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Fujifilm X100VI initial review

DP Review Latest news - Mon, 02/19/2024 - 22:00
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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?

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

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Categories: Photo News

Fujifilm X100V vs X100VI: What's the difference and should you upgrade?

DP Review Latest news - Mon, 02/19/2024 - 22:00
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
Categories: Photo News

Fujifilm X100VI initial review

DP Review Latest news - Mon, 02/19/2024 - 22:00
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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?

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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Categories: Photo News

Fujifilm X100V vs X100VI: What's the difference and should you upgrade?

DP Review Latest news - Mon, 02/19/2024 - 22:00
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
Categories: Photo News

Fujifilm announces X100VI at X Summit Tokyo event

DP Review Latest news - Mon, 02/19/2024 - 21:30

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.

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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:
Categories: Photo News

Fujifilm announces X100VI at X Summit Tokyo event

DP Review Latest news - Mon, 02/19/2024 - 21:30

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:
Categories: Photo News

Film Friday: The Olympus XA, photography’s best tiny rangefinder

DP Review Latest news - Fri, 02/16/2024 - 06:00
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.

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Categories: Photo News

Film Friday: The Olympus XA, photography’s best tiny rangefinder

DP Review Latest news - Fri, 02/16/2024 - 06:00
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.

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Categories: Photo News

Nikon Zf vs Panasonic Lumix DC-S5 II: comparing the $2000 full-framers

DP Review Latest news - Wed, 02/14/2024 - 07:00
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.

Categories: Photo News

Panasonic Lumix DC-S5 II added to studio scene

DP Review Latest news - Tue, 02/13/2024 - 06:00
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
Categories: Photo News

Sony a9 III available today: global shutter comes early

DP Review Latest news - Thu, 02/08/2024 - 13:13

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
Categories: Photo News

Megadap ETZ21 Pro review: A super-thin Sony-to-Nikon mirrorless lens adapter with impressive autofocus performance

DP Review Latest news - Thu, 02/08/2024 - 06:00

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
Categories: Photo News

Nikon NX Tether 2.0 adds video shooting, live view, additional settings control

DP Review Latest news - Tue, 02/06/2024 - 20:00

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
Categories: Photo News

Firmware update brings Pixel Shift and bird detection to Nikon Z8

DP Review Latest news - Tue, 02/06/2024 - 20:00

Nikon has released firmware version 2.0 for its Z8 high-end mirrorless camera, adding features for still and video shooters.

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Fans of avian photography will be pleased to see the addition of a dedicated bird detection mode. As with the Z9, Nikon claims improvements in recognition, tracking, and AF performance in various circumstances. The mode (distinct from that included as part of animal detection mode) should be able to recognize a wider range of birds in a wider array of poses, even against complex backdrops.

A new Auto Capture feature will take a photo or video when one or more specified criteria are met. Those criteria are distance, motion, and subject detection so, for instance, as soon as that deer enters the frame headling right to left, the Z8 can go to work.

The Pixel Shift feature first seen on the Zf has also arrived. The camera can take 4, 8, 16, or 32 photos by shifting the sensor by 1/2 or 1 pixel and then saving them as individual NEF files. The 4 and 8-shot modes provide improved color resolution and less noise at the sensor's native 46MP resolution, while the 16 and 32-shot modes produce whopping 180 Megapixel files with even more detail. The files must be merged in NX Studio before they can be shared or edited.

A new Picture Control mode has been added for portrait photographers. The "Rich Tone Portrait" mode retains skin details while preventing highlights from clipping, making it ideal for wedding and portrait photography.

The camera also gains a wider choice of shutter sound effects to indicate the firing of the camera's silent electronic shutter. Options include sounds that mimic the shutter of the Nikon F5 or S-series rangefinder, rather than the default DSLR-style sound effect.

Other improvements include:

  • The number of functions and operations that can be assigned to custom control has increased.
  • A function has been added that enables users to exit zoom with a half-press of the shutter-release button when focus mode is set to manual focus.
  • An option that allows users to choose the width of focus-point borders has been added.
  • An option that allows users to choose not to record shooting orientation information in image EXIF data has been added.
  • A new [Prefer focus point (face priority)] option has been added that centers the display on a face when one is detected while scrolling through photos during playback zoom.

Version 2.0 of the Z8 firmware can be found on Nikon's website.

NIKON RELEASES FIRST MAJOR FIRMWARE UPGRADE VER. 2.0 FOR THE NIKON Z 8

Nikon Also Releases Updated Free NX Tether Ver. 2.0 Utility Software to Seamlessly Support Professional Photographer and Videographer Workflow

MELVILLE, NY (February 6, 2024) – The critically acclaimed, editorially celebrated and award-winning Nikon Z 8 is getting even better. Today, Nikon announced the availability of the first major firmware update for the Z 8, Firmware Ver. 2.0. This free update adds multiple features and enhancements for still-image, video capture and improved workflow. Additionally, Nikon has also announced availability of the latest version of NX Tether, Nikon’s free tethering software for still and video professionals.

“The Nikon Z 8 already offered best-in-class features; with this latest update, we are once again proving that we are always listening to our customers and will work to surpass their expectations,” said Naoki Onozato, President and CEO of Nikon Inc. “We also realize that our users’ workflow is an important part of the job, and NX Tether Ver 2.0 is an example of the software ecosystem we can provide that integrates seamlessly to enhance the capture experience.”

Z 8 Firmware Ver. 2.0

Similar to the feature previously added to the Nikon Z 9, a dedicated option for birds has been added to the AF subject-detection options, increasing bird-detection performance in a variety of situations and providing greater support for bird photographers. Additionally, support for the Auto Capture function enables automatic shooting when the subject meets one or more pre-configured criteria, providing users with new options for both stills and video shooting.

The update also adds Pixel Shift shooting, which enables the creation of super high-resolution photos by using dedicated software to merge multiple NEF (RAW) files captured with the function. With the Z 8’s high- resolution sensor, images can be captured with an astonishing 180 megapixels. Pixel Shift shooting is ideal for capturing the finest details in subjects with intricate designs, such as buildings and art pieces, while providing precise rendering of the subject’s colors, textures, and structures.

There's more to love with the update, as Rich Tone Portrait Picture Control is added to enable the rendering of rich tones while retaining skin details for portrait photography. In combination with other functions such as Skin softening and Portrait impression balance, portrait photographers have more control than ever. More functions and operations can now be assigned to custom controls, and users now have access to new shutter volume and sound options.

Primary Updates: Z 8 Firmware ver. 2.0

A dedicated [Birds] option has been added to the Z 8’s AF subject-detection options. In addition to increased detection, tracking and AF performance with complicated and high-contrast backgrounds such as forests and mountains, this option better enables the detection of birds in various circumstances, including flying, perched and even those with unique-looking appearances.

  • The Auto Capture function has been added, enabling the automatic shooting of stills and video when the subject meets one or more pre-configured criteria. The three criteria that can be configured are a [Motion] option that detects subjects that move in a designated direction, a [Distance]1 option which begins shooting when a subject is within a certain range of distances, and a [Subject detection] option that detects people, animals, vehicles, or airplanes within the frame.
  • Firmware version 2.0 adds Pixel Shift shooting, allowing users to create high-resolution photos by using dedicated software to merge multiple NEF (RAW) files recorded with the camera mounted on a tripod or otherwise stabilized.
  • For portrait photographers, the addition of the Rich Tone Portrait Picture Control increases options for portraiture by realizing the rendering of portraits with rich tones while retaining skin details. This Picture Control is ideal for the creation of a base image in scenes where retouching is presumed, such as at weddings and for studio photography. In combination with the variety of other functions offered by Nikon for portrait photography, such as Portrait impression balance and Skin softening.
  • Other functions, and additional enhancements to operability and functionality:
    • The number of functions and operations that can be assigned to custom control has increased. o A function has been added that enables users to exit zoom with a half press of the shutter-release button when focus mode is set to manual focus.
    • New shutter sound and volume options.
    • An option that allows users to choose the width of focus-point borders has been added.
    • An option that allows users to choose not to record shooting orientation information in image EXIF data has been added.
    • A new [Prefer focus point (face priority)] option that centers the display on a face when one is detected while scrolling through photos during playback zoom has been added.
Categories: Photo News

Do camera manufacturers owe you future firmware upgrades when you buy a camera?

DP Review Latest news - Tue, 02/06/2024 - 09:06

One of the nifty benefits of technology is that we live in a world where products can be updated or upgraded after buying them. This includes obvious things, like computers, phones and tablets, and less obvious ones, like TVs, cars, or remote pet feeders. To my surprise, I recently discovered a firmware update for my oven, but since the release notes don't say, "This update fixes a bug that will burn down your house," I haven't bothered to install it.

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This also extends to cameras, and it benefits photographers because new firmware can enhance a camera's performance and extend its lifecycle beyond original expectations.

In the early days of digital photography, receiving firmware updates for cameras was rare; they existed, but almost solely to fix bugs. More recently, manufacturers began rolling out firmware upgrades, which go a step further to add new features or improve the performance of existing ones. Today, it's not an uncommon expectation that many products will receive one or more substantial upgrades over their lifetime.

Promises vs. expectations

The operative word in that last sentence is expectation. An expectation isn’t a promise. It’s rare for camera manufacturers to promise future firmware upgrades in advance, though it happens. Case in point: when Panasonic announced the GH5 II and GH6, it explicitly stated that it would release firmware upgrades after launch to add features to those models.

But expectations and promises are two entirely different things, and we frequently encounter camera owners who criticize companies for not releasing more significant firmware upgrades for their favorite product.

The Panasonic GH6 is one of the few camera models that promised a future firmware upgrade when announced.

Further, when a new model comes out, we sometimes hear from owners who contend that a manufacturer could have (or should have) added its new features to existing products via firmware. This often occurs when a newer or higher-end product is based on hardware similar to existing models. Most recently, we saw examples of this following the OM-1 Mark II release, though it's by no means unique.

This raises the question: Are manufacturers obligated to provide you with firmware upgrades when you buy a new camera?

A manufacturer's obligation to you

We all want the products we’ve already purchased to be improved. It’s a benefit of technology that didn’t exist until recently, and it's a meaningful one. But don’t mistake the benefits of getting a nice firmware upgrade with a manufacturer’s obligation to give you one.

"Don’t mistake the benefits of getting a nice firmware upgrade with a manufacturer’s obligation to give you one."

When you buy a camera with a specific set of features, the manufacturer's obligation is to deliver those features to you. Assuming it does, you received what you paid for, even if the hardware is capable of doing more. Increasingly, cameras are built on platforms that use similar parts, and manufacturers may segment products based on features enabled in firmware. Those willing to spend more will get more sophisticated features or higher performance.

The Nikon Z9 has received multiple firmware upgrades since its release, adding features as varied as 8K/60p internal Raw video capture and bird subject recognition.

Similarly, when your favorite manufacturer comes out with a shiny new model, know that it will likely do things your current model won’t, even if the hardware could support it.

I'm not suggesting that camera manufacturers shouldn't provide upgrades to existing products. Quite the opposite. It's good business, shows goodwill toward customers, and instills a sense of loyalty to a brand. I'm saying there's no guarantee you'll get one for any particular product, however, so you should plan accordingly.

Upgrade considerations when buying a camera

First, unless it was promised, don't assume that your camera will ever do more than it did on the day you bought it. You can only plan your purchase based on what a product is now, not what it might be or what you hope it will become. If an upgrade is released at some future date, that’s a bonus.

Second, accept that you decided the camera was worth what you paid for it when you made the purchase. If a new or more expensive model comes out, you're not entitled to any additions it brings, even if you believe your camera could offer them.

The OM-1 is the OM System's flagship camera, but some users have expressed frustration that it hasn't received more substantial firmware upgrades.

I’m not an absolutist. Are there times when a camera manufacturer has an obligation to provide updates? Sure. If something doesn’t work or there’s a legitimate bug in a camera's operation, companies should fix that and make it right. But that’s very different than owing you future features or performance enhancements just because you hope or assume you’ll get them.

If getting firmware upgrades is essential to you, buy a camera from a company that promises one before you buy it, but even then, understand there's a chance it won't materialize if the company changes business priorities down the road.

The good news is that even if your camera never gets an upgrade, that won’t prevent it from doing everything it did when you took it out of the box. And when your favorite manufacturer comes out with a new model to replace the old one, don't dwell on the fact that your camera doesn't get the latest features. Instead, celebrate the many photos your existing camera has allowed you to capture since you acquired it, and know that you didn't miss opportunities while waiting for a new model to arrive.

Categories: Photo News

Hasselblad 907x / CFV 100C sample gallery

DP Review Latest news - Mon, 02/05/2024 - 07:00
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Hasselblad's CFV 100C medium format digital back brings most of the features of the X2D 100C to smaller form factor that's compatible with a wide range of cameras from the company's history.

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

Buy now:

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

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

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

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

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

Categories: Photo News

OM System OM-1 Mark II wildlife and street scene sample gallery

DP Review Latest news - Sat, 02/03/2024 - 05:00
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OM System's OM-1 Mark II updates its flagship high-speed Micro Four Thirds camera with incremental improvements to hardware and some performance and handling tweaks. Micro Four Thirds is marketed as a lightweight system ideal for travel and wildlife where reduced size and weight can make or break plans for what gear to take on a trip. So we hit Seattle in search of nature and sightseeing.

Buy now:

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

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

View our OM-1 Mark II sample gallery

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

Categories: Photo News

The beginner’s guide to film photography: How to get started

DP Review Latest news - Fri, 02/02/2024 - 06:08
Photos Dan Bracaglia

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

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

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

Film cameras

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

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

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

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

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

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

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

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

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

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

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

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

Buy now:

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

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

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

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

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

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

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

Buy now:

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

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

Batteries

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

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

A place to get your film developed

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

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

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

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

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

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

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

The owner’s manual

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

Tripod or monopod

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

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

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

A light meter app

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

Extra film

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

A second camera body

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

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

A sense of adventure

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

Categories: Photo News

Review recap: What we put to the test in January 2024

DP Review Latest news - Thu, 02/01/2024 - 06:00
Photo: Richard Butler

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

Sony a9 III initial review Photo: Richard Butler

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

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Read the review.

Buy Now:

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

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

See the gallery here.

Buy now:

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

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

Read the review.

Buy now:

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

Photo: Dan Bracaglia

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

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Categories: Photo News

Sony ZV-1 Mark II review, a vlogging camera with excellent video that thrives in auto modes

DP Review Latest news - Wed, 01/31/2024 - 07:00
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"3708545803","isMobile":false}) }) 83%Overall scoreJump to conclusion

Product images by Shaminder Dulai

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

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

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

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$898 at Amazon $898 at B&H $898 at Adorama Index: What is it?

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

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

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

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

How it compares

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

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

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

Electronic
(Video only)

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

Fully articulating, 0.92M dot, 3" touchscreen

Fully articulating,
0.92M dot,
3" touchscreen

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

Up to 4K/30p

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

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

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

Body and handling

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

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

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

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

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

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

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

Battery

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

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

Video

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

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

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

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

CineVlog mode

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

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

Looks: Chic Clean Mono Moods: Forest Gold Ocean

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

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

File management and Sony's Creator App

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

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

Image stabilization performance

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

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

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

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

Audio performance

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

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

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

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

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

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

Autofocus performance

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

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

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

Image quality

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

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

Conclusion What we like What we don't like
  • Fast and reliable autofocus with face and eye tracking for people and animals
  • Clean out-of-camera 4K video
  • Touch-controls for selfie mode video
  • Quick boot-up time
  • Very good rolling shutter
  • Tally light and red border on touchscreen to confirm video recording
  • Built-in ND filters
  • Auto modes that make tech invisible
  • Wide lens for selfie videos
  • Lack of IS for stills, digital-only for video
  • Densely packed menus can be challenging to navigate
  • No headphone socket
  • Slow and quick motion drops to 1080
  • Electronic shutter limits lower end to 1/4 sec
  • Difficult to shoot stills in non-auto modes
  • Limited body buttons
  • S-Log3 in 8-bit has limited flexibility

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

A brief note about stills

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

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

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

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

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

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

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

Scoring

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

Sony ZV-1 Mark IICategory: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe video-centric Sony ZV-1 Mark II has excellent rolling shutter, industry-leading autofocus and a very nice selfie-friendly zoom lens, but runs into issues with short battery life and flat out-of-camera audio. The camera thrives in auto modes, making it best suited for users seeking a simple-to-use camera.Good forVideo creators seeking a feature-packed dedicated device without a large learning curve.Not so good forVideo creators desiring manual controls and still photographers seeking a pocketable compact.83%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"sony_zv1m2","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

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

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

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

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

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

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

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