The latest Leica news:
Ending soon: colored metal Leica M-mount body caps on sale for $20
Light Lens Lab 50mm f/2 “Rigid” lens for Leica M-mount announced
SUB13 announces the completion of their Leica M6 underwater housing, celebrating 70 years of Leica M
The post The latest Leica news appeared first on Photo Rumors.
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The latest Nikon news:
NASA astronaut Don Pettit photography from the ISS (mainly with the Nikon Z9 camera)
Nikon released new firmware updates for the 8-year-old D5600 and D500 DSLR cameras
Disguise, Nikon and MRMC to bring “Studio Extreme” immersive activation to CES 2025
B&H Photo and Payboo are running a special offer on Nikon gear
The post The latest Nikon news appeared first on Photo Rumors.
The latest Canon news:
Sigma 10-18mm F2.8 DC DN and Sigma 18-50mm F2.8 DC DN Firmware Updates
B&H Photo and Payboo are running special offers on Nikon, Sony, Panasonic, and Canon gear
The post The latest Canon news appeared first on Photo Rumors.
The latest Sony news:
Sigma 24-70mm F2.8 DG DN II Art Recall – May Not Be Able To Focus To Infinity Shooting Wide
LT: Sony FE 28-70mm f/2 GM Review – Sensational Image Quality
B&H Photo and Payboo are running special offers on Nikon, Sony, Panasonic, and Canon gear
The post The latest Sony news appeared first on Photo Rumors.
The latest Fuji news:
Fujifilm GFX100SII, X100VI, X-S20, X-T50, and X-T5 Firmware Updates – New AF Algorithm
The post The latest Fuji news appeared first on Photo Rumors.
We recently published our review of the Fujifilm X-M5, and a sample gallery taken with a production unit alongside it. In case you missed it, we're giving the sample gallery its own article, as we've added a few more examples to it to help show some of the differences between Fujifilm's Film Simulation color modes.
We were able to shoot this gallery with a wider array of lenses than our pre-production one, which should help illustrate the camera's capabilities when paired with a lens that has better optics than the XC 15-45mm f/3.5-5.6 kit lens.
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Pedestrians with umbrellas wander down a rainy alley in Yokohama's Chinatown. Panasonic S5IIX + Panasonic S 28-200mm F4-7.1 | F7 | 1/125 sec | ISO 1600 |
Japan is one of my favorite places to travel. I'm captivated by its culture, cuisine, and the warmth of its people. It's also a photographer's paradise, offering endless possibilities, from serene temples and bustling markets to breathtaking landscapes.
My favorite type of photography when traveling in Japan is street photography, especially at night. I never tire of exploring the vibrant cityscapes, from the iconic Shibuya Crossing in Tokyo to the atmospheric alleys of Yokohama's Chinatown.
However, there's a twist: I seek out rainy conditions. While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical. The umbrellas emerge, the city lights reflect off the wet pavement, and colors take on a vibrant intensity.
I was fortunate to visit Japan twice this year, and it rained both times. What some might consider lousy weather, I welcome as luck. Both my camera and I were thoroughly drenched during several nights of shooting, underscoring the value of weather-sealed equipment. (For the record, despite being so wet they were dripping with water, neither camera nor lens ever missed a beat.)
"While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical."
Unsurprisingly, some of my most memorable photos of 2024 were captured during these rain-soaked adventures. It's challenging to select just one favorite because, as many of you will surely understand, how we remember the value of an image is often intertwined with the experience of capturing it.
The photo at the top of this page is one of my favorites from these trips, captured in Yokohama's Chinatown. Off the main street, the area is full of narrow alleys, many decorated with traditional lanterns, creating small, intimate spaces. I spied these two pedestrians with similar coats and umbrellas turn into one of these alleys and instantly knew there was a potential photo around the corner.
I managed to fire off two shots before the scene lost its magic, but that's all I needed. I love that you can't see the main subjects' faces. They remain anonymous, allowing the viewer to focus on the place rather than the person.
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| Image: Godox |
Godox has announced the V100, a 100Ws version of its round-headed V1 on/off camera flashgun. The V100 can deliver up to 100 Watt Seconds of power in manual mode and can shoot over 70 consecutive bursts of light at full power. Recycle times of under 1 sec are possible when used with an external power source (1.7 sec with the internal battery).
Like the existing V1 and V1Pro, the V100 is available in versions compatible with the proprietary TTL flash metering systems of Canon, Nikon, Sony, Fujifilm or Olympus/OM System, each of which comes with a small secondary flash that can be used to provide a little 'fill.' It also has a 2W LED modeling lamp, to help you understand how its light is going to fall.
Godox says it's able to sync with the global shutter of Sony's a9 III, up to shutter speeds of 1/80,000, though the company also says the V100's minimum flash duration is 1/20,000, so presumably 1/80,000 sec shutter speeds would only experience a fraction of that output.
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| Image: Godox |
The V100 is powered by a rechargeable Li-Ion battery that can be charged directly using a USB-C cable or in an optional multi-battery charger if you need to prepare multiple batteries before a shoot.
It's compatible with the company's 2.4Ghz radio frequency off-camera communication protocol either as a transmitter or receiver.
Buy now:
No details have been given about price or availability but it's listed as "Coming Soon" on B&H Photo's website with a price of $349. B&H is also listing a Pentax-compatible version, not listed on Godox's website.
Power Beyond Limits, 100Ws at Hand
Introducing the epic 100Ws TTL Li-ion Round Head Camera Flash V100. The Godox V100 redefines the standards for flagship on-camera flashes, brining an era of 100Ws power to handheld lighting. This groundbreaking flash delivers global shutter sync, a vibrant 2.3-inch color touchscreen, an intuitive menu, and one-tap syn operations. It combine cutting-edge features and professional-grade performance to provide an ultimate solution for professional lighting.
The V100 sets a new benchmark for on-camera flashes by offering an unprecedented 100Ws power at its maximum output (M mode). With adjustable power steps from 1/1 to 1/256 or from 2.0 to 10, it covers the spectrum from subtle fill light to robust lighting for diverse scenarios, pushing the boundaries of creativity in flash photography.
Equipped with a 2.3'' full-color, high-sensitivity touchscreen, the V100 offers a smooth and responsive interface. Paired with an intuitive menu design and logical control layout, it allows photographers to quickly adjust power levels, activate high-speed sync, switch between TTL/M modes, and pair devices with a single tap, significantly improving workflow efficiency.
The V100 is seamlessly compatible with cameras featuring global shutter like Sony a9 III. Supporting shutter speeds up to 1/80,000 seconds and offering TTL functionality, it delivers outstanding high-speed continuous shooting with effortless precision. This makes it an ideal choice for sports photography, outdoor bright light, and other fast-paced shooting scenarios.
Thanks to its advanced cooling system, the V100 delivers 70 to 100 consecutive flashes at 100Ws without compromising performance. This ensures enhanced shooting efficiency and flexibility, allowing you to handle complex scenarios with ease and capture every brilliant moment of your creative vision.
| Zoom range (mm) | 28mm | 35mm | 50mm | 70mm | 80mm | 105mm |
|---|---|---|---|---|---|---|
| Continuous flashes (100Ws) |
75 | 75 | 80 | 90 | 100 | 100 |
The V100 continues the highly praised detachable sub flash (SU-1) design from the V1 Pro. This versatile feature enables dual-light setups with a single flash, offering creative lighting solutions for portrait photography.
With the built-in Godox 2.4G Wireless X System, the V100 functions as both a master and receiver unit. Its one-tap pairing capability seamlessly integrates with the X3 trigger or other Godox wireless flash units, streamlining multi-flash setups and boosting productivity.
Powered by the same high-performance lithium battery as the V1 Pro, the V100 ensures uninterrupted shooting. The Type-C charging port and compatibility with the VC26T Multi-Battery Charger make recharging quick and convenient.
The V100 includes a port for the PB960 Lithium-Ion Flash Power Pack, reducing full-power recycling time to as fast as 0.8 seconds. This feature supports demanding, high-intensity shooting scenarios, ensuring peak performance.
A 2W LED modeling lamp with 10 adjustable levels provides flexible options for previewing light effects or serving as a fill light. The lamp supports continuous or interrupt modes, catering to different creative needs.
The V100 is compatible with a broad range of Godox accessories, including the AK-R1 Accessory Kit for Round Flash Heads, AK-R21 Projection Attachment, AK-R22 Collapsible Diffusion Dome, and the S2 Speedlite Bracket for Bowens, among others. Whether you're fine-tuning light, exploring creative effects, or expanding functionality, the V100 is designed to meet every need.
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When Fujifilm announced that it was releasing a firmware update to help improve the X-H2 and GFX 100 II's autofocus performance in October, the community's response was near-unanimous: what about the X-T5? The camera's autofocus performance has been a sore spot in recent months, with some users complaining that their cameras were noticeably less accurate after a previous firmware update.
This week, Fujifilm answered. It's released firmware updates for its flagship APS-C camera, as well as the GFX 100S II, X-T50, X-S20 and X100VI, promising that its "AF algorithm has been partially revised to improve focusing accuracy and subject tracking performance." According to the release notes, the updates, which you can download using the links above, are solely dedicated to the autofocus improvements.
This is far from the first X-T5 update that promises to improve its autofocusing capabilities, so we'll likely have to wait for owners to chime in on whether it brings the performance up to a level that they're happy with. For now, though, it appears that Fujifilm has at least heard the complaints, and is working on addressing them.
B&H Photo and Payboo are running special offers on Nikon, Sony, Panasonic, and Canon gear: zero interest if paid in full within 24 months for Nikon, Sony, and Panasonic and 5% off for Canon:
Your choice of exclusive benefits when you use the Payboo Credit Card:
OR
PLUS
Disclosures:
The post B&H Photo and Payboo are running special offers on Nikon, Sony, Panasonic, and Canon gear appeared first on Photo Rumors.
Godox announced a new V100 TTL Li-ion round head touchscreen camera flash for C/N/S/F/O cameras.
Pre-orders are now open at B&H Photo. Adorama sells the model under their Flashpoint brand. Check also the Godox Amazon store.
Key Features of the new Godox V100:
With a powerful 100W output and an innovative round head design, the V100 Flash for Nikon from Godox is a compact and easy-to-use flash for portrait photographers. Designed with an integrated sub-flash, the V100 offers a 100W output and is ideal for on-location shooting. Its advanced cooling design allows for continuous shooting, offering 100 flashes at full power. The built-in 2W modeling lamp and 28-105mm zoom range allows for greater lighting control and flexibility and is compatible with Nikon i-TTL systems. Easily control settings with its large touch screen back and charge the batteries directly with a USB-C cable.
The post New Godox V100 TTL Li-ion round head touchscreen camera flash announced (C/N/S/F/O) appeared first on Photo Rumors.
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Beyer-Garratt 143 passes through Nantmor halt, southbound on the Welsh Highland Railway Fujifilm 16-55mm F2.8 LM WR II @ 19.3mm | F6.4 | 1/1000 sec | ISO 5000 |
After a frankly overwhelming 2023, this year has been one that's helped me re-connect with my love of photography.
A couple of trips back to the UK have certainly helped with this. Despite nominally being on vacation, it's always tempting to use trips home as a means of building up 'real-world' time on a camera, or take the literal change of scenery as a way to add variety to our sample galleries. It was still something of a surprise to notice that none of the images I narrowed my choice down to were taken in Seattle.
My final choice was as much about the experience of shooting it as the image itself. It was taken during a five-day hike across North Wales, because that seemed like a sensible thing to do in late October.
"It was taken on day three of a five-day hike across North Wales"
Day three of the trip had included the first serious downpour and our spirits were a little overcast as we stopped for lunch. Our break was interrupted by the distant sound of a steam train's whistle, and suddenly I made the connection to the stream of smoke we'd seen trailing across the Glaslyn valley, from a high vantage point earlier in the day.
Another hour's walk and our route finally crossed the hilariously narrow-gauge tracks of the Welsh Highland Railway, at Nantmor halt. A search of the station showed no sign of a timetable, and roaming data wasn't in any hurry to convey the information but eventually we found that a southbound train was due at the station just north of us in about ten minutes' time.
This gave my companion a chance to rest his legs and me enough time to set up the camera for the train's arrival. Could I possibly take both a video and a photo of a train that wasn't necessarily going to stop? I'd need to change the camera settings pretty rapidly to achieve both.
Thankfully I knew that 'Movie Optimized Control' mode on the X-T5 would ensure that none of the exposure settings would carry across from video mode to stills, so that I didn't try to capture a photo of a moving train at 1/48 seconds or shoot video at 1/1000th.
Fleeting patches of sunshine meant five minutes of anxiously adjusting the vari ND on the front of the lens, but also meant there was a decent level of contrast when the train finally appeared.
I captured some 22 seconds of video of the train's arrival before hitting stop and frantically unscrewing the ND filter from the front of the lens. I then managed about three backward steps and to quickly zoom the lens out before hitting the shutter.
The result is a surprisingly decent shot of the Manchester-built, ex South African Railways 2-6-2+2-6-2T Garratt loco. Or a train that "looks like a sad one-eyed monster" as a friend described it.
I always find it hard to judge my own photos. Here are the others that didn't quite make the cut, with descriptions of why I picked them:
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The Nikon Comedy Wildlife Photography Awards has announced the winners of its annual competition. For 2024, the contest received more than 9,000 entries from photographers worldwide, which judges whittled down to 10 category winners and 10 highly commended winners. Top winners received prizes ranging from a Kenyan safari to Nikon gear, including cameras and lenses.
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Photographer: Milko Marchetti (Italy)
Title: Stuck Squirrel
Location: Parco Podere Pantaleone, Italy
Caption: The photo was taken in the “Podere Pantaleone” park in Bagnacavallo, Ravenna, Italy. It is a park open to the public and schools, but from October to March, it is closed to visitors, and I am allowed (in exchange for photographs for educational and promotional purposes) to use a fixed photographic hide to photograph passerines, woodpeckers, hawks, and even 3-4 squirrels that come to visit the photographic set consisting of a small lake, and the surrounding vegetation. Generally, in Italy, especially in the area where I live, in the Po Delta Regional Park, it is very difficult to see and photograph squirrels (they are very rare), but here in the park, they are quite confident.
A few meters from the hide, an old cut tree has a hole (an old woodpecker's nest), and here, the squirrels (two years ago, there were four specimens) sometimes come out of curiosity to check out the old hollow tree. I have taken several photos of squirrels in many situations, but the shot I chose to participate in the Nikon Comedy Wildlife immediately struck me for the strange position assumed by the squirrel that seems to be stuck halfway in the hole in the tree, but in reality, it is the moment in which it is detaching the support on its hind legs and enters the hole.
This photo had an effect on me and made me smile a lot in the moment that I clicked the button, and during my evenings of slideshows and nature videos that I often hold at photography clubs and theaters, the audience always explodes in energetic laughter when I show this photo. I knew I had to enter it into the competition.
© Milko Marchetti / Nikon Comedy Wildlife
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Photographer: Jose Miguel Gallego Molina (Spain)
Title: Mantis Flamenca
Location: Onda, Spain
Caption: On my way back from my photo walk in a swamp near my town (Pantano el Sitjar), I suddenly stopped my car on the road when I saw someone ordering me to stop. This was when I saw my friend, the Flemish Mantis, for the first time. You can imagine the faces of the other cars passing by, seeing a car with the indicators on and the door open, stopped on the roadside, and a madman lying on the ground with his camera in his hand.
© Jose Miguel Gallego Molina / Nikon Comedy Wildlife
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Photographer: Eberhard Ehmke (Germany)
Title: Frog in a Balloon
Location: Bergwinkel, Germany
Caption: During a photo shoot at the pond, I discovered this frog with its head in a bubble. This resembles a tree bell.
© Eberhard Ehmke / Nikon Comedy Wildlife
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Photographer: Damyan Petkov (Bulgaria)
Title: Whiskered Tern crash on landing
Location: Svishtov, Bulgaria
Caption: Whiskered tern head hit the rock when trying to land
© Damyan Petkov / Nikon Comedy Wildlife
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Photographer: Przemyslaw Jakubczyk (Poland)
Title: Unexpected Role Swap
Location: Szczecin Lagoon, Poland
Caption: Every annoyed and overtired fish needs to de-stress by hunting for a bald eagle
© Przemyslaw Jakubczyk / Nikon Comedy Wildlife
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Photographer: Sarthak Ranganadhan (India)
Title: Smooching owlets
Location: Gurgaon, India
Caption: Our parents always find a way to embarrass us; I guess that's also true in the case of spotted owlets. It was truly a funny sight to see two owlets trying to get some privacy as their little offspring stood next to them with a grin and shut eyes.
© Sarthak Ranganadhan / Nikon Comedy Wildlife
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Photographer: Kingston Tam (Hong Kong)
Title: Awkward Smiley Frog
Location: Queensland, Australia
Caption: In 2022, I moved to Australia from Hong Kong to study wildlife science, and my friends got me into ‘herping’ (looking for reptiles and amphibians in the wild) and through that, I met a bunch of amazing photographers who specialize in taking photos of these critters, and I started doing it as well. And that’s how I ended up photographing critters.
My goal for my images is to bring attention to our scaly or moist friends, showing that not only fluffy animals can be cute and beautiful. Ultimately, I wish my work could bring more conservation awareness to these amazing reptiles and amphibians, and that’s been my motivation to keep doing what I’m doing.
© Kingston Tam / Nikon Comedy Wildlife
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Photographer: Tapani Linnanmäki (Finland)
Title: Shake Ruffle Rattle and Roll
Location: Kustavi Finland
Caption: In the picture, a white-tailed eagle is ruffling its feathers. The picture was taken with the Nikon Z9's auto-capture feature. The camera is placed on top of the sea ice on top of a bag of nuts at the level of the ice. I couldn't believe my eyes when I saw this picture. There were more than ten funny poses and expressions in the photo series.
© Tapani Linnanmäki / Nikon Comedy Wildlife
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The portfolio category was presented to a photographer for a set of images. The photo above comes from a series of photos of a squirrel in a variety of comedic poses.
Photographer: Flynn Thaitanunde-Lobb (British, aged 10)
Title: Rock guitar
Location: Southampton, UK
Caption: I first heard of the Comedy Wildlife Photography Award when my mum showed me last year's winner of a kangaroo playing air guitar. I thought it was quite funny. I got into photography when my mum gave me her Nikon D3000 camera when I was 5 years old. I have been using a Nikon camera ever since.
I love taking photos of all kinds of animals: birds, foxes, spiders, butterflies, squirrels. Anything that catches my eyes. Anything that is beautiful. I won my first ever award, coming third place in the Bird Photography Of The Year (BPOTY) competition for the Under Eight category when I was 6 years old with my Perching Seagull. I went on to win the RSPCA Mobile Phone under 12 category in 2023 with my Weaving Spider.
© Flynn Thaitanunde-Lobb / Nikon Comedy Wildlife
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Photographer: Artur Stankiewicz (Poland)
Title: I'm too sexy for my love
Location: Mana Pools National Park, Zimbabwe
Caption: On one of the 'lazy' mornings, we decided to stop by the pool with hippos while in Mana Pools NP. My idea was to try and catch fighting hippos, yet they all were quite peaceful. I positioned on the bank, safely away from the potential charge and waited. Some of them raised their heads in curiosity or when proximity to the other individuals was too close. Then I got this idea to catch the portrait with water plants decorating his head; It looked like the guy just got out of the hairdresser with a big smile on his face :)
© Artur Stankiewicz / Nikon Comedy Wildlife
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Photographer: Randy Herman (USA)
Title: You're not my mother
Location: Cuyahoga Valley National Park, Ohio, USA
Caption: This female Red-bellied Woodpecker had been investigating this Screech Owl nest for a couple of days; perhaps it was her nest last year? This little owlet was definitely startled and didn't seem to know what to make of this intruder. The woodpecker moved on, and the owlet fledged with its two siblings about an hour later.
© Randy Herman / Nikon Comedy Wildlife
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Photographer: Ralph Robinson (British)
Title: Gang of Four
Location: Pebble Island, Falkland Islands
Caption: On the penguin highway, these rockhoppers are moving into town, and this town ain't big enough for all of them! I set up my camera a good distance from this ridge, where rockhopper penguins were returning from feeding in the southern Atlantic Ocean in the Falkland Islands. The long lens pulled them into the frame without disturbing their return to nests on the hill. I love photographing penguins after they've been in the water, as they are cleaner! These birds look like they are ready to kick some penguin ass!
© Ralph Robinson / Nikon Comedy Wildlife
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Photographer: Takashi Kubo (Japan)
Title: Mafia Boss
Location: Hokkaido Japan
Caption: It looked like he was sucking a cigar, and he looked like a mafia boss.
© Takashi Kubo / Nikon Comedy Wildlife
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Photographer: Leslie McLeod (Canada)
Title: Hide and seek
Location: Mara North Conservancy, Kenya
Caption: We were on safari in Kenya and happened upon this beautiful female who was looking for a mate. A group of topi were also keeping a pretty close eye on her as she left messages for a potential partner on various trees. This shot makes me think that the cheetah is just about to shout out, "Ready or not, here I come!"
© Leslie McLeod / Nikon Comedy Wildlife
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Photographer: Arvind Mohandas (Germany)
Title: The Contemplative Chimpanzee
Location: Uganda
Caption: Shot in the jungles of Uganda, following a group of around 50 chimpanzees. This one was obviously contemplating an important issue on a day of realization and reaffirmation of how close chimpanzees are to humans!
© Arvind Mohandas / Nikon Comedy Wildlife
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Photographer: Jan Piecha (Germany)
Title: I'll tell you a secret
Location: Germany
Caption: A tiny raccoon is telling a secret to its mum while whispering in her ear.
©Jan Piecha / Nikon Comedy Wildlife
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Photographer: Marti Phillips (USA)
Title: Are you kidding?
Location: Cape Cross Seal Reserve, Namibia
Caption: Two Cape Fur seals having a laugh
© Marti Phillips / Nikon Comedy Wildlife
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Photographer: Sanjay Patil (India)
Title: The Rock Star
Location: Maharashtra State, India
Caption: Fan-throated lizards are found only in the Indian subcontinent, where they have evolved under the influence of changing climates. These lizards are colorful and belong to the category of reptiles. Female Lizards do not display fans as they do not have [them]. Male lizards inflate their attractive neck pouch to attract females in the hot summer season. Here is the female lizard standing upright to escape the summer heat.
© Sanjay Patil / Nikon Comedy Wildlife
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Photographer: Andy Rouse (British)
Title: Alright, mate, back off – this is my bird
Location: South Georgia
Caption: This image was taken in South Georgia; it really does show a male king penguin trying to make a move on a female who has already paired up with her male. The body position and wing posture make the message clear - "Back off!"
© Andy Rouse / Nikon Comedy Wildlife
Panasonic registered a new camera in Asia under the code name P2305A:
Panasonic has registered several new camera models that have not been announced yet:
Panasonic registered a new P2401A and P2402A devices in Asia (*UPDATED*)
I already reported that a new Panasonic Lumix S1H II camera is rumored to be announced in Q4 of 2024:
New Panasonic Lumix S1H II camera is rumored to be announced in Q4 of 2024
The post Panasonic registered a new P2305A camera in Asia appeared first on Photo Rumors.
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The Fujifilm X-M5 is the company's latest APS-C mirrorless camera and comes in as the lowest-end entry in its current lineup. It uses the company's last-generation 26MP X-Trans sensor, the same one found in cameras like the X-T4 and X-100V, but comes equipped with its latest processor, giving it access to Fujifilm's AI-powered subject detection autofocus.
The X-M5 is available in silver at a body-only price of $799. A black version is coming in April 2025. Fujifilm is also selling a kit with the X-M5 and its XC15-45mmF3.5-5.6 OIS PZ lens for $899. Optically, it's not our favorite lens, but its size and price make it an obvious pairing with this camera.
The X-M5 is a return to a relatively old form factor, as the last time we saw a camera with the X-M label was the X-M1 from 2013, the third camera to feature the then-new X-mount, though the X-A series carried on until much more recently. It's broadly made up of parts we've seen before, put together with a few new tricks.
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The X-M5 is very lightweight and compact – even with the power zoom kit lens attached, it comes in under 500g (17.6oz) and is small enough to fit in a small bag or jacket pockets. Anyone who buys one will be hard-pressed to come up with an excuse not to take it with them when they leave the house.
It also helps that, subjectively, it's a very good-looking camera; Fujifilm's retro aesthetic with modern functionality continues to serve it well. More on that later.
The camera also features the film simulation dial found on the X-T50, which lets users play around with Fujifilm's color profiles to get the look they want without requiring them to dive into the menu. It may seem like a small thing given that Film Simulations have long been one of Fujifilm's main selling points, but putting them front and center like this strongly encourages people to experiment with them, even if they're averse to spending too much time in the menus.
The Fujifilm X-M5 has 4K and 1080p 'Long Play' modes that crop in on the sensor, letting you record for longer before the camera overheats. The 4K LP mode has a 1.18x crop and is available in 23.98p, 24p, 25p, and 30p. The FHD LP mode, meanwhile, is only available in 50p and 60p and comes with a 1.29x crop. The company says you can record for over an hour at 4K when using the LP mode in temperatures of 25°C (77°F) and around 20 minutes at 40°C (104°F).
The X-M5 also has two new low-bitrate options, letting you capture footage at 25Mbps and 8Mbps. This lets you sacrifice image quality for small file sizes in scenarios when you want to get footage out quickly and will only be using it on social media, where it'll already be heavily compressed.
If you want to shoot with heavier codecs, the X-M5 is compatible with Fujifilm's optional cooling fan, which can help extend record times without using the LP modes and the cropping and loss of quality that come with them.
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Fujifilm has added an extra microphone to the camera to help distinguish between the audio you're trying to capture and ambient noise. Its UI lets you select whether you want it to let everything in, focus on audio from in front of the camera, behind the camera, or both. The last option could be useful if you're filming someone and talking to them from behind the camera.
The company also says the camera has improved wind reduction and added a new "Steady-State noise reduction" mode meant to make constant noises like air conditioners less noticeable.
If you'd rather plug in an external microphone, the X-M5 has cleverly placed the 3.5mm mic jack on the back of the camera, so the plug and cable won't block the screen when you're vlogging with it. The jack's cover is connected to the camera's body, so you don't have to keep track of a tiny piece of rubber when you're on the go.
Vlog mode isn't entirely new to Fujifilm's lineup: it appeared on the X-S20 as well, but the company has updated it for the X-M5, making it even easier to control the most important settings via the touchscreen.
Vlog mode has its own UI separate from the standard video recording interface. When you've selected Vlog on the control dial, the camera puts relatively large buttons on the touchscreen that allow you to control focus, access playback mode and start and stop recording.
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| The vlog mode UI has a clean layout with easy-to-press buttons for the most important functions. |
There's also a menu button that brings up controls for other settings, letting you control eye autofocus, electronic image stabilization, 'Portrait Enhancer' mode, background defocus mode, product priority mode, and more without flipping the camera around.
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Pressing the Menu button gives you access to most of the options you'd need to control while vlogging. From left to right: Top: Shooting mode, focus mode, image stabilization mode, Face/Eye Detection setting, Portrait enhancer Bottom: Background defocus mode, Product priority mode, high-speed recording, self-timer, 9:16 short movie mode |
While you'll still have to use the physical buttons on the back of the camera to change things like which codec, bitrate, or resolution you're recording in, vlog mode does a good job of putting most of the controls you'll need on the touchscreen without being overwhelming to newcomers.
The camera also gains a 9:16 short video mode, which records vertical video by taking a 1080 x 1920 crop from the middle of the frame, rather than requiring you to physically turn the camera into portrait orientation. When you're shooting in this mode, the display will show you the full 16:9 image but darkens the frame outside what's being recorded. You can choose whether you want your clip to be 15, 30, or 60 seconds long.
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| 9:16 short video mode shows you the entire preview, which could help if you want to move the camera while recording. |
The resulting videos will be small and quick to transfer to your phone for posting; by default the camera records them at an 8Mbps bitrate, though you can bump this up to 25Mbps. These bitrates, new for the X-M5, are also available across the camera's other video modes as well. File sizes will vary depending on what you're filming, but you can expect 60 second second clips shot at 8Mbps to usually be under 100 megabytes, or under 250MB if you shoot at 25Mbps.
The 15, 30 and 60-second record limits are upper boundaries, but you can stop recording before you hit the time limit; it's easy to imagine a worse version of this mode locking up your camera until the timer hits zero. If you want to record for longer than 60 seconds, you'll have to dig into the menus to switch to the 9:16 resolution mode, which also gives you control over codec and bitrate.
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Fujiifilm also says you'll be able to use XApp transfer files from the X-M5 to your phone using a USB cable, which should be appreciably faster and more reliable than Wi-Fi. That's especially true given that the camera only supports an older Wi-Fi standard, not the faster 5Ghz standard.
In our tests, transferring a two-minute 4K video took around 28 seconds using a USB 4 cable and 11 minutes and 14 seconds using the camera's built-in Wi-Fi, so if you're someone who wants to capture something and post it right away, you'll definitely want to keep a cable within reach. That may be slightly annoying if you have an older iPhone, as you'll need a slightly more specialized USB-C to Lightning cable, but that should be less of a problem in the future as more and more people upgrade to phones with USB-C.
The X-M5 is far from the first small interchangeable lens camera pitched as a hybrid vlogging and photography tool.
This time, Fujifilm is using size, price, and convenience to make its offering more appealing to people who are used to shooting on their phones. While it's certainly bigger than a modern smartphone, it costs about as much as buying the latest iPhone outright, even with the kit lens, and its litany of vlogging features should make it easier to get professional-looking video.
Fujifilm's also leaning on design; it's a safe bet that many creators know what its cameras look like now, ever since the X100V went viral. From its film simulation dial to the mic jack that's apparently inspired by the look of tiny viewfinders on vintage cameras, the X-M5's design screams, "this is a camera you want to be seen with."
| Fujifilm X-M5 | Sony ZV-E10 II | Sony a6100 | Canon EOS R50 | Fujifilm X-T30 II | |
|---|---|---|---|---|---|
| MSRP | $799, $899 with 15-45mm | $999, $1099 w/ 16-50mm OSS II | $750, $850 w/ 16-50mm | $679, $799 with 18-45mm | $899, $999 with 15-45mm |
| Pixel count | 26 MP | 26 MP | 24 MP | 24 MP | 26 MP |
| Mech shutter | Yes | No | Yes | Yes | Yes |
| Top plate command dials | 2 | 1 | 1 | 1 | 2 |
| Max burst rate |
8 fps (mechanical) 30 fps (e-shutter) |
11 fps | 11 fps |
12 fps 15 fps (elec) |
8 fps (mechanical) 30 fps (e-shutter) |
| Rear screen | 1.04M-dot fully articulated | 1.04M dots fully articulated | 921K dots tilting | 1.62M dots fully articulated | 1.04M dot fully articulated |
| EVF | No | No | 1.44M dots, 0.71x magnification | 2.36M dots, 0.59x magnification | 2.36M dots, 0.62x magnification |
| Video capabilities |
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| Log video | F-Log / F-Log 2 | S-Log 3 / S-Log 3 Cine Gamut | No | No | F-Log |
| Mic / Headphone sockets? | Yes / Yes | Yes / Yes | Yes / No | Yes / No | Yes / No |
| Battery life (LCD) | 440 frames | 610 frames | 420 frames | 370 frames | 380 frames |
| Card slot | 1x UHS-I | 1x UHS-II | 1x UHS-I | 1x UHS-1 | 1x UHS-1 |
| Dimensions | 112 x 67 x 38 mm | 121 x 68 x 54mm | 120 x 67 x 59mm | 116 x 86 x 69 mm | 118 x 83 x 47 mm |
| Weight | 355g | 377g | 396g | 375g | 378g |
The Sony ZV-E10 II is the most similar competitor to the X-M5. It, too, features a three-capsule microphone (though it comes with a handy wind cover for it), has background defocus and product showcase modes, and a microphone and headphone jack. It's arguably even more focused on video, with 10-bit internal recording and 4K/60p recording – though that focus comes at a cost for photography, as it lacks an EVF, just like the X-M5. Fujifilm's offering does at least include a mechanical shutter. Sony's autofocus tracking is also substantially stickier, especially in video.
Sony's a6100 can't quite match the X-M5's video specs, given its lack of a headphone port, 8-bit video, and crop in 4K/30p mode. However, its EVF will make it more enticing to people who want photography capabilities first and video second.
It's much the same story with the Fujifilm X-T30 II and the Canon EOS R50, though the latter distinguishes itself by being notably cheaper than the rest of the cameras in this lineup and by having the nicest display.
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The X-M5 is a very compact camera; compared to the Sony ZV-E10 II, it feels smaller than the minor differences in its dimensions would suggest. Part of that can likely be chalked up to its much shallower grip, but what's there is confidence-inspiring, especially when using the relatively small lenses that most people will likely pair with this camera.
While the camera is almost entirely plastic, it doesn't feel especially cheap. There are no creaks or squeaks when you're using it, the buttons are satisfyingly clicky, and the dials and hinges are reassuringly stiff.
Another nice touch is the inclusion of two top-plate command dials, which let you easily adjust your exposure settings without having to change your grip on the camera or switch to using the touchscreen. Of course, the target audience of vloggers and beginners may not be in the habit of manually adjusting exposure parameters, but it offers those users some room to grow.
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| You need good aim to hit the Q button. |
The Q button is less ideal. It's recessed and on the top of the camera rather than the back, which makes it a little difficult to access, especially when you're trying to change settings quickly. Also not helping matters are its small size and the fact that it's nestled between two large dials.
Given how many video features the camera has, it's also a bit disappointing that the slower UHS-I SD card slot is in the battery compartment on the bottom, which could make it difficult if you have a tripod plate installed. It's understandable why it isn't on the sides, which are mostly taken up by the headphone jack, USB-C port and micro-HDMI connecter, but it'll likely be a friction point for some users.
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| The camera doesn't have a D-pad. You can set focus with the touchscreen or joystick, and use swipes on the touchscreen to bring up menus of your choosing. |
The camera also gives you plenty of room for customization via the four 'C' settings on the mode selector dial. For example, you could set C1 up to use eye detection, C2 to be another subject detection mode, and C3 to be standard autofocus, letting you easily switch between them without ever touching the menu. You can also choose whether each custom slot will be a photo or video mode.
On the opposite side of the spectrum is the Auto mode, which gives the camera almost full control, while letting you make a few modifications to its choices if you see fit. it's a good inclusion for beginners new to the world of dedicated cameras, and doesn't restrict you from shooting Raw, in case you want to also learn how to make substantial edits to your photos.
The camera also has a likely less useful 'Filter' mode, which engages the camera's selectable Instagram-style filters to change the colors and add various effects such as vignetting. Anyone wanting to play around with the look of their image should probably reach for the Film Simulation dial instead, as its adjustments to your image's color and tone are generally more subtle and pleasing.
The mode dial also lets you switch the camera into video mode and vlog mode, which are two separate beasts. We've already covered the vlog-specific UI, but it's also worth noting that vlog mode and movie mode have separate settings, letting you quickly switch between entirely different modes of shooting.
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The X-M5 uses Fujifilm's 8.7 Wh NP-W126s battery, which has been around since the days of the original X-M1 and persists in modern cameras like the X-T50 – Fujifilm's higher-end, physically larger cameras have moved on to a new, higher-capacity model. It's rated to last around 330 shots or 440 if you're using eco mode. That'll likely be good for a day or so of shooting or a weekend of sporadic photography, though it's far from one of the best batteries in its class.
The camera has a USB-C port, which it can charge with even while in use.
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.
Looking at the Raws produced by the X-M5, it produces relatively detailed images, though most of its competitors capture slightly more detail despite having similar-resolution sensors. Some of that is likely because Adobe Camera Raw doesn't get the best from Fujifilm's proprietary 'X-Trans' color filter design, which helps prevent some of the false color that some of its competitors produce in areas of fine detail.
At higher ISOs, it tends to produce slightly less noise than its competitors, though by the top of the range, it has roughly the same level of noise.
As for its JPEG performance, the X-M5's sharpening at base ISO isn't quite as strong as Sony's or Canon's when it comes to making fine details pop. That trend continues into higher ISOs, where its noise reduction does a decent job at smoothing out noise but can't quite keep the finer details that its competitors can.
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The Velvia Film Simulation can be a bit heavy-handed for some people's tastes, but others like it. Out of Camera JPEG ISO 160 | 1/2700 sec | F2.8 | Fujifilm XF 27mmF2.8 |
One of the X-M5's main features is its 'Film Simulation' dial, which lets you quickly change the color mode for your JPEGs. The standard profile produces Fujifilm's typically pleasing colors, but if you want a more noticeably retro aesthetic, profiles like Classic Chrome or Nostaglic Negative are right at your fingertips.
The X-M5's dynamic range performance is similar to that of its competitors, which means it will handle most scenarios with bright lights and darker shadows reasonably well. However, you'll need to either adjust your exposure and work on the Raw files or use one of the camera's DR modes to get the most out of it.
It has Fujifilm's Dynamic Range modes that give you the option of capturing one or two extra stops of highlight information in high-contrast scenes. This can require an exposure reduction in bright scenes, which increases the noisiness of the image but provides a relatively simple way to get an out-of-camera JPEG without blown-out highlights.
ISO Invariance | Exposure Latitude
The X-M5's autofocus system is similar to the ones found on Fujifilm's higher-end cameras, such as the X-T50. It lets you choose anything from a fine AF point up to selecting the whole image area, which lets the camera select a subject. In continuous AF mode, there's also a 'Tracking' option that follows whatever is under the AF target when you half-press the shutter. You can use the joystick or the touchscreen to select a focus point.
It has AI-derived subject recognition, letting it recognize human faces / eyes, animals, birds, cars, motorcycles / bikes, airplanes and trains while taking pictures or videos.
The human settings are separate from the other subject detection modes, so switching between them can be a slight hassle since they're two separate menu items rather than humans being listed as one of the subject types.
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| Face and eye detection settings are in a separate menu. |
The subject recognition system works with the different focus point selection modes. For example, if you use a single point and have the camera set to recognize birds, it'll look for any birds around your chosen point. In our testing, the camera wasn't overly aggressive in focusing on a recognized subject; if we had facial recognition on and a human was somewhere in the frame, we could still focus on something else without the X-M5 fighting to focus on the face.
The X-M5 performed well in our basic autofocus test, which involves putting a single AF point on a subject and having the subject approach the camera at a consistent speed. A few photos throughout our three runs came out soft, but it got focus right on the vast majority.
Our autofocus tracking test is more complicated and requires the camera to follow a subject that's moving around the frame and approaching at a variable speed. Using basic tracking with no subject detection, the X-M5 struggled; it would consistently lose track of the subject the second or third time it slowed down and couldn't pick it back up.
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Switching to face detection yielded far better results, as the X-M5 was able to keep its focus point on the subject throughout the entire run. However, while the camera managed to keep track of the correct subject, it wasn't able to assess and respond to the changes in approach speed, meaning a handful of shots focused at the wrong distance.
At this point, it's clear that Fujifilm's tracking system is a fair bit behind the offerings of competitors like Nikon, Canon, and Sony, both in terms of the stickiness of general AF tracking and in terms of judging subject distance and keeping the subject in focus. While testing the X-M5, we also encountered a few situations where it would hunt back and forth for focus before eventually settling on the subject. This was more prevalent in low-light situations but would occasionally happen in daylight.
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The X-M5 has a range of video modes, including UHD and DCI 4K at up to 60fps, 1080p at up to 240fps, and a 6240 x 4160 '6K' open-gate mode that lets you shoot full-sensor video at up to 30fps that can be cropped later, allowing a horizontal and vertical crop from the same footage, for instance.
Several video modes on the X-M5 require the camera to crop in, making the frame tighter, and turning on electronic image stabilization adds a further crop on top of those, though the amount will depend on your resolution and framerate. The UI makes it clear whenever you're shooting with a crop.
You don't have to change to video-appropriate settings when you switch modes
The camera also keeps your photo and movie settings largely separate; the white balance, exposure settings, and subject detection mode you pick in photo modes won't carry over to video mode, so you don't have to worry about quickly changing to a video-appropriate shutter speed every time you switch between modes. By default, the Film Simulation dial setting will carry over between photo and video modes, though you can prevent that by turning on Movie Optimized Control, an on-screen interface that lets you control your color mode and other video settings using the touchscreen when in video mode.
Despite being an entry-level camera, the X-M5 has several advanced video features. Open-gate video could be counted among them, since it generally needs to be edited before you can share it, which Fujifilm doesn't let you do within its app. You can also shoot in F-Log if you want flexibility to adjust color and contrast in post, and the camera supports 1/48 and 1/96 shutter speeds, which are perfect matches for shooting at 24fps. You can also use its autofocus illuminator as a front tally light to make clear when you're recording, and it even supports Tascam's XLR adapter for connecting professional-grade microphones, along with support for recording four-channel audio.
The X-M5's 4K video is relatively detailed, even managing to be just about as clean as other cameras' 'HQ' modes, which downsample their 4K video from higher-resolution capture, often at the cost of higher heat output or cropping.
Shooting above 30fps in 4K will result in some loss in quality, though switching to 4K LP mode doesn't seem to impact much, beyond the crop. Using the lower-bitrate modes can introduce some artifacts and loss of detail, but given that it's intended for social media that likely would've happened anyways after your file goes through a site's compression algorithm.
If you shoot fast-moving subjects with the X-M5 or move the camera quickly, there's a good chance you'll run into issues with rolling shutter, where the video gets a jello-like skewing effect.
| Shooting mode | Crop | Rolling shutter rate |
|---|---|---|
| 6K open-gate | Full-width (3:2) | 24ms |
| 4K/24p | Full-width (16:9) | 21ms |
| 4K/60p | 1.18x | 16ms |
| 4K/24p LP | 1.18x | 16ms |
| 1080p/24p | Full-width (16:9) | 13ms |
Generally, we'd consider 24ms of rolling shutter to be somewhat poor and 21ms to be at the very limit of what we'd consider acceptable. Fujifilm says its digital image stabilization helps correct rolling shutter, and our tests showed that it appeared to be applying some compensation, it also uses a smaller portion of the sensor, which helps further reduce rolling shutter a little.
The X-M5's relatively compact form factor makes it seem like it'd overheat easily, and the included LP modes imply that Fujifilm was at least worried enough about it that it wanted to include a workaround for shooting in extreme conditions. However, you may not have to worry about it much in everyday use, especially if you're mainly shooting indoors or in the shade; we tested the camera by shooting its full 4K UHD mode – not the cropped LP mode – and were able to get over an hour over continuous recording in ambient temperatures of around 24°C (76°F).
The X-M5 has a Vlog setting on its mode dial, which gives you access to the special vlogging UI. To illustrate how it performs as a vlogging camera, we've produced a short vlog with it.
By Mitchell Clark
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| Pros | Cons |
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If you're looking for a camera to take pictures and videos for social media, the X-M5 is, at the very least, worth your consideration. The Film Simulation dial makes it exceedingly easy to control Fujifilm's famous color modes, so you can pick the right one for your post, and the camera's design makes it relatively easy to control basic photo settings once you've got the hang of it.
That design is also attractive, which is important if you're going to be carrying it around all day and if people are potentially going to be taking pictures of you while you're holding it. Thankfully, it's not much of a chore to take it with you since it's relatively compact and lightweight, depending on what lens you have attached.
Of course, it doesn't matter how easy it is to tote a camera around if it doesn't actually outperform your phone when it comes to taking pictures. Thankfully, the X-M5's image quality is good enough to justify its place, and its surprisingly capable video modes make it relatively easy to get professional-looking results.
The big downside is its autofocus
The big downside – the one that earns it a Silver award instead of a Gold – is its autofocus. On a camera like this, you want it to be simple, effective and reliable, and it doesn't always nail all those points in the way its competitors can. While its subject detection works well, it can struggle to predict where to focus, an issue you might struggle to work around if you're not familiar with techniques like pre-focusing or zone focusing.
There are other quibbles, too. At this price point, most of its peers have a viewfinder, which some people will miss, and transferring photos to your phone can take a while which is unfortunate given that this camera is so focused on creators and social media.
Despite those complaints, the X-M5 can still be a joy to use after you've learned to work with it, and it has enough capabilities to grow with you as a photographer. While there are other sub-$1,000 cameras worth considering, it's an easy camera to recommend to those looking for what it offers.
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Fujifilm X-M5 Category: Entry Level Interchangeable Lens Camera / DSLR |
Build quality Ergonomics & handling Features Metering & focus accuracy Image quality (raw) Image quality (jpeg) Low light / high ISO performance Viewfinder / screen rating Optics Performance Movie / video mode Connectivity Value | PoorExcellent | ||||
Conclusion The X-M5 nails most of the basics for taking photos and videos, especially for beginners. | |||||
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The Sony ZV-E10 II is a video camera that can also take pictures, whereas the X-M5 is a stills camera that can also do video. Sony's vlogging camera has a large record button front-and-center, a zoom toggle for powered lenses around its shutter button, and comes standard with a windscreen for its capsule microphone. Meanwhile, the X-M5 has a mechanical shutter and twin top-plate control dials. The Sony will have more reliable autofocus tracking, though it can't detect as many subjects as Fujifilm's system – vehicles are a notable absence. Its design is also much more utilitarian and not as pocketable.
Sony's a6100, meanwhile, is decent for photos with its inclusion of a mechanical shutter and an EVF. Its video modes are no match for the X-M5's, though – it can't shoot the easy-to-edit 10-bit video, doesn't have a headphone port and has a substantial crop when shooting anything above 4K 24p. It also has a tilting screen instead of a fully articulating one, making it worse for vlogging.
Fujifilm's X-T30 II is designed around photography fundamentals. It has an EVF, built-in flash and dedicated dials for exposure compensation, shutter speed, and drive mode, though not for Film Simulations. Its video specs aren't as capable, and its battery likely won't last as long, though its biggest weakness compared to the X-M5 is its older processor, which doesn't support the AI-derived subject detection modes. It does still support face and eye detection for humans, but that's it.
The Canon EOS R50 fares very similarly upon comparison; it, too, has an EVF and pop-up flash, but is larger and only has a single control dial. Its video also can't quite live up to the standard of the X-M5's, as it can't shoot 4K 60p at all, and while the APS-C lens selection for RF mount has improved since we originally reviewed the EOS R50, it's still substantially better on Fujifilm's system.
While the Nikon Z50 II hadn't been announced when we initially reviewed the X-M5, it's an obvious competitor – it, too, has a focus on color modes, with Nikon adding a direct control for them to the body. While we haven't fully tested the Z50 II, we expect its autofocus performance to be a cut above Fujifilm's, though there are substantially more APS-C-appropriate lenses available for X-mount compared to Z-mount.
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Kenyon climbing Bolt Gun, 5.11b – we thought we were setting the rope up on a much easier 5.10a. Sigma 18-50mm F2.8 RF @ 18mm | F2.8 | 1/1000 sec | ISO 100 Photo: Mitchell Clark |
As a new member of the DPReview team, I got a lot of chances to push my photography this year. Part of that involved finding a wide array of subjects to take pictures of while testing cameras and lenses; an essential process to make sure we really know the gear inside and out, and that we're not boring our readers – or ourselves – to death with the same old photos over and over.
I was assigned to take a sample gallery with the Sigma 18-50mm F2.8 for Canon RF mount shortly before a weekend rock climbing trip I'd planned, so it seemed obvious that I should take the lens with me and try to get some interesting shots.
It wasn't exactly my first attempt at climbing photography: I've taken many pictures of friends climbing cool routes. However, they usually turn out rather uninspiring because I take them from the ground. My goal this time was to get an angle that actually captured the experience. If I could do that without dashing the camera and lens against the rock or falling to my death, all the better.
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This was my first time rigging anything, so I went overkill on attaching myself to the wall: I clipped into a bolt with my personal anchor, clove-hitched into a quickdraw, and had my rope tied off to a tree. Photo: Tom Steeber |
While I had a blast getting set up and actually taking the pictures, I don't think Jimmy Chin has to start worrying about his job anytime soon. There are plenty of shots where either my hand or my foot snuck into frame, ruining what would otherwise be a good photo.
It can be difficult to judge your own work objectively. When choosing this picture – and the runners-up included in the gallery below – I often found myself wondering whether I liked a photo because it was actually good or if I just wanted to pick it because I had good memories surrounding it or had simply taken a photo of a cool thing that I like looking at.
Undoubtedly, the photo I've chosen for this article is a mix of all three to some extent – of course, I'm going to have fond memories of a weekend spent doing a hobby that I've replaced a large chunk of my personality with. However, I do think it stands up on its own, and I plan on doing more climbing photography in the future with the hopes of increasing the percentage of keepers.
And besides, if I were picking my favorite photo of the year based purely on what made me the happiest, you'd just be getting a gallery full of pictures of my cats.
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| I'm not joking. |
You can see a few more photos that I'm quite proud of from this year in the gallery below. If you want to play a fun game, make sure the details panel is collapsed and try to guess which two were taken with a cell phone instead of a full-fledged camera.
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The Laowa 55mm F2.8 Tilt-Shift 1X Macro on a Canon RF-mount full-frame camera. Image: Laowa |
Laowa has expanded its lens lineup with the introduction of two tilt-shift lenses designed for full-frame camera systems: the 55mm F2.8 Tilt-Shift 1X Macro and the 100mm F2.8 Tilt-Shift 1X Macro. Laowa says the lenses produce an image circle large enough to also be compatible with digital medium format cameras. The company suggests the lenses are suitable for a variety of applications, including product, architectural, landscape, and macro photography.
Optically, the 55mm F2.8 Tilt-Shift 1X Macro consists of 14 elements in 11 groups, while the 100mm F2.8 Tilt-Shift 1X Macro comprises 13 elements in 10 groups. As the names suggest, both lenses offer a maximum magnification ratio of 1:1. The 55mm lens has a close focusing distance of 27cm (10.6"), and the 100mm lens focuses as close as 32cm (12.6").
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The Laowa 100mm F2.8 Tilt-Shift 1X Macro mounted on a Fujifilm GFX-mount medium format camera. Image: Laowa |
The lenses provide ±10° of tilt and ±12mm of shift for full-frame cameras. When used with medium format cameras, this range is reduced to ±10mm tilt and ±8mm shift, as the edge of the imaging circle will encroach on the sensor sooner. Both lenses incorporate two rotation mechanisms: one enabling the tilt function to be rotated by 90° and another allowing for shift direction adjustment in 15° increments.
Both lenses are equipped with an Arca-Swiss compatible tripod foot and a 77mm front filter thread.
The 55mm F2.8 Tilt-Shift 1X Macro and 100mm F2.8 Tilt-Shift 1X Macro are available now for E, Z, RF, L, and GFX-mount cameras. Each lens has a suggested retail price of $1249.
Buy now:
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Image: Viltrox |
Viltrox has announced a new APS-C lens, the 35mm (53mm equiv.) F1.7 'Air' lens, which is available for Sony E-mount, Fujifilm X-mount and Nikon Z-mount. The company says it aimed to make the lens "compact" with a "highly competitive price."
The lens' optical formula includes 11 elements in 9 groups, with 1 ED lens, 1 aspherical lens, and 2 high-refractive lenses. It also features nano-coating, and the aperture has nine blades. While Viltrox makes no claims of weather resistance, the front element does have a coating to resist oils and liquids.
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An example image provided by Viltrox, shot on a Fujifilm X-T5. Photo: Viltrox |
The lens uses a stepper motor for autofocusing, and has a minimum focusing distance of 33cm (13"). The E-mount version of the lens weighs around 170 grams, and it's 56mm long. The lens is compatible with 52mm filters.
At an MSRP of $180, the lens is definitely a budget option, but it's hard to complain about there being another affordable prime available for these systems, especially in such a classic focal length. While manufacturers like Sony and Fujifilm have similar lenses with extra features like optical stabilization or weather resistance, they also come in at a much higher price.
Buy Now:
E-mount Z-mount X-mount| Principal specifications | |
|---|---|
| Lens type | Prime lens |
| Max Format size | APS-C / DX |
| Focal length | 35 mm |
| Lens mount | Fujifilm X, Nikon Z, Sony E |
| Aperture | |
| Maximum aperture | F1.7–16 |
| Minimum aperture | F1.7–16 |
| Aperture ring | No |
| Number of diaphragm blades | 9 |
| Optics | |
| Elements | 11 |
| Groups | 9 |
| Special elements / coatings | 1 ED, 1 aspherical, 2 high-refractive |
| Focus | |
| Minimum focus | 0.33 m (12.99″) |
| Maximum magnification | 0.13× |
| Autofocus | Yes |
| Motor type | Stepper motor |
| Full time manual | Yes |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 180 g (0.40 lb) |
| Diameter | 64 mm (2.52″) |
| Length | 56 mm (2.2″) |
| Sealing | No |
| Filter thread | 52 mm |
| Hood supplied | Yes |
| Tripod collar | No |
Viltrox officially announced the previously reported Viltrox AF 35mm f/1.7 Air APS-C lens for X/E/Z mount, adding to the existing 56mm f/1.7, 40mm f/2.5, and 20mm f/2.8 Air series lineup. Here are the details:
Viltrox AF 35mm f/1.7 Air lens for Nikon Z-mount officially announced
The post Officially announced: Viltrox AF 35mm f/1.7 Air lens for X/E/Z appeared first on Photo Rumors.
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Updated December 18 2024
Fixed lens cameras may be a bit niche, but there's a reason they're so popular amongst photographers. They often come with some of the best lenses on the market, in a variety of focal lengths, matched to sensors ranging from APS-C to full-frame to give you the perfect field of view for your style of shooting.
Our picks range from pocketable models to larger cameras that you'll have to you'll have to consciously decide to take with you. They also cover a wide range of prices; while there sadly aren't any budget options, some come with much higher price tags than others, reaching well into the thousands of dollars.
40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder
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| Image: Richard Butler |
Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. It features the same 35mm equivalent F2 lens and a hybrid viewfinder that lets you use it as a traditional rangefinder – with some digital augmentation if you want it – or as a modern, fully electronic viewfinder.
The addition of subject-recognition autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains. However, human (face/eye) detection is a separate mode. The lens is not the fastest to autofocus, prioritizing sharpness over speed, though that's not necessarily unique in this category.
The elephant in the room is that the X100VI has essentially been sold out since its initial release. However, if you're patient enough to sign up for waitlist notifications from a variety of sites, you may be able to get one in time.
It's probably worth the wait. While the X100VI has more dials and functions than previous versions, it still offers one of the most engaging photographic experiences out there. It's easy to see why it became so frustratingly unobtainable: It's an even better follow-up to a camera that was already popular with photographers of all kinds, and that had already sold out after going viral.
Click here to read our review of the Fujifilm X100VI
Click here to see the Fujifilm X100VI studio scene
24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth
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The GR III is the lightest and most compact camera on this list by a long shot, thanks to its retracting lens and lack of a viewfinder. If size is a major concern for you, it's definitely the fixed lens option to look at.
Click here to read our review of the Ricoh GR III
Click here to see the Ricoh GR III studio scene
Ricoh also sells the GR IIIx, which is the same great camera as the standard GR III but with a 40mm equiv. lens instead. If you prefer the 'normal' field of view to a wider one, be sure to pick the IIIx up instead.
43mm F2 stabilized lens | 60MP BSI CMOS full-frame sensor | 5.76M dot OLED EVF
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| Photo: Richard Butler |
While we've chosen the Q3 43 for its excellent control layout that puts photography first, the camera is also available with a 28mm F1.7 lens. There are minor cosmetic differences between the two Q3 models, such as the color of the leatherette wrap, but they're otherwise the same camera. There's also a price difference, with the 43 coming at a $600 premium.
Click here to read our review of the Leica Q3 43
Click here to see the Leica Q3 43 studio scene
Despite the fact that the RX1R II is almost a decade old at this point, you can still buy Sony's last compact full-frame fixed-lens camera. Unsurprisingly, as a nine-year-old camera, it's rather showing its age. Its autofocus and menu systems are significantly more primitive than we've subsequently become used to, but focus speed isn't exactly a strength for any of the cameras in its class. Its 35mm F2 lens is excellent, and its sensor still delivers excellent image quality. Battery life is atrocious, though, and we considered its performance sluggish even by 2016 standards.
We can't wholeheartedly recommend it after all this time, but if you've already made the seemingly irrational decision of buying an expensive camera with a single, fixed focal length that doesn't really even fit in your pocket, you might be the sort of person that gets some enjoyment out of opting for the slow, awkward, oddball choice.
Buy Now:
$3,298 at Amazon $3,298 at B&H $3,298 at AdoramaOur Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.
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