Here are the first pictures of the Fujifilm GFX Eterna 102MP medium format cinema camera (see also the press release):

Here are the details of the Fujifilm GFX Eterna 102MP medium format cinema camera:

• GFX 102MP CMOS II HS sensor
• 102MP
• 4k / 6k / 8k
• X-Processor 5
• GFX mount
• Other mount adapters are in development
• Named after Fujifilm’s historical ETERNA series motion picture film line
• To be released in 2025
• Additional information:

Fujifilm announces the development of its first filmmaking camera: the Fujifilm GFX Eterna (Fujifilm GFX Eterna 102 MP medium format cinema camera)

Via ProNews

The post First pictures of the Fujifilm GFX Eterna 102MP medium format cinema camera appeared first on Photo Rumors.

As previously reported, Meike officially announced the 85mm f/1.8 Pro series lens in China. Here are the details:

• Full-frame lens
• Lens design: 11 elements in 8 groups
• 9 aperture blades
• Filter size: 62mm
• Minimum focusing distance: 0.85m
• Weight: 389g
• For Sony E and Nikon Z-mount, Leica L-mount will be introduced later
• Meike lenses are also sold at B&H, Amazon, and Meike’s website
• Additional information:

New picture of the upcoming Meike 85mm f/1.8 Pro series lens

The next Meike Pro series autofocus full-frame lens will be released in November: 85mm f/1.8

The post Meike 85mm f/1.8 Pro lens announced in China (E/Z/L) appeared first on Photo Rumors.

Yongnuo is teasing a new YN 35mm f/1.8 DA ART lens (E/X/Z). Here are the details (Google translated):

"According to online news, Yongnuo is about to release the YN35mm F1.8 DA ART lens. According to Yongnuo's naming rules, DA stands for half-frame lens. The lens may be launched in black and silver versions. It supports Sony E-mount, Fuji X-mount, Nikon Z-mount. Yongnuo also gave this lens an "ART" suffix. From the picture, it can be seen that this series of lenses focuses on high image quality."

Yongnuo lenses are also sold at Adorama, B&H, and Amazon.

The post Coming soon: Yongnuo YN 35mm f/1.8 DA ART lens (E/X/Z) appeared first on Photo Rumors.

Image: Fujifilm

Fujifilm has announced that it's working on "its first-ever filmmaking camera" called the GFX Eterna, which will use the 44 x 33 mm medium-format sensor found in its GFX 100 II and 100S II cameras. The company says it's set to be released in 2025, when it'll likely compete with other large-format* cameras like Red's V-Raptor with a 41 x 21.6 mm sensor, and Arri's Alexa 65 with its 54 x 25.6 mm sensor.

The 102MP sensor will be paired with Fujifilm's X-Processor 5, also brought over from its more stills-focused cameras. That sensor is "approximately 1.7 times larger" than 35mm sensors, which themselves are considered relatively big for cinema cameras.

The GFX Eternal looks like a typical cinema camera

While there are plenty of details still missing – this is only a development announcement – the company's news post includes two renders of the GFX Eterna, which looks like a typical cinema camera: it's adorned with buttons and ports, including connectors for Genlock, USB-C, Ethernet, remotes, audio equipment and video output. Also included is a locking lens mount, which is vital when dealing with extremely heavy and costly cinema glass.

Alongside the camera, the company says it's working on a 32-90mm power zoom GF lens, which translates to roughly 25-71mm full frame equiv. The company is also working on an adapter that will let you put industry-standard PL-mount lenses onto the camera's G-mount. However, anyone using PL mount lenses with the camera will want to make sure they have a big enough image circle, as many cinema lenses are made for cameras with "Super35" sensors, which can be 25 x 13.9 or 25 x 18.7 mm. That makes them closer in size to APS-C sensors than the 36 x 24 mm full-frame sensors the GFX sensor was made to outclass.

While the GFX Eterna may be the company's first cinema camera, it's not necessarily a surprising move. The GFX 100 II has a ton of video features, including a series of video modes designed for the company's incredibly expensive Premista cinema lenses, which have a larger imaging circle than full-frame but smaller than the full GF mount. However, it is interesting that the company would choose to jump into the cinema market with this sensor, given its relatively poor rolling shutter performance. In its UHD and DCI 4K modes, it manages a 14-15ms readout rate via line-skipping, but at higher resolutions, it reaches upwards of 30ms, which could render even moderate speed pans as a wobbly mess.

*In video terms

Image: Sony Alpha Universe

Sony has teased its newest high-performance camera, the a1 Mark II, on its Sony Alpha Universe website, as well as on its social media channels like Instagram and TikTok. According to the teaser, the new model will be announced next Tuesday, November 19, during a live-streamed event that starts at 9:00 am Eastern time.

The company did not provide any details beyond the new product name and announcement time. However, the banner on the Sony Alpha Universe website links to a scheduled video on Sony's YouTube channel where the launch will be live-streamed.

85%

Overall score

Jump to conclusion

The Panasonic Lumix S9 is the newest addition to Panasonic's line of full-frame mirrorless cameras, though it differs considerably from previous models by being the first to diverge from the traditional DSLR form factor. More significantly, it's the first full-frame Lumix camera aimed squarely at social media content creators.

The basic premise of the S9 is that it's designed to simplify and speed up the social media workflow. The goal is to allow content creators to generate photos or videos ready to publish straight out of the camera without additional editing in other applications.

Key specifications

• 24MP BSI CMOS full-frame sensor with on-sensor phase detection
• Sensor stabilized to 5EV (6.5EV w/ lens)
• 1.84M dot fully-articulating LCD
• Open-gate video at 4K or 6K up to 30p
• Extensive range of video resolutions, frame-rates and codecs
• Dedicated LUT button to apply LUTs to output (photos and video)
• Tight integration with the new Lumix Lab smartphone app
• Dual conversion gain sensor with explicit 'Dual Native ISO' gain selection
• Single UHS-II card slot

The Lumix S9 is available at a suggested retail price of $1499 in six color options: night blue, dark olive, crimson red, sakura pink, mint green and jet black.

Alongside the S9, Panasonic also announced a new L-mount lens designed to pair with the camera. The Lumix S 26mm F8 is a fixed-aperture, manual focus 'pancake' style lens with a suggested retail price of $199. But the S9's primary kit lens is the 18-40mm 4.3-6.3, a collapsible zoom that presents a compact combination, but increases the cost to $1797.

Index:

• What's new?
• How it compares
• Body and controls
• Image Quality
• Autofocus
• Video
• Conclusion
• Sample gallery
• Specifications
• Press release

What's new:

Under the hood, the Panasonic S9 has a lot of similarities to the Panasonic S5II. However, by necessity, it omits some of that camera's hardware features in the interest of size, including an EVF, a second main command dial, a joystick, a second card slot and an integrated fan.

While the two cameras share a common technology platform, the S9 is not simply a more compact version of the S5II: the cameras have very different design philosophies and are aimed at different types of users. One of the starkest examples of this is in the S9's lack of a mechanical shutter or hot-shoe mount, which signals its prioritization of video over stills. There's no reasonable way to use a flash with this camera, and you'll have to be careful to avoid rolling shutter when shooting moving subjects.

Social media-focused workflow

The S9 is specifically designed with a social media workflow in mind. This means providing social media creators with the tools necessary to generate distinctive, signature looks to their photos and videos straight out of the camera without requiring any editing skills. Panasonic describes this as the ability to "Shoot, edit and share in 30 seconds." While 30 seconds may be a bit optimistic, it's important to understand that this social media workflow underpins the camera's features and design choices.

In essence, the S9 is intended to provide a camera-to-social-media workflow that can be executed quickly and easily, without relying on a computer or any third-party software. Although the camera can support an enthusiast photographer's workflow, it's not optimized for it, and lacks features that dedicated photographers are likely to value, such as a dedicated viewfinder, a second command dial and direct controls for features such as AF mode and area.

Expanded use of 'Real Time' LUTs

A core feature of the S9's social media workflow is Panasonic's 'Real Time' LUT system, first introduced on the S5II. This does more or less what it sounds like: it lets you instantly apply a look-up table (LUT) color transformation to a photo or video as they're captured to provide a custom look that would otherwise require additional editing to achieve.

LUTs have been a standard method of applying color and tone transformations in the video world for years, but Panasonic has expanded their use to broadly apply to both stills and video. It promises this LUT-based workflow will let you skip the color editing step entirely because you can use LUTs to achieve whatever look you want straight out of the camera.

LUTs are such an essential part of the S9's identity that it has a dedicated LUT button next to the AF-On button on the back of the camera. Tapping this button allows you to quickly cycle through all the LUTs loaded into the camera to select the look you want to achieve.

The S9's Real Time LUT feature allows you to generate custom looks straight out of the camera.

In addition to a dedicated LUT button, the camera improves upon the system found on the S5II in several ways. The S9 can store up to 39 LUTs in memory, up from ten on the S5II. LUTs can also now be applied to any of the camera's Photo Style color modes; previously, LUTs could only be applied to the V-Log style (for which most existing LUTs are designed). When using the Real Time LUT system, this is handled automatically; if the LUT you're using is designed for V-Log, it'll be applied on top of V-Log. If it's designed for the standard color mode, it'll be applied on top of that, and so on.

Users also now have the ability to control LUT opacity, ranging from 10-100%, and it's even possible to apply two LUTs at once by creating a custom 'My Photo Style', which lets you choose a base Photo Style and apply one or two LUTs on top of it. However, switching between a single Real Time LUT and a customized Photo Style requires using a separate menu, as the My Photo Styles aren't included in the list of LUTs.

New LUTs can be added to the camera quickly and easily using a companion smartphone app, though it's also possible to add a LUT in .cube or .vlt format from an SD card if desired.

4K open-gate recording and MP4 (Lite) codec

Another part of the S9's focus on social-media-ready footage is its 4K open-gate video mode. This captures video from the entire 3:2 sensor region and downsamples it from 6K to 4K. The taller, squarer 3:2 format makes it easier to take both a standard 16:9 crop (for platforms such as YouTube) as well as a tall, narrow 9:16 crop for vertical video platforms such as Instagram and TikTok.

The 4K open gate footage is captured in a new MP4 (Lite) codec, which records either 25 or 30p footage at an average of 50Mbps. This low bitrate assumes you won't be making major edits to your footage (having already used LUTs to get the color right, in-camera), and allows quick transfer to a smartphone. This is the camera's default mode.

The S9 can still capture standard resolutions at higher bitrates if you prefer, and handles vertical shooting well if you're solely interested in 9:16 output. It can also capture its full sensor 'open gate' output at full 6K resolution, if you want to punch-in and pan around the footage on your computer. But the camera's app doesn't handle the MOV files these higher quality modes are recorded in.

In most of the camera's modes it will shoot 4K open-gate footage by default. This can be changed in the menu, but the camera can only shoot at up to 4K resolution. To access the full-width 5.9K and 6K open-gate options, you'll need to switch out of the dedicated video mode to use them.

In video mode you also get access to Panasonic's excellent video features like waveform monitor, shutter angle, zebras, Log view assist, record frame indicator, and the other usual suspects.

Lumix Lab app

Part of the S9's social media workflow depends on the Lumix Lab smartphone app.

Lumix Lab allows you to apply LUTs to photos and videos and to manage the LUTs installed on your camera. However, the real power of Lumix Lab is the ability to quickly and easily create your own custom looks and generate custom LUTs based on those looks. The app includes various editing tools, including exposure, color, HSL, tone curve, split toning, sharpening, noise reduction, sharpness, and even simulated film grain. If you edit an image or video clip and get a look that you want to reproduce in the future, you can instantly save a custom LUT based on your edits and load it into one of the camera's 39 memory banks.

The Lumix Lab app allows you to create and manage LUTs on your camera.

The idea is to allow you to create a signature look that you can automatically apply to any media you capture in the future simply by selecting your custom LUT using the camera's LUT button.

Lumix Lab also includes a library of ready-to-use LUTs, including LUTs created by Panasonic and by other social media content creators. This means you have many creative options to choose from, even without having to make LUTs yourself.

You can also use Lumix Lab to generate different crops from a video to post to different platforms. This comes into its own if you shoot the default whole-sensor 3:2 'open-gate' footage. However, the app only accepts footage shot in the MP4 (Lite) and MP4 formats. The 6K open-gate and full-width 5.9K modes, which you might want to edit more extensively, can only be shot as MOV footage, so aren't compatible. So you need to think about your intended workflow when choosing a codec.

Lumix Lab has a fair number of tools for editing your footage – assuming you shot it in MP4 instead of MOV.

Its auto-transfer system is also at the mercy of your phone's operating system. When testing it on iOS, it would often stop automatically downloading files from the camera when the phone went to sleep, prompting the S9 to pop up a warning about un-transferred files that would prevent the camera from turning off until we tapped a button. It is possible to get around this by selecting what media you want to send to your phone from your camera, rather than having your phone try to automatically download everything.

How it compares

Panasonic's pitching this camera squarely at creators who are still mainly shooting with their phones. If it wants the S9 to woo them, it has to do two things: be almost as convenient to carry around and shoot with as a phone while producing much higher-quality images. The camera's compact size, along with the revamped app, are plays at making it convenient, while its full-frame sensor should provide enough raw photo and video quality to stand out in a crowd of smartphone images.

Of course, the S9 isn't the only choice for creators looking to step up to a dedicated camera. Sony's ZV-E1 is a direct rival focused on meeting the needs of creators. We've also included the Panasonic DC-S5II, the company's more photographer-friendly model underpinned by similar hardware.

Finally, the Sigma fp is admittedly a slightly left-field comparison, but its lack of viewfinder, reliance on an electronic shutter, and use of the same sensor make it an interesting point of comparison.

For its price and size, the S9 has a pretty impressive spec sheet for an entry-level camera, largely owing to its high-res, full-frame sensor and ample video features. The company's stabilization tech is some of the best in the business when it comes to video, but its autofocus is still not the most reliable, while Sony's is.

This makes the comparison with the Sony ZV-E1 interesting. It, too, aims to make creators' lives easier, but through different means. The S9's forte is making it easy to find or create a look for your images, while the ZV-E1 is tuned to make filming yourself easier. While it has its own custom LUT feature, it's mostly focused on video instead of photos, and can only be applied to S-Log3 footage.

The S9's focus on creators means there are plenty of features that could push enthusiast and more photo-focused buyers towards more expensive cameras like the S5II. The S9's bigger cousin has more controls, a viewfinder, a mechanical shutter and a second SD card slot. It's also better equipped for video, with a full-size HDMI port versus a fragile micro one and a dedicated headphone socket (with the ability to record to an SSD on the more expensive S5II X model). The S5II's extra features come at a cost, though, both figurative and literal; it's over 50% heavier, and its MSRP is $500 higher than the S9's, both factors that could be dealbreakers for on-the-go content creators or people who are just starting out.

Body and handling

The S9 has a sleek design reminiscent of old rangefinder film cameras. Its face is a mostly flat surface, a leatherette cover that comes in six colors. (Real ones, too; it's nice that Panasonic hasn't skimped on saturation like many gadget makers are these days.) Unlike Panasonic's higher-end offerings, the S9 doesn't have any programmable buttons up front.

The camera is relatively compact for housing a full-frame sensor; it's smaller and lighter than Panasonic's four thirds-equipped G9II. However, the S9 is still not a small object, and we felt its thickness, rounded edges, and lack of ergonomic affordances made it difficult to confidently shoot it one-handed like you can with cameras like the S5II or GH5II. Its surface finishes are relatively slick, and it doesn't have any front grip to speak of. (There is a leatherette-inlaid thumbrest, but it can only do so much.)

At the top of the camera is the mode dial, along with a programmable command dial that runs around the shutter button. There's also a programmable red button that, by default, will start recording up to 4K video even if you're in a photo mode, in your choice of MP4 Lite, standard MP4, or MOV. If you want access to the camera's highest resolution mode or all of its framerates, though, you'll have to switch to video mode. Finally, there's a cold shoe mount, which could be useful for mounting accessories like vlogging microphones or on-camera lights as long as they can provide their own power.

Moving to the back of the camera, there's the flip-out touchscreen, which is the S9's only display. It's also the main way to select your focus points, though you can also use the four-way controller once you've entered the AF point select mode. The screen is responsive, crisp and clear at 3.0" and 1.84 million dots (960 x 640px), but it's susceptible to glare and washing out even on relatively overcast days.

Above the display, you'll find the LUT and AF On buttons, both of which are programmable and easy to reach while shooting. Down to the right is the control wheel, along with the rest of the camera's buttons. We found the dial to be quite sensitive, which limited our choices while choosing its function; it's no fun looking down at your camera and discovering that you accidentally changed to a black and white photo style, or adjusted your white balance.

That sensitivity does help you zip around menus, but it doesn't make it any easier to use the wheel when you're one-handing the camera. It's placed such that you'll have to remove your thumb from the thumbrest to make adjustments, something that will almost certainly unbalance the camera unless you're supporting it with a second hand.

Photographers used to direct control of two principal parameters will probably wish for an extra command dial, and those who hate diving into menus will likely want an extra programmable button or two. However, you can make things a little less fiddly if you customize the Q menu and "My Menu" systems. The main menus of the camera are also reasonably easy to navigate, and you can control them with either dial, or using the touchscreen.

Battery

The S9 uses Panasonic's 16 Wh DMW-BLK22 battery, the same one found in the S5II, G9II, and GH5II. It's rated to give you around 470 shots per charge, though as always that number is likely well below what you'll get during real-world use. That's quite a good showing, especially for a camera of this size; that's enough power that most photographers could head out for a weekend of shooting without worrying about bringing a second battery, unless you plan on shooting a lot of video.

The S9 doesn't come with a power adapter or battery charger, but it has a USB-C port that you can use with standard charging bricks. According to Panasonic, you should be able to keep it topped up with a battery bank, provided it and your USB cable support outputting at 9V at 3A.

Image Quality

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

The S9 has the same sensor as the S5 II, so it's no surprise that it has very similar image quality in most situations. While we haven't shot the studio scene with the ZV-E1, the a7S III has nearly identical performance to it. Its 12MP sensor captures much less detail than the S9's 24MP one, meaning that it's even less suited to taking stills.

The S9's Raw files have roughly the same amount of detail as most other 24MP cameras, such as the Nikon Z6 II, and similar levels of noise at moderately high and very high ISOs.

The S9's JPEG engine does a decent job at sharpening fine details at low ISOs without giving images an overprocessed look. At moderately high ISOs the noise reduction does a good job of retaining all but the finest details, though it can start to struggle at extremely high ISOs.

In its standard color mode, the S9's JPEGs generally have good colors, and, though our color chart does suggests the greens can be a bit yellow, and the yellows can be a bit green, this didn't have a noticeable impact in landscapes or photos of foliage that we took as part of our testing.

Part of the allure of the camera is the ability to easily go beyond the standard color mode by applying a LUT. With the ability to built LUTs on top of the built-in Photo Styles, and to mix them together using the My Photo Style profiles, the S9 gives you more ability to tune the JPEGs to your liking than most other cameras – though that does come with the risk of going overboard.

Dynamic Range

The S9 doesn't have the strongest dynamic range performance, displaying higher levels of read noise than other cameras that use the same sensor. This is because the lack of a mechanical shutter forces it to use the faster 12-bit readout mode on the sensor, which results in lower dynamic range than a 14-bit readout mode.

The camera's intended audience of content creators and vloggers likely won't run into issues with it unless they routinely edit their Raw images and try to raise the shadows.

It's of no disadvantage at all for video users, as almost all of its rivals also drop to 12-bit readout to capture video. It is one more small reason not to consider the S9 as a general-purpose photography camera, though, as it could be somewhat limiting when shooting high-contrast work such as landscapes.

Exposure Latitude | ISO Invariance

Lenses

A few months after the S9 launched, Panasonic released its 18-40mm F4.3-6.3 collapsible lens, which became one of the kit lens options for the camera. You can look at our sample gallery, shot with the S9, to get an idea of what images taken with it look like, but the summary is that it's a lens that prioritizes compactness and lightness over image quality. That isn't necessarily a bad thing; when paired with the lens, the S9 is surprisingly light and compact for a full-frame camera.

That won't necessarily be true if you decide to upgrade the lens. There are plenty of L-mount options that are good for video, but the faster and sharper the lens, the bigger and heavier it'll be; you don't have to go much bigger than the 18-40mm before the lens starts to outweigh the S9, partially negating its compact design.

Autofocus

The S9 features 779 autofocus points, along with several modes for choosing autofocus: pinpoint, one area, one area plus, zone, horizontal / vertical zone, full area and tracking.

To select where you want the camera to focus, you can either tap the touchscreen or use the four-way controller. By default, the four-way controller focus point select mode requires a button press before you can start moving the focus point.

Each subject detection mode also has its own part priority mode.

Like most modern cameras, the S9 features several subjects that it can automatically recognize. It also lets you pick which part of each subject you'd like to prioritize. Following the v1.1 firmware update, that list is:

• Humans (Eye/Face or Eye/Face/Body)
• Animal (Eye/Body or Body)
• Car (Driver/front priority or entire subject)
• Motorcycle (Helmet priority or entire subject)
• Train (Cab priority or First car)
• Airplane (Nose priority or airframe)

The S9 also does a good job of not overriding your tracking selection point if it recognizes a subject elsewhere in the frame.

All the subject recognition modes are also available when shooting video. As with many cameras, the regular autofocus tracking performance isn't as strong in video, but the subject recognition tracking is relatively dependable. It would occasionally have to hunt for focus in busy scenes, but such instances were rare.

When shooting photos, the S9 could keep up with a subject moving towards it at a predictable speed, in a straight line in focus at its 8fps 'high' speed during our continuous autofocus test.

1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Its performance in our more difficult autofocus tracking test wasn't as reliable. When asked to identify and stay on a subject moving across the frame and coming towards it at a varying speed, it sometimes struggled to keep him in focus. Like many cameras, it would do fine until the subject turned, slowing the speed with which the subject was moving toward the camera.

The issue appeared in both the regular tracking mode and when using subject detection, and the S9 was generally able to recover after two or three frames, suggesting the camera is able to recognize the subject it should be focusing on but is less good at measuring and predicting its distance. While this performance is far from terrible, it solidly places the S9's autofocus system in a tier behind the most capable systems from Sony, Nikon, or Canon.

Our everyday use of the camera outside of the test reinforces those results, but the main focusing pain point wasn't the system's accuracy; it was the ergonomics of picking a tracking point. Both methods – using the touchscreen or the four-way controller – require readjusting your grip and touching the camera, which can throw off your framing. Overall, we found it difficult to quickly select a focus point and get the framing we wanted, which hurt the experience of photographing quick-moving subjects.

Video

The S9 can shoot open-gate in both 6K and 4K; the former is useful if you want maximum quality and flexibility to crop and reframe in traditional editing software, and the latter is useful if you plan on doing quick, simple crops on your phone. The goal is to make it easy to shoot a single video that can be output as vertical and landscape, though it can be difficult to frame a shot in a way that'll be sensible in both formats.

It can also shoot in standard UHD 4K, DCI 4K, and 1080p and has some more obscure options: 5.9K for maximum resolution but pre-cropped to 16:9 and a 4:3 '3.3K' mode that uses a 1.5x crop of the sensor and can be used for shooting with anamorphic lenses. You'll also run into that crop if you shoot above 30p in the 4K modes.

The S9 has several video-focused features: it has a resizable and movable waveform exposure monitor, a red border on the screen to act as a recording indicator, two levels of zebra patterns, the option to set shutter angle instead of speed and, as of the v1.1 update, multiple customizable frame guides to make it easier to compose for different aspect ratios.

You can have up to three frame guides, which you can move and scale, letting you understand how your framing will work for different output crops.

Perhaps the most important feature, especially for vloggers, is the quite capable in-body image stabilization. The stabilized sensor does a good job of smoothing out the shakes that come with shooting hand-held footage while still being reactive enough to let you intentionally move the camera without the sensor fighting you. We didn't run into much of the jerkiness or grab-and-release issues that can show up with less sophisticated stabilization systems.

If you need an even steadier shot, you can also activate 'Boost I.S.' mode, which is meant to mimic footage shot on a tripod, at the cost of giving you less freedom to move the camera – if you try to pan with Boost I.S. on, the aforementioned issues will start to show up. The S9 also has electronic image stabilization that can be layered on top of the physical stabilization and support for Panasonic's 'Dual I.S.' mode that syncs the IBIS with a lens' optical image stabilization to provide an even smoother shot.

One notable omission is the 3.5mm headphone jack. Thanks to the lack of audio monitoring, we had to re-shoot a few videos we filmed with the S9; while an audio meter appears on the display when you plug in an external microphone, it won't always tell the whole story, especially if the issue is interference or handling noise.

One last note for vloggers hoping to quickly capture footage from their lives: the S9 can occasionally take upwards of 4 seconds to boot up. Subsequent boot times are much lower, around a second, but it's worth being aware of if you need your camera to reliably start up in situations where two or three seconds could be the difference between getting a shot and missing it.

Video Quality

The standard 4K footage from the S9 has an acceptable level of detail, though it's far from the best we've seen. When shooting above 30fps in 4K, the camera uses a crop of the sensor, resulting in less detail and worse noise performance. This is something to keep in mind if you prefer to shoot at 60fps for slow-motion purposes or to achieve a hyper-real aesthetic.

Switching to 6K or the other >4K resolutions does provide a slight increase in detail, but most creators would likely best be served sticking to 4K rather than dealing with substantially larger files, especially if they plan on transferring the files to their phones. The exception is those who need the flexibility of the open gate aspect ratio in editing.

Rolling Shutter

It's not the worst rolling shutter performance we've seen, but it's definitely something to keep an eye out for.

Depending on what subjects you typically shoot, the S9's rolling shutter performance could be something to watch out for.

The camera's 4K 24p mode takes a little over 20ms to read out, which is towards the upper end of what we'd consider acceptable. There's a definite risk of you seeing the warping effects of rolling shutter at these speeds (though we didn't experience any jello-like interaction between this and the camera's stabilization movements).

The 6K and 3.8K open-gate modes take even longer, as they're reading more of the sensor's height at the same rate. This is no problem if you then crop a 16:9 region out of the footage, since there'll only be 22ms worth of change between the top and bottom of that crop, but any full-height, vertical 9:16 crops will have a higher risk of distortion, as they'll show the full 25ms.

LUTs

The S9 isn't the first time we've seen Panasonic's Real Time LUT system, but it obviously plays a big role on the camera, given the dedicated button for it. Essentially, it lets you shoot footage with a 'look' baked in; you can download new looks from Panasonic's Lumix Lab app or make your own.

If you're used to a LUT-based workflow where you apply a LUT to Log footage, there is one extra aspect to be aware of: Photo Styles. The S9's LUTs have a base Photo Style, which can be – but isn't necessarily – V-Log. Many of the new LUTs are built to be applied to other color modes, such as Standard or Portrait.

If you stick to using the Real Time LUT feature via the LUT button, it's not something you'll have to worry about; the camera automatically figures it out for you. However, it's something to be aware of if you're using the My Photo Style feature to apply two LUTs at once. It automatically sets the base color profile based on the LUT you put in the first slot, but if you inadvertently change the base Photo Style or your second LUT is meant to apply to a different Photo Style, you can end up with some strange results.

You can combine two LUTs in a custom Photo Style.

There is one quirk of the LUT button: it automatically switches to the Real Time LUT photo style, but you have to use the separate Photo Style menu to switch out of it if you want to return to one of the built-in color modes. It's navigable once you've figured out the hierarchy, but can take some getting used to.

The S9 also has a "Log View Assist" mode, which lets you shoot in VLog but use one of the LUTs for the preview on the display rather than baking it into the footage. That way, you don't have to guess how it'll look with the LUT applied in editing but aren't married to that particular look.

Overheating

The camera usually takes a few minutes to recover from overheating.

When it was first released, the S9 had aggressive record-time limits to prevent overheating. With the v1.1 update, Panasonic added a setting that lets you bypass them if you're okay with trading known software record limits for longer but more unpredictable thermal ones. During our testing, we found it was possible to get the S9 to overheat, but it was able to handle recording for far longer than the typical social media workflow requires.

If your shooting style involves recording relatively short clips with breaks in between, as is the case with many vloggers, you likely won't run into issues unless you're shooting outdoors in harsh conditions. The one time we ran into overheating issues during actual use was when shooting relatively long (4-6 minute) clips in direct sunlight with high ambient temperatures around 31°C (88°F). It must be said that the person shooting the clips also struggled in those conditions.

Conclusion

By Mitchell Clark

When reviewing some cameras, it can be hard to tell where the line is between a stills camera that can also record video and a video camera that can also take stills. This has not been an issue with the S9. To put it bluntly, you will be disappointed if you buy this camera purely for photography – many people will probably be sad to hear that, given that its $1,499 price makes it one of the most inexpensive full-frame mirrorless cameras ever released, and its looks make it appealing.

That's not to say that you can't get good pictures out of the S9 because you can. If your goal is to separate yourself from the crowd on Instagram with image quality, the S9 is more than up to that task. However, if you're looking to get into photography as a hobby or already consider yourself a photographer and want a compact full-frame camera, it's worth looking for something that makes the experience more enjoyable. In the weeks I've been shooting pictures with the S9, I haven't reached a flow state with it where it felt like an extension of my hand; I had to stop and dive into menus or adjust my grip to change settings or focus.

In the weeks I've been shooting pictures with the S9, I haven't reached a flow state with it

I came closer to reaching that flow state when I stopped trying to use it as a photography tool and started using it to shoot videos with the intention of sharing them online. In the course of this review, I filmed part of a video review for the DPReview YouTube channel and almost a dozen videos for our Instagram page with it, and it fits well into that role. Its autofocus was mostly reliable, the video quality was more than sufficient for social media and even low-to-mid-range commercial work, and the ergonomics didn't matter once it was mounted to a tripod. When I took it off the tripod, the image stabilization was one of the better systems I've used.

I also appreciated that it was flexible enough for shoots where I was uploading straight to Instagram, and ones that had more extensive editing. That's clear from the differences in open-gate modes; the 4K one is good for quick phone-based edits and crops, and the 6K option provides wiggle-room for reframing in proper editing software even if you're delivering in 4K.

This came in use when shooting our video review of the S9, which you can watch below – it, like our first look video, was filmed entirely using an S9, which should give you some sense of how it performs.

Personally, I'm less enthused about the emphasis on LUTs. As I've said before, I suspect most people will find or develop one or two looks that they broadly stick with rather than picking a new LUT for each piece of content they're producing. If that's your workflow, though, the S9's LUT button makes it easy. However, I suspect many S9 owners will end up reprogramming it to do something else – even if they continue to use the Real-Time LUT feature to apply their signature look in-camera.

Outside of not being able to download MOV videos, Lumix Lab does a good job of streamlining the process of getting things off your camera and onto the Internet while still giving you the power to create and edit LUTs, apply them to ungraded images and videos, and make crops for different sites. However, it also didn't feel like the camera was useless without the app – if you wanted to use it more like a traditional camera that offloads footage to a computer, it's more than capable of that, too.

The microphone socket is so lonely without a headphone jack.

Some annoyances cropped up even when I was using the camera for its intended purpose. During my testing, the lack of a front tally light and a headphone jack occasionally led to me having to reshoot videos that I thought were in the bag, and rolling shutter performance could definitely be improved.

However, for most beginner creators, those will be caveats, not dealbreakers. If someone asked me what camera to buy to start a YouTube channel or to up their Instagram game, the S9 would definitely be on my list of recommended cameras.

Arguably, that could mean that it deserves a Silver award since it serves its niche well. The thing that keeps it from getting it, though, is that it's a bit of an unhappy medium competing for an audience that already has a lot of good choices: yes, it's really good for social media, but so are a lot of cameras that will also give you more room to grow as a photographer or videographer. And if you are really only going to be doing social media, you should think about saving some money and going with one of the APS-C vlogging cameras that are even smaller and lighter.

For those looking for the perfect photographer's compact or even one that's just good, you'll have to keep waiting with the rest of us.

Scoring

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

Compared to its peers

As a vlogging or general-purpose video camera, the Sony ZV-E1 is a strong contender to the S9. Sony's autofocus tracking is quite a bit ahead of Panasonic's, and the ZV-E1's 12MP sensor is more suited to video and has substantially less rolling shutter – and substantially less detail in stills. It also has features like a front tally light, auto framing to add dynamic movement to what would otherwise be static shots and a product showcase mode. And while it doesn't go all-in on LUTs like the S9 does, you can still upload your own looks and use them for monitoring and recording, though there’s no equivalent of the extensively customizable My Photo Styles. You will pay for those upgrades, though, as the ZV-E1 is much more expensive than the S9.

The Panasonic S5II shares a sensor with the S9 but in a substantially larger and heavier body. In return, you get all the features a photographer would want: an EVF, mechanical shutter, hot shoe mount, dual card slots and a heaping extra helping of buttons and control dials. It also adds a fan for cooling during marathon video shoots. And, thanks to a recent software update, you can now program one of the S5II's buttons to be a Real-Time LUT shortcut. It's also now compatible with the Lumix Lab app. Like the ZV-E1, the S5II is more expensive than the S9, to the tune of around $500.

The Sigma fp has always been a bit of an odd camera, but it is intriguingly comparable to the S9 in terms of its size, weight and, if you find the right sale, price. However, the fp's video could hardly be more different than the "Shoot. Share." ethos of the S9. To get the best out of it, you'll have to shoot the rather awkward CinemaDNG Raw to an external SSD or capture device; it doesn't have an internal codec capable of 10-bit color. It also has a fixed screen and contrast-based autofocus; while the S9 isn't an autofocus champion by any measure, its system runs circles around the fp's.

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.

Note: these sample images were taken using the original samples provided by Panasonic. However, the company said the models were reviewable. If you'd like to see samples taken with updated firmware, you can browse the sample gallery for the 18-40mm F4.5-6.3 kit lens, which we've re-uploaded with out-of-camera JPEGs.

Today Venus Optics officially announced the previously rumored/reported Laowa 15mm f/5 Cookie FF lens for E/Z/RF/L/M mount. The new lens can be purchased at:

• B&H Photo
• Laowa website (international shipping)

Key Features:

• Full frame lens
• 110° angle of view
• Lightweight at 158g
• Auto-aperture (Sony E & Nikon Z)
• Close focusing at 12 cm
• 39mm built-in filter thread
• 10-point sunstar effect
• Available in black and silver
• Price: $399
• Addition information on the M-mount version
• Sample photos:

Additional information:

Compact and Lightweight Design

The Laowa 15mm f/5 Cookie FF lens exemplifies the convenience of pancake lenses with its super compact and lightweight design, weighing just 158g. It is almost like a lens cap but offers great performance for someone who needs to shoot ultra-wide occasionally. You can carry it lens everywhere without any burden, leading to more spontaneous shooting opportunities.

Wide Angle of View of 110°

Despite its pocket-sized design, the Laowa 15mm f/5 Cookie lens offers a remarkable 110° angle of view. This ultra-wide perspective is perfect for capturing breathtaking landscapes and a wide variety of scenes, allowing photographers to tell compelling stories through their images.

Close Focusing Capability of 12 cm

With a close focusing distance of just 12 cm, this Laowa 15mm f/5 Cookie FF lens allows for impressive close-up photography. Easily create some interesting perspectives, especially with such a tiny lens size.

Auto-Aperture for E & Z mounts 

The inclusion of an auto-aperture function in both Sony E and Nikon Z mounts greatly enhances user experience. It simplifies the shooting process and allows photographers to focus more on their creative aspects and composition without the hassle of manual adjustments. Also with the electrical contacts, it effortlessly records detailed lens settings in the photo’s EXIF data. 

39mm Built-in Filter Thread

The lens features a 39mm built-in filter thread, photographers can easily attach screw-in filters directly on the lens for enhanced effects and improved image quality in various lighting conditions.

10-Point Sunstar Effect

Aperture stunning Sunstar effects with the lens's unique 10-point aperture design, creating beautiful starbursts in the images. It can be easily created when shooting towards a strong light source when stopping down the aperture.  This would adds a creative touch to landscape and architectural photography, making the shots truly stand out.

Pricing & Availability

The US price for Laowa 15mm f/5 Cookie FF Lens is USD399 for all mounts (Both Auto-Aperture and Manual versions) and colors. Pricing varies in different countries. 

Venus Optics launches new Laowa 15mm f/5 Cookie FF lens for Leica M+L mount ($399)

The post Announced: Venus Optics Laowa 15mm f/5 Cookie FF lens for $399 (E/Z/RF/L/M) appeared first on Photo Rumors.

Sony confirmed the announcement of the a1II mirrorless camera on November 19th:

B&H also already listed the Sony a1 II model on their website:

The rumored/leaked Sony a1 II camera specifications and pictures can be found here:

First leaked images and specifications of the upcoming Sony A1 II camera and Sony 28-70mm f/2 GM lens

You can watch the Sony a1II presentation here:

Sony sends invitations for the upcoming event on November 20-21 (Sony A1 II camera + Sony 28-70mm f/2 GM lens expected)

Sony Alpha “special event” announced for November 20-21

The post Sony a1 II camera announcement confirmed for November 19th appeared first on Photo Rumors.

Fujifilm announced the development of its first filmmaking camera - the Fujifilm GFX Eterna (Fujifilm GFX Eterna 102 MP medium format cinema camera):

Fujifilm Unveils the Development of its First Filmmaking Camera “FUJIFILM GFX ETERNA”

Achieving rich, true to life visuals with the large format sensor
Paving the way for a new era of film production and timeless masterpiece creation

TOKYO, November 12, 2024 – FUJIFILM Corporation announces that it is currently in the process of developing its first-ever filmmaking camera, the “FUJIFILM GFX ETERNA” (GFX ETERNA), with plans for a release in 2025. The “GFX ETERNA” will feature a large format sensor, “GFX 102MP CMOS II HS”, which is approximately 1.7 times larger than a 35mm sensor, and the high-speed image processing engine “X-Processor 5”, enabling filmmakers to capture rich, true to life visuals and have enhanced flexibility in post-production. Both the “GFX 102MP CMOS II HS” sensor and “X-Processor 5” are the latest technologies featured in the mirrorless digital camera “FUJIFILM GFX100 II”, which delivers extraordinarily high image quality with its 102 million pixels.

Fujifilm will showcase the “GFX ETERNA” as a reference exhibit at the comprehensive media event “InterBEE 2024”, which will be held from November 13th to 15th 2024.

After its founding in 1934, the Fujifilm Group has played an important role in Japan’s film industry by developing and introducing domestically-produced positive film for movies. Through continuous innovation, Fujifilm has expanded its product range to include the motion picture color negative film “ETERNA series” and the cinema zoom lenses “Premista series” and “ZK Cabrio series”. For over 90 years, Fujifilm has been providing reliable products for the film production industry and beyond. In addition to its success with photographic films, cameras and digital cameras, in 2017, Fujifilm introduced the groundbreaking mirrorless digital camera “GFX series”, featuring a large format sensor approximately 1.7 times larger than a 35mm sensor, delivering extraordinarily high image quality. Fujifilm has since made continuous improvement to the “GFX series”, including its video capabilities.

The “GFX ETERNA,” currently in development, is set to revolutionize film production. Leveraging Fujifilm’s expertise and experience in the field of filmmaking, the company will combine the exceptional capabilities of Fujinon lenses with the advanced technology of the “GFX series.” Aptly named “GFX ETERNA,” it aspires to become a driving force in shaping a new era of filmmaking and dedicate to contributing to the creation of timeless cinematic masterpieces.

In addition to the development of the “GFX ETERNA”, Fujifilm is also working on the development of a power zoom GF lens that is optimized for this G mount camera, planned to have actual focal length of 32-90mm, and a mount adapter from G to PL mount lenses, widely employed in film production.

As the demand for producing various types of videos such as feature films, short films, documentaries, and web content continues to grow, there is a growing need in the film production industry for high-quality videos that can be produced quickly and inexpensively. In preparation for the launch of the “GFX ETERNA”, Fujifilm will conduct rigorous field tests, while expanding its product lineup to enhance the “GFX system”. Through these efforts, Fujifilm is committed to contributing to the video production with high-quality and productivity across a wide range of fields.

More pictures of the Fujifilm GFX XΩ modular medium format mirrorless camera prototype

Fujifilm X Summit at GPP Photo Week 2019 recap (Fujifilm GFX modular mirrorless camera prototype)

The post Fujifilm announces the development of its first filmmaking camera: the Fujifilm GFX Eterna (Fujifilm GFX Eterna 102 MP medium format cinema camera) appeared first on Photo Rumors.

Sony sent invitations in China for the upcoming event on November 20-21, where the rumored Sony A1 II camera and Sony 28-70mm f/2 GM lens will be officially announced:

First leaked images and specifications of the upcoming Sony A1 II camera and Sony 28-70mm f/2 GM lens

Sony Alpha “special event” announced for November 20-21

Sony is rumored to announce several new products next month

First Sony A1 Mark II camera rumors

Sony is rumored to announce a new FE 24-70mm f/2 GM lens – here are the details

Sony rumored to announce four new E-mount lenses this year

The post Sony sends invitations for the upcoming event on November 20-21 (Sony A1 II camera + Sony 28-70mm f/2 GM lens expected) appeared first on Photo Rumors.

It seems that the rumors about new Ricoh GR IV and GR Monochrome cameras got debunked pretty quickly:

“Sorry! The online rumor that the Ricoh GR4 camera may be released in the first quarter of 2025 has been verified by internal channels to be false news. An insider was quoted as saying: “The release date of the Ricoh GR4 is still unknown, but it will definitely not be in the first quarter of 2025". When asked why there were rumors of the release of the Ricoh GR4? The source responded: The Ricoh GR series cameras are highly praised by users and the market feedback is hot. It is not surprising that there have been many rumors about the release of the GR4 last year and this year. It is too early to talk about the specific release date of the Ricoh GR4 camera. The existing GR3 and GR3x series models are still in short supply.”

Rumors about new Ricoh GR IV and GR Monochrome cameras got debunked quickly

Kimio Tanaka: there will be no monochrome Ricoh GR camera

Somebody converted their Ricoh GRIIIx camera into Monochrome (DIY)

Customized Ricoh GRm monochrome camera

The post Debunked: rumors about new Ricoh GR IV and GR Monochrome cameras appeared first on Photo Rumors.

The previously reported 7Artisans 9mm f/5.6 ASPH lens for E/L/R/Z with a new rear ND filter is now officially announced and available for order:

• 7Artisans store
• Amazon US | Amazon CA | Amazon UK |Amazon DE | Amazon IT | Amazon FR | Amazon ES

Additional information:

The post Announced: 7Artisans 9mm f/5.6 ASPH lens with a new rear ND filter appeared first on Photo Rumors.

The previously rumored 7Artisans 10mm f/2.8 II ultra wide-angle full-frame fisheye lens for E/L/R/Z is now officially announced and available for order:

• 7Artisans store
• Pergear
• Amazon US | Amazon CA | Amazon UK |Amazon DE

Additional informiton:

• New design
• Sharper images compatible with 40MP cameras
• Fluorescent scales
• 185° Ultra wide angle fisheye
• Upgraded performance with 2 ED and 1 ASPH lenses
• Easy creation of panoramic VR
• 0.15m Close focusing distance

Technical specifications:

The post Announced: 7Artisans 10mm f/2.8 II ultra wide-angle full-frame fisheye lens (E/L/R/Z) appeared first on Photo Rumors.

Pergear announced a new 100mm f/2.8 full-frame 2x magnification ultra macro lens for Sony E, Nikon Z, Canon RF/EF, and Leica L cameras (price: $287). Pre-orders are now open at Amazon US | Amazon CA | Amazon UK |Amazon DE.

Additional information:

• De-clicked aperture
• All-metal lens body
• Lens size: 15.7x8cm
• Aperture range: f/2.8 to f/22
• 14 elements in 9 groups: 4 low-dispersion ED lenses, 3 high-refractive-index lenses
• 0.3m minimum focusing distance
• 13 aperture blades

Lens design

1:1 Magnification

2:1 Magnification

Infinity

The new lens appears to be identical to the TTArtisan 100mm f/2.8, but the Pergear version is significantly cheaper:

TTArtisan 100mm f/2.8 2x full frame macro lens now available (E/X/Z/RF/L/GFX/F/EF)

New TTArtisan 100mm f/2.8 2x full frame macro lens announced

The post New: Pergear 100mm f/2.8 full-frame 2x magnification ultra macro lens (E/Z/RF/EF/L) appeared first on Photo Rumors.

Introduction

Nikon has talked about targeting 'creators' with each of the four APS-C Z-mount cameras it's launched so far, but has generally made sure the results are solidly photographer-friendly, too.

Its Z50 and Zfc models were differentiated primarily by the Zfc having a fully articulated rear screen, along with throwback styling and controls, which meant that the decision between the two was primarily a question of style. The Z50's built-in flash was the other key feature to set them apart.

With the launch of the Z50II, even the difference in rear screen movement has been eliminated, which might make the choice seem even harder. But the Z50II is based on a newer generation of technology than the Zfc, so we thought we'd take a look at what that means, so you can work out how much it matters for your needs.

Specs

Both the Zfc and Z50II are based around the same 21MP CMOS sensor, first introduced in 2016's D500 DSLR. We've seen 26 and 40MP APS-C sensors arrive in the intervening years but although these can capture more detail, they don't generally do any better in terms of tonal quality, noise and dynamic range, so we're not overly concerned about its age.

The main respect in which the two cameras differ is in terms of processor. The Z50II is built around the newer, more powerful Expeed 7 processor, helping it deliver a level of capability and performance the Zfc simply can't match.

Features

The newer, more powerful processor gives the Z50II much improved autofocus (which we'll look at later in this slideshow) as well as enabling faster shooting and much more flexible video.

In stills mode the Z50II can capture 15 or 30fps bursts of JPEGs with full autofocus, making it much better for capturing action than the Zfc, which topped-out at 11fps in JPEG (9fps in Raw). Also on the Z50II's side is its pre-burst capture mode that starts buffering images when you half-press the shutter, letting you record up to one second of action from before you fully press the button.

The Z50II can also capture 10-bit video, which expands your output options, and 4K/60p from a 1.52x crop region of the sensor. We'll look into the implications of this later.

The cost of the new processor is a precipitous drop in battery life. The Z50II is rated as delivering around 38% fewer shots per charge than the Zfc, using the same battery. This is a slightly unfair comparison, given the Z50II has a flash and the Zfc doesn't, but it's still rated to give at least 25% fewer shots per charge than the original Z50.

Handling

Beyond the difference in capabilities, the two cameras also differ in terms of controls and handling. The Zfc has dedicated dials for shutter speed, aperture and ISO, along with a P/A/S/M switch. It also has two command dials, so can be used in the same way as the Z50II, if you prefer. We found the Zfc's dedicated controls to be somewhat quirkily implemented – you'll often end up using the command dials to fine-tune the settings and the Auto ISO implementation is downright peculiar – but it looks distinctive and attractive in a way it's hard to argue the Z50II does.

The Z50II has an updated viewinder that, while it shares the same resolution and magnification as the Zfc (and its own predecessor), has a new OLED panel that can reach a peak brightness twice as high as the older cameras. This means there should be a less jarring transition when you start and stop using the viewfinder in bright conditions.

Autofocus

Autofocus is another area in which the Z50II benefits from a newer processor and five years more development.

The most obvious difference is that the Z50II has been trained to recognize nine different subject types (up from three) and gains an 'Auto' subject mode that prompts the camera to check for all the different subjects it can identify. This risks slowing the AF down a fraction in the very fastest-moving circumstances, at which point you can select the type of subject you're trying to capture, but for the most part, you can just leave it set to Auto and know the camera will use its full capabilities when needed.

But perhaps a bigger deal for day-to-day photography is the return of 3D Tracking, which mimics Nikon's quick and easy-to-use tracking system from the DSLR era. This helps bring the Z50II up to the standards of the latest Canon and Sony cameras in terms of speed and ease of use, whereas the Zfc's tracking was a little slower and more fiddly to use. The Z50II's tracking is generally less prone to drifting off its subject than with the Zfc.

All this makes the Z50II a quicker and easier to use camera in a wide range of photographic situations.

Image quality

Given they're based around the same 21MP CMOS sensor, we're not surprised not to have seen any obvious differences in image quality between the two cameras. This is no bad thing, as it's a chip that does a good job of balancing the demands of stills and video, even if it does fall a little behind some of the newer Fujifilm and Canon models in terms of detail capture.

However, while the image quality is directly comparable, the Z50II gains a button giving you direct access to the camera's Picture Control color modes and lets you download alternative color recipes from Nikon's cloud service. This should prompt much more experimentation with color modes than you're likely to remember to with the Zfc.

Finally, the Z50II can output 10-bit HEIF files conforming to the HLG standard, allowing you to take advantage of the greater capabilities of modern high dynamic range displays.

Neither camera would be our first choice for, say, landscape photography or situations that really benefit from additional detail capture, but they're both very capable for most requirements.

Video

The Z50II ends up being a significantly more capable video camera than the Zfc, despite them being based around the same sensor and both being aimed at a stills and video creator audience.

The Z50II gains the ability to capture 10-bit video. This allows it to shoot N-Log video that tries to maintain as much of the camera's captured data, to boost creative flexibility for color grading the footage. It also lets the camera capture Hybrid Log Gamma (HLG) video which is designed to take advantage of the wider range of colors and brightness that high dynamic range displays can offer.

It also gains a waveforms display that is especially useful for setting exposure when shooting Log footage. But the thing that's likely to have the biggest impact for the largest number of video shooters is that the Z50II has a headphone socket for monitoring audio (whether setting levels before recording or listening for distractions during recording), which the Zfc lacks.

Perhaps the most critical difference, though, is that the Z50II's video autofocus is much more reliable.

Lenses

In this article we've assumed you're interesting in buying into the APS-C line of Nikon's Z mount. Obviously there's no difference between the Z50II and Zfc in terms of available lenses, but it's still worth looking at what's available.

Now that Nikon has allowed Sigma to introduce some additional primes and Viltrox has just gone ahead and made some anyway, the baby Nikons are a much more interesting prospect than they were a few years ago. In terms of zooms you're currently stuck with Nikon's rather pedestrian variable aperture options, but there are plenty of primes to pick from.

Other companies offer more own-brand APS-C lens lineups and higher-end models with higher res and image stabilization that Nikon lacks, but we're no longer in the position of Nikon making nice-enough bodies with very limited lens choices.

Conclusion

The decision between the original Z50 and the Zfc primarily came down to a question of how much importance you gave to the style and traditional controls of the Zfc, vs the value of the built-in flash offered by the Z50.

The Z50II makes enough of a leap forward, in terms of speed, autofocus sophistication and video that most people will be better served by the new camera, rather than the Zfc. You have to be really attracted by the styling (and unwilling to wait to see if there's going to be a ZfcII) to opt for the smaller, more retro model, at this point.

Image: 7Artisans

7Artisans has announced the 10mm F2.8 II, a full-frame fisheye lens for Canon RF, Nikon Z, Sony E and L-mount camera systems, which replaces the company's existing 10mm F2.8 lens. 7Artisans suggests the lens should be good for applications like landscape, architecture and astrophotography.

Optically, the 10mm F2.8 II comprises 11 elements in 8 groups, including one aspherical and one ED element. The lens is manual focus with an internal focus design, and the minimum focus distance is 0.15m (5.9"). It features a 10-bladed aperture.

The lens is constructed of metal and has a de-clicked manual aperture ring. It also has distance and depth of field scales.

The new lens weighs 602g (1.3 lbs), or about 6% more than its predecessor. It's 75mm (3") in diameter and 95mm (3.7") long.

The 7Artisans 10mm F2.8 II retails for $278 and is available immediately.

The latest Kickstarter/Indiegogo updates:

New MAMBAPOD portable tripod that can be set up anywhere: $193,005 raised.

New GRUMBLER do-it-yourself customizable divider system for camera bags: $2,269 raised.

New BAGVENT multifunctional travel desk companion hanging bag: $2,692 raised.

Sidekick Pro camera back by Clever Supply: $104,578 raised.

New Super telephoto 240mm lens for smartphones: $379,042 raised.

New Snapzy interactive projector camera for kids & families: $9,585 raised.

New: EduSnap 2-in-1 telescope: $98,456 raised.

Previous successfully funded campaigns that are still available:

Peak Design Outdoor Line camera bags: late pledges available.

LIT DUO 1 light meter: late pledges available.

OnePro backpack for outdoor photography: available for pre-order.

SWIFT-LOCK by SPINN.DESIGN: available for pre-order (use code RUMORS for 15% off).

UnifyDrive UT2 portable NAS for creators on the go: late pledges available.

4k night vision telescope & camera: late pledges available.

The post Updates on the latest Kickstarter+Indiegogo photography projects appeared first on Photo Rumors.

Leica announced a new Cine Play 1 compact and lightweight 4K premium home cinema projector

FUJIKINA Barcelona Coming Soon

What to expect next from Nikon?

Leica Noctilux 50mm f/1.2 black paint lens rumored to be announced next

There is no more a space in the Nikon Z camera model nomenclature

Fujifilm Patent For GFX Fixed Lens Found

Canon RF50mm F1.4L VCM and Canon RF70-200mm f/2.8 L IS USM Z Shortages

Canon Cinema EOS Firmware Updates Coming in December

The post What else is new? appeared first on Photo Rumors.

This week, Nikon announced its latest APS-C camera, the Z50II. It's an update to 2019's Z50, using the same sensor but with an upgraded processor. With it comes Nikon's 3D tracking autofocus system, which can recognize up to nine subject types and automatically switch between them.

During our brief time with the camera, we were able to put it to the test shooting some wildlife around Seattle, as well as a variety of landscapes and other subjects.

You can read our overview of the Z50II and our initial review here.

Click here to see the gallery

7Artisans will announce a new 9mm f/5.6 ultra-wide angle lens with a rear ND filter on November 11:

The previously rumored 7Artisans 10mm f/2.8 II lens will also be announced on November 11:

Additional information on the upcoming 7Artisans 10mm f/2.8 II lens (E/Z/R/L)

The Meike 85mm f/1.8 Pro series lens will be officially announced on November 11:

The post Coming next week: Meike 85mm f/1.8, 7Artisans 9mm f/5.6, and 10mm f/2.8 II lenses appeared first on Photo Rumors.