: Panasonic introduced its system much earlier than Nikon, and its system is generally more advanced and usable than the Zf's. The S5 II shoots eight images with slight offsets to boost the nominal resolution to 96MP. What sets the Panasonic apart is its ability to combine its images in-camera, compare frames, and apply motion correction (using the data from a single image for parts of the image that have moved).

The Nikon offers a four-shot mode that uses whole pixel sensor movements to ensure at least one red, green and blue value is captured for each pixel location, removing the need to demosaic and preventing false-color from aliasing. There's also an eight-shot mode that performs this routine twice to boost noise/total performance. The sixteen-shot mode is more like that of the Panasonic, adding smaller offsets to increase the nominal resolution to 96MP. Then there's a 32-shot version that again boosts image quality through the weight of numbers.

Video Despite its retro looks, we found the Zf to be a surprisingly competent video camera

Where they're similar: Both cameras can shoot 4K footage at up to 30p using the full 6K width of their sensors or can shoot 60p footage from an APS-C crop. Both cameras can record this output in 10-bit precision, giving flexible Log files or ready-to-use HDR video to the HLG standard. The Zf is one of the few cameras to match Panasonic's provision of a waveform display for assessing exposure, putting the two cameras on what appears to be a pretty level footing.

Where they differ: But the deeper you delve, the more the S5 II delivers. The Panasonic can shoot 'open-gate' footage from the full sensor region. Alternatively, it can output the standard 16:9 video region in its native 5.9K resolution or 1.89:1 video as either DCI 4K or 6K footage. The S5 II also has a built-in fan for more dependable video capture and a full-sized HDMI socket for more secure connection to external devices. If video is really your thing, then the slightly more expensive S5 IIX model adds a series of additional video features, such as All-I codecs, Raw video output over HDMI and the ability to capture video directly to an SSD.

All that said, we've found Nikon's video AF more dependable in our use so far (though its digital stabilization introduces a degree of jitter).

Lenses Both companies have a range of relatively compact F1.8 lenses, but Panasonic's use of the L-mount means it has many more modern lenses available

Where they're similar: both cameras use relatively modern lens mounts, meaning the bulk of the lenses available were designed specifically for mirrorless cameras using the latest design and manufacturing techniques.

Where they differ: The S5 II uses the Leica-developed L-mount, which went full-frame in late 2015. The Zf uses Nikon's Z-mount system, which emerged three years later and has a comparatively less developed lens ecosystem.

In terms of native, modern designs, the Panasonic has a distinct advantage. Leica formed the L-mount alliance with Panasonic and Sigma, significantly boosting the range of lenses available. This openness to working with other manufacturers means the S5 II users can add the premium lenses from Leica or the often excellent options Sigma has made for full-frame mirrorless, in addition to Panasonic's own creations.

The Nikon Z-mount has a relatively sparse lineup by comparison. There are some excellent lenses starting to appear but third-party support has been limited, though there are some Nikon-branded versions of some popular zooms available. However, the Zf can also mount, via an adaptor, the majority of the company's F-mount DSLR lenses, with varying levels of function preserved.

Summary We found a lot to like about the Nikon Zf, but considering it side-by-side with the S5 II highlights the other possibilities open to Nikon

The Panasonic S5 II and Nikon Zf represent two very different ways to attract enthusiast photographers into the full-frame fold. There are cheaper models on the market: Canon's EOS R8 and Nikon's own Z5 in particular, but both the S5 II and Zf promise broader feature sets, larger batteries and, in their own ways, a more engaged or engaging shooting experience.

So how do these more cost-conscious alternatives to the Sony a7 IV and Canon EOS R6 II compare? We found the Nikon's autofocus to be more dependable and competitive with the performance of those two more expensive cameras in many circumstances. Its handling makes it less flexible than the Panasonic, but it exerts a certain appeal, despite its occasionally quirky behavior.

The Panasonic has the edge in terms of video, though not by much, and the more expensive 'X' version is even better equipped if that's a major focus for you. But although it's the better handling camera, we found it still lags the group in terms of autofocus reliability.

What would really shake the market up might be a hypothetical Z6 III, which offered more of the S5 II's hands-on control with the capabilities of the Zf. But as things stand, you have to choose from the cameras that actually exist.

Photo: Richard Butler

As we complete our Panasonic Lumix DC-S5 II review, we've run the camera through our recently revitalized studio test scene to see how it performs against the competition.

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You can now select it as an option within any review, and you can also view it below.

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The S5 II is built around a full-frame, 24MP BSI CMOS sensor with on-sensor phase detection, a first for Panasonic. Panasonic describes the S5 II's sensor as new, but it shares its fundamental specs with the S5, suggesting a closely shared lineage. Under the hood, the video-centric S5 IIX shares the same sensor, with additional video features like Raw video output, internal ProRes recording and external SSD support.

The S5 II also sports a new processor, created as part of a co-development project with Leica, which helps enable the S5 II's ability to shoot at 30fps in e-shutter mode and improved subject recognition tracking system.

Buy now:

$1798 at B&H Photo $1798 at Adorama $1798 at Amazon

For those waiting for Sony's innovative a9 III pro sports camera, we have good news: it's available to buy today, weeks earlier than expected. This $6000 camera is the first mirrorless camera to use a global shutter, which allows for 120 fps burst shooting with no rolling shutter. Another perk is the ability to sync with an external flash at any shutter speed, all the way up to 1/80000 sec.

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Other features on the a9 III include in-body image stabilization, 4K/120p video capture, a super-high-res electronic viewfinder, AI-driven subject recognition, a fully articulating 2M-dot LCD, and dual SD/CFExpress card slots.

For a lot more information about the a9 III, check out our review in progress.

Buy Now:

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

Photo: Dan Bracaglia

It’s okay to be curious – the Megadap ETZ21 Pro is an affordable and surprisingly compact AF-capable accessory for adapting Sony E-mount glass to Nikon Z-mount bodies, including both full-frame and cropped lenses/cameras.

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Priced at $250, the ETZ21 Pro supports electronic communication for full autofocus, autoexposure, image stabilization and aperture control. EXIF data is also transferred from lens to camera body. But how does it perform? Read on.

Key features

• Adapts Sony E-mount lenses to Nikon Z-mount camera bodies
• Compatible with full-frame and crop lenses/bodies
• Electronic contacts for full AF, AE, IS and aperture control
• EXIF data transfers between lens and camera
• Thin, stainless construction
• $250

The Megadap ETZ21 Pro Sony E- to Nikon Z-mount is available now for $250.

Buy now:

$249 at Amazon $249 at B&H Photo $249 at Adorama Competition

The ETZ21 Pro is seriously thin.

Photo: Dan Bracaglia

There are a number of similarly-priced and spec’d adapters out there promising full AF/AE compatibility, including options from FotodioX and Techart. The former looks like it could have shipped out of the same factory as the Megadap. The latter looks a whole lot like Megadap’s prior generation Sony-to-Nikon accessory and which you can read more about in our review.

The discontinued Megadap ETZ11 is the predecessor to the current ETZ21. It offers similar function, but less speedy performance overall and a less robust build quality. Given the option, go for the newer version.

There are also, of course,

Design

This diminutive piece of tech is delightfully powerful.

Photo: Dan Bracaglia

The Megadap ETZ21 Pro is a remarkably diminutive accessory. It adds only 2mm to the length of a lens, but that's not an arbitrary amount. This positions your adapted E-mount lenses at the 18mm mount-to-sensor distance they were designed for instead of the 16mm distance a Z-mount camera provides.

Built from stainless steel, it feels reassuringly solid and well-made in hand. However, the fit can be worryingly tight with certain lenses and camera bodies. It continues to take some considerable effort to dismount the Megadap from my Nikon Z50.

The metal tab on the adapter acts as a lens lock. Beyond that, there’s not much to discuss design-wise besides the electronic contacts and mounting marks. Ultimately, it’s a refreshingly straightforward piece of tech.

Performance

Face and eye detection work great.

Nikon Z8 + Sony 24-70mm F/2.8 GM II. Out of camera JPEG. ISO 450 | 1/250 sec | F/2.8 | 70mm

Photo: Dan Bracaglia

I tried out the Megadap ETZ21 Pro using two different setups: a Nikon Z8 with Sony’s latest 24-70mm F/2.8 GM II and a Nikon Z50 with an ancient E 16-50mm f/3.6-5.6 kit lens attached.

AF speeds and precision impressed me in decent lighting conditions and with the latest-gen Nikon camera and Sony lens. Nikon’s subject detection and focus tracking work almost as if a native lens is attached. AF speeds slow down a little in lower light but are still very good. In general, I was able to use Face and Eye detection on the Z8 with great success, despite having a Sony lens attached.

Nikon Z8 + Sony 24-70mm F/2.8 GM II. Out of camera JPEG. ISO 64 | 1/250 sec | F/3.2 | 24mm

Photo: Dan Bracaglia

The Z50 and Sony 16-50mm combo performed modestly in decent light. Keeping in mind this lens is so long in the tooth, it might as well be a stalactite, I was again impressed with the performance. In low light, however, I ran into plenty of hunting and mis-focused shots, which is exactly what I expected. That said, I don't doubt that more recent, faster-aperture Sony primes, like the Sony E 15mm f/1.4 G, will perform admirably via the Megadap on my Z50.

It’s also worth mentioning that not all third-party Sony E-mount glass is currently supported by this adapter. Some folks report AF issues with especially long telephoto lenses. The takeaway? If you’re considering the Megadap ETZ21 Pro, try to take it for a spin with your current setup before committing to buy or put it through its paces during the return window.

I was able to use Sony’s 16-50mm kit zoom on the Nikon Z50, but not without a little (well, a lot) of vignetting.

Out of camera JPEG. ISO 12,800 | 1/320 sec | F/3.5 | 16mm

Photo: Dan Bracaglia

Making lens corrections

My Z8 photos look ridiculously sharp, despite the unusual pairing of gear but not every lens will fare as well. Because your Nikon camera can't recognize your adapted E-mount lenses, geometric distortion and vignetting corrections can't be applied to the camera's JPEG output. This presents a challenge for any lens that was designed with the expectation these corrections be taken care off automatically.

Processing the Raws gives a little more flexibility, but these files left Adobe Camera Raw somewhat stumped on how to approach lens corrections. For the Z8 combo, ACR automatically defaulted to the Nikon 24-70mm F/2.8 when I selected Auto Lens Correction. For the Z50, ACR didn’t even bother to provide a lens profile when I clicked the auto option. Capture One provided similar results. It's worth checking if your preferred software will let you apply corrections for lens combinations its creators hadn't anticipated.

Conclusion

The Megadap ETZ21 is a solid product built for a rather specific crowd.

Photo: Dan Bracaglia

The Megadap ETZ21 Sony E-mount to Nikon Z-mount adapter is a reliable method for attaching Sony mirrorless lenses to Nikon Z-mont mirrorless bodies without sacrificing autofocus, autoexposure or lens stabilization capabilities. Performance is impressive but it’s no magician.

You’ll still have better overall AF performance and precision sticking to native-mount lenses, sans adapter. And older Sony lenses tend to struggle when adapted in all but the best lighting conditions. Additionally, it may not always be possible to apply the lens correction that is an essential element of some lens designs.

However, as far as what’s currently available for Sony shooters wishing to dabble in the Nikon realm, there is no better option on the market than the Megadap ETZ21 Sony E-mount to Nikon Z-mount lens adapter.

The Megadap ETZ21 is truly a barely-there lens adapter.

Photo: Dan Bracaglia

What we like What we don't

• AF speeds are impressively fast
• Works with Eye and Face AF
• Exif data captured
• Firmware can be updated via attached camera body
• All-metal design
• 2mm thick when mounted
• Best performing adapter in its class

• Tight fight with some camera bodies and lenses
• Not compatible with all third-party E-mount lenses
• AF may be finicky with long telephoto lenses
• Lens corrections may not be available when processing

Buy now:

$249 at Amazon $249 at B&H Photo $249 at Adorama

Nikon has released NX Tether 2.0, which brings numerous features from the "classic" Camera Control Pro 2 software to modern mirrorless cameras.

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NX Tether 2 now offers full-time live view for both stills and video, even wirelessly when using the Z8/Z9. Users can now adjust a lot more settings than in the original NX Tether software, such as Active D-Lighting, file format and Picture Control mode. The user interface has been enhanced and is more customizable than in version 1.0.

NX Tether 2 is compatible with models such the Z6 and higher-end Z-series cameras as well as the D6 and D780 DSLRs but not the Zf, Z5 or Zfc. It can be downloaded free of charge from Nikon's website.

NX Tether Ver 2.0

Nikon is pleased to announce the release of Nikon Tether Ver. 2.0, a computer software application that enhances functionality for tethered shooting with a Nikon digital camera, available free of charge.

Ver. 2.0 adds support for popular functions that were part of the Camera Control Pro 2 program, such as the configuration of a wide variety of camera settings, live view display during remote tethered shooting and support for video recording. This software helps increase efficiency for solo photographers working unassisted in a studio setting with hand-held shooting or commercial products. This software enables the output to be confirmed with the client on a large monitor as the shoot progresses. The variety of camera settings that can be configured remotely from the computer have also been increased to provide professional photographers the powerful support they need for effective still image and video recording in a wide variety of situations.

The user interface has been designed for ease of use and offers an organized layout of various functions employed with tethered shooting, enabling users to freely adjust the layout of the live view and control displays to better suit their workflow. The simple, yet multi-functional design enables intuitive operation without hesitation for increased work efficiency

Primary Features: NX Tether Ver 2.0

• Support provided for still image and video recording.
  
  
• Full-coverage live view display that allows photographers and clients to check that the desired results are being achieved on a large monitor, even when they are away from the computer.
  
  
• Camera operation functions that offer control over shooting settings unique to Nikon, such as Picture Control and Active D-Lighting.
  
  
• Users can select the format (JPEG, RAW, HEIF) in which images are recorded. What’s more, when recording to both card slots (RAW + JPEG or HEIF), the user can choose to have only the JPEG or HEIF images transferred to the computer.
  
  
• Wireless control is also possible by utilizing the camera’s built-in Wi-Fi to connect to the computer with Nikon’s free Wireless Transmitter Utility software. (supported cameras: Z 9, Z 8)
  
  
• Supports an efficient workflow when switching between still image and video recording, and a multi-functional yet simple and easy-to-use user interface.
  
  
• The application window layout can be arranged to suit each user’s preferences and workflow, providing flexible operation in any situation.

Supported OS

• Windows Version:
  • Microsoft Windows 11
  • Microsoft Windows 10
• Mac Version:
  • macOS Sonoma 14
  • macOS Ventura 13
  • macOS Monterey 12 

Cameras supported with Ver. 2.0.0

• D-SLR Cameras: D6, D780
• Mirrorless Cameras: Z 9, Z 8, Z 7II, Z 6II, Z 7, Z 6