The M EV1 is, perhaps, the exception that proves the rule, in the sense that by not conforming the existing pattern it helps clarify that pattern that otherwise exists.
Photo: Richard Butler
The very nature of hubris is, perhaps, that you can't recognize it in the moment.
When the Leica M11 was launched, I mused that the increased versatility and precision offered by its live view system might risk making the optical viewfinder and rangefinder design look irrelevant. Having now used a camera shorn of those features, I appreciate their value more than ever.
But there was another, unexpected, prompt for self-reflection when it came to working out how to describe the M-EV1. Namely: is it a Mirrorless camera?
What is a Mirrorless camera?
It's generally been our position that rangefinder cameras aren't Mirrorless. Somewhat facetiously, I've sometimes pointed out that the rangefinder optics themselves typically contain a mirror, but, more seriously, the point is that rangefinders existed for many decades before we ever had need to describe a camera as Mirrorless. And, given the way they are primarily used is radically different (manual focus via an optical viewfinder, rather than via a liveview feed from the sensor), it seemed unnecessary to retroactively include them in the class of cameras we were trying to give a name to.
The M EV1 throws a spanner in the works, though (or perhaps removes one). In every respect it operates like a Mirrorless camera being used in manual focus mode, so surely it's Mirrorless, in both the small and big 'M' senses. And, if it is, then, by extension, all Leica Ms are.
"When I use a word, it means just what I choose it to mean" - Lewis Carroll's Humpty Dumpty
And yet, that's not really how these things work. Mirrorless is an especially awkward example, in that it's become a noun but its origin is descriptive. But most people will recognize that it doesn't apply to literally any camera without a mirror, because that would include all compacts, smartphones and most cameras ever made. At which point we could probably just say 'camera.'
Having helped propose, promote and popularize the term 'mirrorless' in the first place, we're aware of it being an imperfect choice, but it's the one that's stuck. So while I look forward to the accusations of Humpty-Dumptyism, I think it's fair to say enough people recognize what's meant by it, and hence that it's legitimate to use it to mean what we intend, rather than what the word itself seems to imply.
Why do you call it full-frame?
This isn't the only instance of what sounds like an adjective being taken up as a noun in a way that shouldn't be taken too literally. The term full-frame came about because there was a period during which early DSLR users were pairing film-era lenses on cameras with sensors smaller than "35mm" film. Full-frame was a reference to the size of sensor that mimicked the dimensions of that film, using the full imaging circle for which those lenses were designed.
Yes, the German name for the "35mm" format translates as "small picture." Award yourself 10 DPR points for trivia knowledge. Then deduct 20 if you think it's a useful contribution to a discussion about digital photography.
Photo: Carey Rose
We only adopted the term because it avoids using milimeters to refer both to focal length and as a descriptor of a format, often in the same sentence. Somewhat ironically, the term "35mm" sensor itself also sounds adjectival, but in reality no part of a "35mm" sensor measures 35mm.
Again, there's little sense arguing over what the words might appear to mean: the majority of people using the term and hearing the term agree what it means. And that's the way language works. It doesn't matter if logically all systems are full-frame, because that's almost certainly not the meaning that's someone's attempting to convey, and it's not the meaning most people would take from it.
What constitutes medium format?
Apparently, there's still room to argue, even when the terminology doesn't appear to describe something specific. For example, the use of 'medium format' to describe formats larger than 35mm.
It's a definition that was already in widespread use, but that some photographers seem determined now to retroactively restrict it solely to formats used in the film era. This ignores the facts that the economies of scaling semiconductors are radically different (and are unlikely to ever make film-mimicking medium and large formats affordable), and that digital significantly outperforms film, so you don't need the same expanses of sensor to achieve excellent tonal quality and resolution.
Full-frame only directly mimics a film format because there were so many people with significant numbers of then-modern film lenses to prompt its continuation.
Photo: Phil Askey
In my opinion, it's senseless to bind a new technology to the specifics of a dead one and insist on the creation of a new term, when 'medium format' serves perfectly well. Especially given that, as we've seen, the resultant neologisms such as full-frame and Mirrorless might prove even more objectionable.
Does it actually matter?
So what of the M EV1? Is it a Mirrorless camera? Sort of. Probably. Why not? You could see it as the exception that proves the rule, or recognize that it's a question to which the answer doesn't matter.
Rangefinders sell in such small numbers that it really doesn't matter whether the person speaking is including them, when they say Mirrorless, or whether the person hearing them assumes they are or aren't. Either way both probably know, from context, what was meant, so the distinction becomes irrelevant.
It's not just photographers who have this problem. The name for modern pedals that cyclists clip their shoes into? 'Clipless.'
Photo: Richard Butler
The remaining ambiguity will leave room in the margins for someone to say "but what about the M EV1?" or "medium format only refers to 645 and larger."
But that brings us back to the issue of self-reflection. It's worth asking yourself: do you really believe the language is unclear, or that anyone's being misled? Or do you just want to beat someone over the head with a piece of arcane, esoteric knowledge that you happen to have acquired?
Earlier this week, Fujifilm released the X-T30 III, its latest entry-level, SLR-shaped mirrorless camera. It is a subtle update over its predecessor, adding a film simulation dial, more film simulations, updated video specs, a new processor and updated autofocus. The company also released a new kit lens, the XC 13-33mm F3.5-6.3 OIS. It offers a wider perspective than most kit lenses and will be familiar to those used to the ultrawide lens on their smartphones.
Editors Dale Baskin, Richard Butler, Mitchell Clark and Abby Ferguson sat down to talk about the new camera and lens. You listen to our discussion in the video above.
Introduction to the WideluxX Prototype: The WideluxX is a revived panoramic film camera developed by SilverBridges, a new company co-founded by SilvergrainClassics’ Editor-in-Chief Marwan El Mozayen, Developmental Editor Charys Schuler, and Jeff and Susan Bridges. It represents a significant milestone for analog photography as the first new handmade film camera designed to last generations.
Historical Context: The original Widelux factory burned down 20 years ago, nearly ending production of the iconic Panon Widelux F8. This revival project aims to preserve its legacy, bridging the history and future of panoramic analog photography.
Prototype Details: Prototype 0001 is a one-of-a-kind, handmade item built in Germany near Wetzlar. It retains the core DNA of the Panon Widelux F8 but includes numerous small improvements; however, it does not reflect the final production model’s appearance.
Development Process and Challenges: The project involved intense effort (“blood, sweat, and tears”) and old-school craftsmanship. An engineer hand-built the prototype, emphasizing artisanal manufacturing over mass production.
Unveiling and Presentation: The prototype was revealed via a special video at the International Association for Panoramic Photography convention in Minneapolis, Minnesota. The video features Jeff and Susan Bridges, with editing by Ethan Boehme and 16mm footage by Marwan El Mozayen.
Key Quotes:
Jeff & Susan Bridges: “Twenty years ago, the Widelux factory burned down, so we decided that rather than letting our favorite camera die, we’d bring her back to life. We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations.”
Marwan El Mozayen and Charys Schuler: “There will be many small improvements, but its DNA is still the [Panon Widelux] F8. We see ourselves as a bridge between the history and the future of analog photography. It’s about the art and craft of camera manufacturing, and about giving a new generation of film photographers the tools to create with.”
Sigma is “still working on the development of the sensor” [17:00].
Current status: The project is still in the “technology development” stage [17:11]. They have not yet started the design of the actual, final sensor [17:11].
Focus: The team is currently working on the “design of the pixel architecture” [17:20].
Delays: The project has been “a little bit delayed” [17:30] because as they test prototype wafers, they encounter “technical issues” [17:53].
Development team: The sensor development is now being handled primarily by the Sigma Japan engineering team [18:02].
Path forward: Mr. Yamaki mentions that the technical problems “have been narrowing down” [18:12]. Once the team is confident that the technology is ready, they will start the final sensor design and move toward production [18:23].
Long recap
Current Development Stage:
Sigma is still in the pixel architecture design phase and has not yet begun fabricating the full sensor prototype. This involves second-round test-wafer runs to evaluate small-scale prototypes with reduced pixel counts.
Yamaki emphasizes that Sigma has “never designed a sensor by ourselves before,” highlighting the in-house challenges since acquiring Foveon in 2008. Previous Foveon sensors were co-developed, but this full-frame version is a from-scratch effort.
Technical Innovations and Improvements:
The new sensor aims for a full-frame (35mm) format with a stacked back-side illuminated (BSI) structure and on-chip phase-detect autofocus—features absent in older Foveon designs like the SD1 Merrill (2011) or Quattro series (2014-2016).
It retains the X3 1:1:1 layered architecture (equal pixel counts per RGB layer, unlike the 1:1:4 ratio in Quattro sensors), promising better dynamic range, color fidelity, and resolution (potentially 60MP effective).
Yamaki discusses crosstalk between RGB layers as a unique strength, enabling “distinct color gradation” that outperforms Bayer sensors in studio, landscape, and portrait work.
Challenges and Delays:
Development, first teased in 2018, has faced repeated setbacks, including ending a partnership with a sensor manufacturer, requiring a restart. As of October 2025, it’s “almost at the final stage of technology development” but not ready for mass production.
Key hurdles include power consumption, heat dissipation (due to three analog-to-digital converters), and achieving “perfect” pixel performance. Yamaki states they won’t proceed to production until issues are fully resolved: “The Foveon chip will appear when the pixel is perfect.”
No video capabilities are mentioned for the initial release, as early Foveon sensors struggled with even low-res video (e.g., 480p on DP series).
Future Outlook and Commitment:
Sigma remains dedicated, viewing Foveon as a “niche but valuable” technology for enthusiasts seeking ultimate image quality over high-volume sales. It could integrate into future Sigma fp mirrorless cameras (e.g., a “fp X3” variant).
Yamaki expresses optimism: “Technical problems have been narrowing down,” and once confident, they’ll move to full sensor design and production. However, no timeline is given—explicitly not in 2025, and possibly 2026 or later.
The video touches on broader philosophy: Sigma’s “beautiful foolishness” in pursuing innovative, non-mainstream tech like Foveon, despite market trends favoring Sony/ Canon sensors.
For over a quarter of a century, DPReview's forums have been home to some of the most insightful discussions about digital cameras and photography anywhere online. They serve not only as a living conversation but also as an invaluable historical archive for photographers around the world.
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This update will deliver significant performance improvements and introduce new features, including a mobile-responsive design, enhanced photo galleries, and an all-new direct messaging system that supports group conversations. We've even prepared a short video to give you a preview of what the updated forums will look like.
Our Community Manager, Mathew Anderson, created this 5-minute video to give you a preview of what the updated forums will look like.
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DPReview's forums are a cornerstone of the online photography community. Updating to a modern platform ensures we can continue to support and nurture that community well into the future.
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The Nikon ZR uses the same sensor as the Z6III but becomes Nikon's first camera to be co-branded 'Red'
Photo: Mitchell Clark
Nikon's video division, Red, has put out a statement giving a few more clues about the distinction between the R3D NE Raw codec that makes it debut in the Nikon ZR, and the existing N-Raw system.
Red appears to confirm that R3D NE ('Nikon Expeed') uses the same TicoRaw compression system as N-Raw, which helps explain why N-Raw files could be opened in software that supported R3D NE, by simply changing the filename extension. However, it says the differences go deeper.
What we already knew
We already knew that the R3D codec locks the camera to one of its sensor's two base steps (ie: one of the two effective gain steps within the pixel) with no additional analogue gain added when you change ISO. By contrast, N-Raw works the same way as most cameras do in stills mode: applying increasing gain as you raise the ISO.
This means N-Raw sacrifices a stop of highlight information each time you raise ISO by a stop, in return for some improvement in shadow noise, but means that you can't mimic other ISO settings after the fact. The R3D method retains these highlights irrespective of ISO setting at the point of shooting, meaning you can apply different tone curves to adjust "ISO" as part of post processing.*
What has been discovered
Video testing site CineD has conducted some tests on the ZR and found some interesting details. The first is that the R3D codec appears to decode its Raw data such that it doesn't expand to use the full scale. This is presumably to allow its use with LUTs and alongside cameras that capture a wider dynamic range (either now, or in the future), which would make use of the higher data values. This is analogous to what Panasonic does with its V-Log / V-Log L system. This is not the standard workflow for N-Raw, which typically goes via an N-Log curve.
In addition to various flavors of Raw capture, the Nikon ZR is the first consumer camera we've come across that can natively capture super-wide dynamic range '32-bit float' audio.
Interestingly, CineD also says that it found R3D NE clips a stop earlier than the ZR's ProRes Raw or N-Raw modes, with Nikon responding that there is a "difference of highlight clipping points between N-Log and R3D NE." CineD points out that the Red processing includes a highlight recovery algorithm that recovers detail (but not necessarily color) information around clipping, which is worth being aware of.
Combine all this information and read between the lines of Red's statement and it appears to suggest that R3D NE uses the same basic codec as N-Raw but with a different gain strategy and a different assumed workflow (via Red's Log3G10/RWG gamma and gamut), that requires it to be exposed differently to get optimal results.
So how does it perform?
CineD also found the camera's rolling shutter was a match for the 9.44ms we measured from the Nikon Z6III and that its dynamic range was okay, rather than great, which is again consistent with what we were expecting, given the Z6III's performance.
Sadly, Nikon USA says it will not have any testable cameras available for review until mid November, so we're not yet in a position to check or further investigate any of these findings further.
REDCODE RAW, also known as R3D, is RED’s proprietary RAW video codec that has been shaped and honed with every generation of RED’s cameras. R3D is not just made of up compressed RAW video, but carries with it advanced sensor characterizations, robust metadata, RED’s color science, and unique RAW controls that guarantee precise and consistent results throughout the entire imaging pipeline, from sensor to screen.
Detailed Explanation
REDCODE RAW was the first widely adopted RAW cinema workflow codec, which has constantly been evolving over the years with each generation of RED camera. Its foundation starts with RED’s color and sensitivity characterization of the sensor, and ends in the debayering, decompression, and image processing through the RED managed software development kit that all major post-tools have implemented. This standardization, from sensor to screen, allows RED to guarantee precise and cinematic results throughout the entire image pipeline.
Like all REDCODE RAW formats, R3D NE utilizes the latest in RED’s IPP2 pipeline, from decompression and debayering algorithms, to the advanced RAW image processing such as Chroma Noise Reduction. R3D NE has been optimized to use the existing RAW compression capabilities found in Nikon’s EXPEED ASIC, which is what the NE in R3D NE stands for – Nikon EXPEED.
Inside the Nikon ZR itself, sensor data is processed into a RED industry adopted Log3G10/RWG image, allowing for on-set monitoring with the same 3D LUT’s that would be used in any RED workflow. In addition, sensor gains and colorimetry have been tuned to not only provide exposure and color matching with RED’s ecosystem, but to leverage the same ISO behavior the rest of the R3D ecosystem uses, allowing users to balance their dynamic range shot-by-shot if needed.
In early 2025, RED had introduced the ability to process N-RAW through the latter part of this process, and .NEV became part of the RED workflow. Some tools that already had native .NEV maintained their existing workflow and kept direct decode of N-RAW footage. These applications, such as DaVinci Resolve, have now updated to RED’s latest software update, could however be forced into sending these .NEV’s through the RED software by renaming them to .R3D. These files technically remain N-RAW, and are still indicated as such in the software, as they do not include any of the in-camera characterization, metadata, and workflow that makes REDCODE RAW what it is. Importantly, these renamed files will not be the same as an R3D NE file shot with the same camera – the color, exposure, and latitude will all differ.
REDCODE RAW is an ecosystem, providing consistency from set to screen across generations of cameras. The Nikon ZR, and more specifically R3D NE, is just the latest step in bringing the RED workflow to filmmakers everywhere.
*Technically, ISO is an sRGB JPEG-based standard, so it's best not to take it too literally when being used as a post-processing parameter in Raw video software. (See also the 'exposure' slider in a lot of photographic Raw software, which changes image lightness but cannot change exposure)
SilverBridges, a company co-founded by Oscar-winning actor Jeff Bridges, recently unveiled the first prototype of the WideluxX panoramic film camera. The team showed off the WideluxX Prototype 0001 in a video released at the International Association of Panoramic Photographers' annual convention in Minneapolis, Minnesota.
The SilverBridges team, which consists of Jeff Bridges and his wife, Susan Bridges, Silvergrain Classics author Charys Schuler, and the magazine’s editor-in-chief, Marwan El Mozayen, also shared news of the prototype on Silvergrain Classics and its Instagram account. "Holding a one-of-a-kind camera prototype in your hand is always going to be exciting," wrote Schuler at Silvergrain Classics about the prototype. "But when some of the blood, sweat, and tears that went into it are your own, it feels nothing short of extraordinary."
Photo: SilverBridges GmbH
Bridges first announced the project to redevelop the Widelux film camera roughly a year ago, and the WideluxX Prototype 0001 marks an exciting step. On his website, Bridges says that most of the images he creates use a Widelux camera, and over the years, he's captured some incredible behind-the-scenes photographs with the camera. The actor has been very vocal about his love for the camera and his desire to bring it back.
The original Widelux, a fully mechanical panoramic film camera, was originally developed in Japan in 1958. Instead of a traditional shutter, the camera uses a swinging lens that rotates horizontally behind a narrow slit to expose the film plane. Unfortunately, a major fire at the factory in 2005 severely disrupted operations. Because of that fire and other factors, production of the Widelux ended in 2000. Today, original Widelux cameras are highly sought-after collector items and go for anywhere from $1200 to $2300, depending on the model.
"We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations."
"20 years ago, the Widelux factory burned down, so we decided that rather than letting our favorite camera die, we’d bring her back to life," Jeff and Susan Bridges say. "We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations." The team also explained that original Widelux models are temperamental and promised that the new manufacturing would offer greater reliability and consistency standards. The company also says it plans to provide dedicated service and maintenance.
Photo: SilverBridges GmbH
The WideluxX is based on the Widelux F8 model. Unfortunately, there are no original mechanical drawings of the camera available, so the team had to reverse engineer the camera and recreate each part. Japan Camera Hunter spoke to Schuler and El Mozayen about the project and shared that everything is being created from scratch, since there are no spare parts to work with.
"There will be many small improvements, but its DNA is still the [Panon Widelux] F8," says Schuler. "We see ourselves as a bridge between the history and the future of analog photography—it’s about the art and craft of camera manufacturing, and about giving a new generation of film photographers the tools to create with."
The prototype video isn't yet widely available, but according to Schuler, it will soon be uploaded to the WideluxX website. Interested users can sign up for updates via the newsletter at WideluxX.com.
While all brands tend to put quite a few letters in lens names, Fujifilm is among the worst offenders (though still not as bad as Tamron). Its Fujinon lenses tend to read a bit like alphabet soup, with letters coming before and after the focal length and aperture information. While they are straightforward once you know what they mean, it can be headache-inducing to decipher at first. In this article, we'll break down the different acronyms found in Fujifilm lens names so you can feel like a pro when shopping for or discussing Fujifilm's lenses.
Lens mount and series: XF, XC, MKX and GF
Image: Fujifilm
The first part of Fujifilm lens names, falling right before the focal length, tells us what mount or series the lens is part of. Fujifilm has four different designators for this category: XF, XC, MKX and GF.
The XF designation means the lens is part of the company's X Series and uses the X mount. That means the lens is compatible with any X mount camera. XC lenses are also X mount offerings, though these are part of Fujifilm's compact lineup of lenses. They are more affordable and more lightweight than XF lenses and typically lack an aperture ring. MKX lenses are also part of the X mount, though these are the company's cinema lenses meant for video applications.
Finally, outside of the X mount are Fujifilm's GF lenses. These are G mount lenses that are compatible with the medium-format GFX cameras.
Lens features
After the focal length and aperture information, you'll find letters and acronyms that tell you what lens features are part of the lens. Fujifilm lenses may include a combination of up to five different terms in the lens name. If you don't see one or any of these, that means that the lens lacks that feature.
Build features: R and WR
The XF23mmF2.8 R WR lens features an aperture ring (R) and weather resistance (WR). Image: Fujifilm
When applicable, the first letter used is R. The R in Fujifilm lens names means the lens offers a designated aperture dial so that you don't have to use buttons, dials or menus on the camera body to set aperture.
Some of the Fujifilm lenses feature WR in the name, which stands for Weather Resistant. That means the lens is sealed against dust and moisture to help protect it against the elements. WR typically comes at the end of Fujifilm lens names, so you can quickly see if the lens offers weather sealing.
Focus, stabilization and zoom features: LM, OIS and PZ
The GF32-90mmT3.5 PZ OIS WR lens is a power zoom lens for the GFX system. Image: Fujifilm
The other lens features that make it into Fujifilm lens names relate to focus. LM stands for linear motor. This means that the lens uses a linear-style motor to drive autofocus, which is very fast and relatively quiet.
OIS is Fujifilm's designation for Optical Image Stabilization. Lenses with OIS in the name offer built-in image stabilization that uses gyroscopic sensors and motors to counteract lens movement and reduce blur caused by camera shake. These lenses can help you get sharp images even when working with slower shutter speeds.
PZ stands for Power Zoom. It isn't a Fujifilm-specific term, and it means that the lens offers an electronic zoom mechanism instead of a zoom ring. Power zoom lenses make achieving smooth and consistent zoom easier, making them ideal for video applications.
Specialty features: Macro, T/S and APD
The GF110mmF5.6 T/S Macro lens is both a macro and tilt shift lens (T/S). Image: Fujifilm
Fujifilm may also include some terms for specialty lenses on its lenses. Macro is the easier to decipher, since it's spelled out for us. Lenses with Macro in the name are Macro lenses, meaning they can focus closer than regular lenses and enable detailed close-up photography.
At the time of writing, the T/S designation is only used for two lenses, both of which are in the medium-format G mount lineup. T/S stands for tilt-shift, which means that the lens allows you to adjust the focal plane (tilt) and perspective (shift). Tilt-shift lenses are commonly used for architectural photography.
The APD designation tells us that the lens features a built-in apodization filter. This filter aims to produce smoother bokeh and enhance subject separation, which is ideal for portraiture.
Additional Fujifilm lens terms: Super EBC, Nano-GI and TC
The XF16-55mmF2.8 R LM WR II features Fujifilm's Super EBC coating, as you can see printed on the lens. Image: Fujifilm
Like other companies, Fujifilm also has some specialty terms that aren't in the lens name, but are referenced in lens descriptions. That includes general terms for optical design, such as aspherical lens, but also a few proprietary terms.
Super EBC, which stands for Super Electron Beam Coating, is Fujifilm's proprietary multi-layer lens coating. It's meant to minimize flare and ghosting to improve image quality. Similarly, Nano-GI is a lens coating for the refractive index of the lens that promises to increase clarity.
Lastly, TC is a designation for teleconverters, which are lens accessories and not lenses. These can be attached between the lens and camera and allow you to increase focal length to provide additional magnification without purchasing a longer lens.
It seems that Amazon is getting another shipment of Ricoh GR IV cameras because they just opened their orders (act fast, they sold out quickly last time):
The expected shipping is November 12 – December 6. If you cannot wait that long, the Ricoh GR IV camera is now in stock in Canada at Camera Canada, and you can order one from the US without paying any taxes and with minimal import duties:
Canon celebrates another milestone – the RF/EF lens production exceeds 170 million units:
Canon’s RF/EF lens production exceeds 170 million units, extending its world record in interchangeable lens production
TOKYO, October 22, 2025—Canon Inc. announced today that, in October 2025, Canon reached a historic milestone of producing a cumulative total of 170 million RF and EF interchangeable lenses for its EOS series, extending its world record1 for the highest number of interchangeable camera lenses ever produced.
The EF lens was introduced in 1987 as the dedicated lens system for Canon’s EOS autofocus single-lens reflex film camera, debuting simultaneously with the EOS system itself. Since their inception, EF lenses have led the industry by incorporating a series of world-first2 technologies, including the Ultrasonic Motor (USM), Image Stabilizer (IS) technology, and a multilayered Diffractive Optical (DO) element, and have undergone numerous evolutions.
In 2018, Canon launched the RF lens series, designed for the EOS R mirrorless camera system, which features a large aperture, short back focus, and high-speed communication system to deliver even higher image quality. The RF and EF lens series lineup now includes a total of 108 models3, covering a wide range of focal lengths4 from ultra-wide 10mm to super-telephoto 1200mm. The series also includes the world’s first VR lens5, lenses with built-in power zoom suited for video shooting, and even those compatible with power zoom adapters—expanding the scope of creative expression and meeting the diverse needs of users for both still photography and video.
EF lens production began at Canon’s Utsunomiya Plant in 1987. Since then, both EF and RF lenses have gained strong support from a wide range of users—from beginners to professionals—leading to steady growth in production volume. Today, Canon manufactures lenses at five sites: Utsunomiya Plant; Canon Inc., Taiwan; Canon Opto (Malaysia) Sdn. Bhd.; Oita Canon Inc.; and Miyazaki Canon Inc. Milestones include 10 million units produced by 1995 and 50 million by 2009. Then in 2014, Canon became the first company in the world to reach 100 million interchangeable camera lenses produced. In October 2025, the company reached 170 million units, leading to the achievement of this world record. The 170 millionth lens produced was the RF70-200mm F2.8 L IS USM Z.
Canon has maintained the No.16 global market share for digital interchangeable-lens cameras for 22 consecutive years since 2003. Moving forward, Canon will continue to refine its proprietary imaging technologies and further strengthen and expand its lens lineup, pioneering new imaging possibilities and contributing to the continued evolution of photographic and video culture.
1
Includes EF, EF-S, EF-M, EF Cinema, RF, RF-S, and RF Cinema lenses and extenders. As of October 21, 2025 (according to a survey by Canon)
2
Among SLR cameras (according to a survey by Canon)
3
Number of products sold as of October 22, 2025 (including extenders). The number of lens models for sale is different according to market figures.
4
Focal length is 5.2mm to 1200mm when including VR lenses
5
An interchangeable digital camera lens that enables VR footage with a single camera. Among interchangeable lens digital cameras released as of October 5, 2021 (according to a survey by Canon)
6
Refers to unit share (according to a survey by Canon)
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Product photos: Richard Butler
The Leica M EV1 is a full-frame manual focus mirrorless camera with a 60MP BSI sensor. It's shaped like the company's other M-series models but has no optical viewfinder or rangefinder mechanism, relying instead on an electronic viewfinder.
Key specifications
60MP BSI CMOS full-frame sensor
60, 36 or 18MP output, Raw or JPEG
5.76M dot OLED EVF with 0.76x magnification
Two-way Fn switch on front
2.33M dot LCD rear touchscreen
64GB of internal storage
2.4/5Ghz Wi-Fi
The Leica M EV1 is available everywhere except the USA, where gaining FCC approval has caused a delay. Once cleared for sale in the US, it will be available at a recommended price of $8995.
The Leica M EV1 features a new, diamond-patterned leatherette coating.
There's not much that's new on the M EV1, other than the concept of removing the rangefinder and optical viewfinder that goes with it, and replacing it with an EVF. Leica points out this isn't the first M-series camera to go without a rangefinder: the M1 made that move, while the MD, MD-a and MD-2 had no viewfinder, either.
Instead the M EV1 uses a variant of the 5.76M dot viewfinder found in the Q3 cameras, with 0.76x magnification. Unlike the conventional Ms, this viewfinder can accurately present the field of view of 21 and 24mm lenses, and show output from 90mm lenses at a decent size.
In addition to adapting better to a wider range of lenses, the magnified live view and focus peaking available in the viewfinder should allow greater precision than the traditional rangefinder mechanism, giving more reliable results with fast aperture lenses and not needing such careful handling or calibration.
How it compares
Leica cameras are luxury goods, as well as being cameras, so it's somewhat hard to compare them. When the brand name and cost (and the exclusivity it implies) are part of the allure, conventional spec comparisons fall apart.
At the most basic level, you can get essentially the same sensor in the Sony a7CR for considerable less money, and get a similar shooting experience by adapting your M-mount lenses to fit. It won't be as small, be as nicely built or say Leica on the front, but in purely pragmatic terms, it'll be comparable.
We could also have compared the Leicas to the company's own SL3 model or Sony's higher-specced a7R V, but we thought choosing the smaller Sony was the closest in size and format.
Of course we don't think anyone will actually be choosing between the Leicas and the Sony, but it gives some perspective on what you do and don't get for your money. But, while it's impossible to objectively say whether autofocus is inherently better than using a rangefinder (and hence haven't assigned red or green highlighting), our experience has been that both the M11-P and a7CR offer a lot that the M EV1 doesn't.
Body and handling
The M EV1 essentially has the same body as the M11-P but with no viewfinder window at the front. The ISO dial is also absent from the shoulder of the camera, presumably as the EVF extends further into the space it would usually occupy.
The rest of the layout is very similar. The body has a nice, solid-feeling weight to it, and it has the same minimalist design that fits in the hand nicely and gives off a sense of solidity when you hold it.
The move to an EVF allows you to adjust the diopter, using the little pop-out dial. It can be adjusted from -4 up to +2 correction.
The camera uses a menu system similar to the one we liked on the Q3 43, but unfortunately with the addition of a 'Leica Content Credentials' option that means it takes an extra step before you can get into the menu proper. It's an odd decision, given Content Credentials doesn't seem like a setting you're likely to want to change regularly.
Battery
The M EV1 uses the same BP-SCL7 battery as the rest of the M11 family of cameras. It's a fairly substantial 13.3Wh unit that Leica says will power the camera to a rating of 244 shots per charge if you use the rear screen and 237 if you use the viewfinder. These numbers use the CIPA testing standard, which tends to significantly under-represent the battery life, but sub 300 ratings usually mean having to carry a spare battery or external USB power pack if you're a prolific photographer.
Initial impressions
by Richard Butler
I remember the first time I got to use a Leica rangefinder. Within a few hours I'd taken two photos that I can still picture in my head, nearly two decades later. They weren't necessarily in perfect focus, but I found it so quick to match the overlayed images that I quickly came to see how a technology could be superseded several times over, yet not be rendered obsolete.
"Anyone really interested in photography should rent a rangefinder for a weekend," has been a recurring phrase I've used in the years since.
Sadly, the M EV1 offers none of this experience.
Leica M-Summicron 35mm F2 | F4.8 | 1/250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler
Focus peaking makes it possible to match some of the speed of using a rangefinder, with perhaps somewhat similarly approximate focus. As with all these systems, it's highly dependent on aperture and light level, meaning everything can end up highlighted, at times, or nothing, sometimes. For the sort of precision that 60MP probably deserves, you'll need to use magnified live view.
Unlike some modern mirrorless cameras, the M EV1 doesn't have anything like a subject recognition system, to let you punch-in on potential subjects, so you'll have to tap on the screen or use the four-way controller to very slowly reposition the target point you want to zoom in on, though be careful not to tap the screen with your nose, if you're left-eye dominant, because that'll move your point, too.
Of course you could focus at the center and shift the camera, as you might with a rangefinder, but that would throw away any precision benefit that live view should have.
Leica M-Summicron 35mm F2 | F2.0 | 1/1250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler
I should make clear, I'm not a fan of shooting with manual focus lenses on modern cameras, full-stop. I find it slow and imprecise, and the focus tools are nothing like as simple and fast (albeit imprecise) as a split prism finder on an SLR or a rangefinder.
This job doesn't allow me the leeway of being 'there or thereabouts' in terms of focus, and I just find the whole thing slow, frustrating and fiddly.
Leica M-Summicron 35mm F2 | F2.8 | 1/1160 sec | ISO 64 Photo: Richard Butler
Based on using the camera for a week, I can't see the point in paying 91% of the cost of a Leica rangefinder, only to get something that isn't a rangefinder and that's no more elegant to shoot with than any other mirrorless camera trying to manual focus. Yes it's beautifully made and it has a red dot, but I'm not sure you gain much over, say, a Sony a7CR, with which it shares a sensor.
After a few minutes of shooting with an M9, I understood why someone might buy a rangefinder. After a few days with the M-EV1, I'm at a loss to why anyone would buy this instead.
The Fujifilm X-T30 III keeps the compact and stylish design we love from this series, but packs it full of upgrades over its predecessor. This version features Fujifilm’s X-Processor 5, boosting speed and AF performance, and this is accompanied by a new dedicated Film Simulation dial letting you switch between Fujifilm’s iconic colour profiles. Add in 6.2K video and AI subject detection, and this iteration is faster and smarter than ever.
26.1MP X-Trans CMOS 4
Fujifilm’s X-Processor 5
Dedicated Film Simulation dial
6.2K/29.97p with AI subject detection
Tactile dials & touchscreen LCD
Enhanced FUJIFILM XApp compatibility
The Fujifilm XC 13-33mm f3.5-6.3 OIS offers a compact and lightweight profile with a 20-50mm full-frame equivalent range for travel and everyday photography. With a unique retractable structure, it features an advanced optical construction of 10 elements in 9 groups and up to 4 stops of Optical Image Stabilisation for steady handheld shots. With a 20cm minimum focus distance, it captures detailed close-ups while maintaining sharpness across the frame.
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Product photos: Richard Butler
The Fujifilm X-T30 III is the company's latest entry-level, SLR-shaped mirrorless camera, with its latest color mode recipes and autofocus.
Key specifications
26MP X-Trans APS-C BSI CMOS sensor
Film simulation dial with recipe positions
Tilt up/down rear screen
2.36M dot EVF
4K/60 video with 1.18x crop, 6.2K/30 full-sensor capture
315 shot-per-charge battery life, 425 in power saving mode
The X-T30 III will be available from November 2025 at a recommended price of $999. There will also be the option to buy the camera with a new, unusually wide, 13-33mm F3.5-6.3 OIS zoom lens, which will cost around $1150.
The Film Simulation dial on the camera's shoulder has three custom positions that can be assigned to film simulations or the simulation-and-parameter-tweak combinations known as 'recipes.'
The X-T30 III, as the name implies, is an iterative update of the existing X-T30 II. It gains the latest Fujifilm processor, which brings subject recognition autofocus. This brings it into line with the X-M5 and X-T50.
It also gains a Film Simulation dial, instead of the drive mode dial on the previous X-T30 models. Like the more expensive X-E5, the three custom positions on the dial can be set up to store 'recipes': sets of JPEG processing settings that modify the behavior of an underlying film simulation.
The more powerful processor also brings a boost in the video features, with 60fps 4K video options (with a 1.18x crop) and the option to shoot using the whole sensor in 6.2K resolution at up to 30fps.
Finally, the X-T30 III becomes the first model to be offered with a new 13-33mm F3.5-5.6 stabilized kit zoom. This offers an unusually wide 20-50mm equivalent range, which is likely to be a welcome capability for photographers whose previous experience has mainly been with the wide-angle cameras on smartphones.
What is it?
The X-T30 III maintains the classic-SLR looks of the X-T series.
The X-T30 III plays the same role in the lineup as its predecessor did: the least expensive SLR-shaped camera in the Fujifilm range. Like the Mark II and the X-M5, it's built around an unstabilized 26MP BSI CMOS sensor. It's an APS-C-sized chip with Fujifilm's proprietary X-Trans filter pattern in front of it. This was originally designed to reduce visible errors in images but increasingly just seems to make the files a little more tricky to process.
The X-T30 III offers a decent set of features: it'll shoot moderately quickly, captures good quality video and offers a range of subject-recognition AF modes, making it quick and easy to focus on common subject types. It also has a switch to jump quickly to its Auto mode that tries to select the appropriate scene mode and settings for whatever you point it at. It's also somewhat unusual in still offering a small pop-up flash.
The standout feature of the X-T30 III, in common with the rest of the Fujifilm range, is the provision of its film simulation color modes, giving you a selection of (mostly) well-judged, attractive color responses, for your images. The Mk III puts these at your fingertips by providing a dedicated dial, making it easy to experiment with the different looks it offers.
How it compares
The X-T30 III is one of Fujifilm's entry-level models. The viewfinder means it's a little more expensive than the rangefinder-style X-M5, but it has a list price lower than that of the image-stabilized X-S20. We'll include the X-S20, as the most affordable stabilized APS-C camera.
In terms of rivals, the Nikon Z50II is probably the most like-for-like competitor, with Canon's EOS R10 also offering similar specs for similar money. We're omitting the distinctly elderly Sony a6400 as it only shoots 8-bit video and doesn't have such extensive subject recognition AF. The OM System lineup either offers the OM-D E-M10 IV for less money or the OM-5 II for more, both are built around smaller but stabilized sensors. The OM-5 II is the least expensive mirrorless camera to offer an 'IP' rating for its weather sealing.
Fujifilm X-T30 III
Nikon Z50II
Canon EOS R10
Fujifilm X-S20
MSRP
$1000, $1150 w/ 13-33mm
$1010, $1150 w/ 16-50mm
$1100, $1250 w/ 18-45mm
$1500. $1600 w/ 15-45mm
Resolution
26MP
21MP
24MP
26MP
Stabilization
Lens only
Lens only
Lens only
In-body (up to 7EV)
Flash, ISO 100
GN 5
GN 7
GN 6
GN 5
Cont. burst rate
8fps Mech 20fps Elec
11fps Mech 15fps Elec
15fps Mech 23fps Elec
8fps Mech 20fps Elec
EVF
2.36M dots 0.62x mag
2.36M dots 0.67x mag
2.36M dots 0.59x mag
2.36M dot 0.62x mag
Rear screen
1.62 dots 3.0" Tilt up/down
1.04M dots 3.2" Fully-artic.
1.04M dots 3.0" Fully-artic.
1.84 dots 3.0" Fully-artic.
Video options
6.2K/30 open gate 4K/60 1.18x crop 4K/30 full-width
4K/60 1.44x crop 4K/30 full-width
4K/60 1.6x crops 4K/30 full-width
6.2K/30 open gate 4K/60 1.18x crop 4K/30 full-width
Mic / 'phones?
2.5mm / Via USB adapter
Yes / Yes
Yes / No
Yes / Yes
Battery life rating
315
220 EVF / 230 LCD
210 EVF / 350 LCD
750
Dimensions
118 x 83 x 47mm
127 x 97 x 67mm
123 x 88 x 83mm
128 x 85 x 65mm
Weight
378g
550g
429g
491g
In spec terms, there's not much to choose between these models. What the chart can't show is that the Nikon probably has the best autofocus tracking performance here, with the Canon a very close second (it's a little less dependable in video mode). This is still something of a weakness for the Fujifilm, though its subject-recognition modes do well.
Both the Canon and Nikon handle better than the Fujifilm, having fewer, but in our experience, better laid-out controls that are harder to operate accidentally. The Fujifilm's Auto switch will be handy for some users and anyone looking for a camera to grow into is more likely to find the lenses they want in the X mount, but the offerings for Canon and Nikon are (finally) improving, so it's worth investigating whether the lenses you think you might want are available for each system, before picking a camera body.
The X-T30 III is also the smallest camera here and offers a wider array of attractive color modes than its rivals. There's also the option of that slightly pricy but unusually wide kit zoom.
Body and handling
The X-T30 II offers plenty of hands-on control, including two clickable command dials, an exposure comp dial and an AF joystick, but these have all been fitted into a small space.
The body of the X-T30 III is essentially the same as the one from previous X-T30 models, meaning it's slightly smaller than the X-T50 and lighter. A ridge down the front of the camera and a protruding bump on the back means it fits firmly in the hand, and feels secure thanks to the tactile rubber coating, front and rear.
The X-T30 III has a fair degree of external control, including six buttons that can be customized and four swipeable directions on the rear touch screen. It also has two well-positioned clickable command dials, a dedicated exposure comp dial and dedicated shutter speed dial, as well as that film simulation dial.
There's also a joystick for positioning the AF point or navigating the menus and flick switches under two of the dials to activate the flash and to engage full Auto mode.
While we're pretty impressed, overall with this level of direct and customizable control, we find it's perhaps a little overwhelming on a body this small. If you have larger fingers, or don't know what all the controls do, the X-T30 III risks being a bit of a handful.
The X-T30 III only has three ports on its right-hand side, but they offer a lot of functions.
In terms of ports, the X-T30 III has a 2.5mm socket the serves double-duty as a remote control connector or a mic input. Most mics use a 3.5mm plug, so you'll need an adapter to attach one. Below this there's a USB socket that can be used for charging the camera, transferring data or connecting a pair of headphones, with the supplied adapter.
Finally, there's the micro HDMI socket for outputting video or a Raw video data stream that can then be encoded by either a BlackMagic or Atomos external recorder to BRaw or ProRes Raw, respectively. This isn't the obvious model to do that from, especially not given how delicate micro HDMI sockets can be, but it's nice that Fujifilm hasn't omitted a feature this hardware can support.
Battery
The X-T30 III uses the same 8.7 Wh NP-W126S battery as most of Fujifilm's smaller cameras. It powers the camera to a rated value of 315 shots per charge, or 425 in 'Economy' mode. These numbers don't reflect the number of shots you'll get from the camera (getting twice the rated figure isn't unusual, depending on your use of image review, flash or burst shooting), but they're broadly comparable between cameras.
A figure of over 300 shots per charge is good for this class of camera and is likely to mean you can use it for a weekend of casual shooting without having to think about the battery. The battery can be recharged over USB.
Video
The X-T30 III's video specs are competitive but there are other models better suited to video within the range.
The X-T30 III gains all the video modes we've seen appear in this generation of 26MP Fujifilm models. In many respects, it's a sensor better suited to video than the 40MP chip in their more expensive models, because it doesn't have to read out so much data to produce its 4K footage.
The X-T30 II can capture full-sensor, 'open gate' footage at up to 30p in 6.2K resolution, or it can deliver 4K derived from this 6.2K resolution in more common aspect ratios. It can shoot 4K at up to 60p with a slight crop.
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
1080p/24p
Full-width (16:9)
13ms
However, while the video specs are more than solid for this class of camera, the X-T30 III's lack of image stabilization makes the X-T30 II a harder camera to shoot good footage with. The kit zoom is stabilized, and you can add digital stabilization in the camera, but the X-S20 is probably the better choice if video is a significant interest to you. As well as stabilization, the X-S20 has standard 3.5mm mic and headphone sockets and is compatible with the accessory fan unit to extend recording times.
Initial impressions
by Richard Butler
The X-T30 III is a welcome update to one of Fujifilm's more affordable and popular models. The introduction of the higher-specced, and more expensive X-T50 made it less clear that it'd get another update, but here it is. For existing Fujifilm users, it's not likely to cause much excitement: it's just a familiar, existing model being brought into line with the rest of the range by inheriting familiar, existing features.
But for anyone outside the system, it's perhaps a bit more significant. It brings one of Fujifilm's more affordable cameras up to the same standard as models such as the X-M5 and X-S20. So you can now choose whether you want a rangefinder shaped camera or a DSLR-shaped one, you can choose whether you want to pay for image stabilization or not, and you can choose between the dedicated dials of the X-T series or the command dial approach of the X-S cameras.
Fujifilm's Film Simulation modes are a significant feature of its cameras, not because they mimic filmstocks, particularly, but because they offer a series of subtle and attractive color options.
Fujinon XC 13-33mm @ 33mm | F6.3 | 1/120 sec | ISO 160 Photo: Richard Butler
Personally, I've always found the little X-Ts to be somewhat awkward: they offer a lot of direct control on a very small body for both better and worse. I sometimes worry that this risks making them look intimidating to new users, but that's more of a hypothetical concern, in practice I find the controls just a bit too small and fiddly to really use.
My biggest concern is the small, easily pressed clickable front dial, which you'll almost certainly have to use if you want to shoot in aperture priority. I found it extremely difficult to turn without also pressing, which would result in the camera cycling out of Auto ISO to either the highest or lowest ISO setting. As someone who primarily shoots in aperture priority mode, and using the kit lens that lacks an aperture ring, I found I had to customize the front dial to only control aperture, to stop me inadvertently changing ISO constantly.
The unusually wide Fujinon XC 13-33mm F3.5-6.5 OIS lens that you can get in a bundle with the X-T30 III helps set it apart from its predecessor and its peers.
Fujinon XC 13-33mm @ 13.3mm | F8.0 | 1/680 sec | ISO 320 Photo: Richard Butler
Likewise, on the day I tried using the camera with gloves, I repeatedly caught the Q button with the edge of my gloves, popping up the quick menu. The good thing is that you can customize the camera to overcome these issues, but I had to make quite drastic changes to make it practical to use the camera in a hands-on manner, which just heightened my concern about the camera's controls not being optimized for either the inexperienced or the experienced user. At least, not out of the box.
The new kit zoom is an excellent addition, though. At F6.3 at the long end, it's a little slow, and not all my shots were quite as sharp as I'd hope, but the ability to just keep going wider and wider really set it apart from other entry-level models I've used.
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Sample gallery
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Image: Fujifilm
Fujifilm has announced the XC 13-33mm F3.5-6.3 OIS, a 20-50mm equiv. zoom that slots into its lineup of budget lenses for its APS-C cameras. It's the kit lens for the X-T30 III being announced alongside it, and is currently only available if you buy that camera with it, but it's an interesting addition to the company's lineup.
The lens is made of ten elements in nine groups, with four aspherical lenses and three ED elements. It has a minimum focusing distance of 0.2m (7.9"), and a nine-bladed aperture, which should provide more circular bokeh than the seven-bladed one on the XC 15-45mm F3.5-5.6 OIS PZ.
At 125g, Fujifilm says it's the lightest zoom lens for its X mount system; it's also the company's first manually retracting lens for the mount. That means it can get as short as 37.5mm (1.5"), though in use it'll be at least 55.6mm (2.2"). It accepts 49mm filters, and its optical stabilization provides a benefit of 4EV.
Retracted, the lens is absolutely tiny. Image: Fujifilm
Given its XC designation, it's not surprising that the lens doesn't have many external features. You get zoom and focus rings, but that's pretty much it; unlike most of the higher-end XF lenses, there's no aperture control ring.
The lens provides an interesting focal length, going relatively wide for something that's around normal on the long end. Fujifilm's other standard zoom lenses start around 23 or 24mm (though they typically provide a fair bit more reach). It's possible this is to help it, and the camera it's being sold with, appeal to younger people who are used to wide-angle lenses from their smartphones.
Fujifilm says the lens will be available standalone in "late January 2026" at an MSRP of $399.
While we haven't had the chance to shoot a dedicated lens sample gallery with a high-resolution body yet, you can see plenty of images we took with the lens in our sample gallery for the Fujifilm X-T30 III.
Press release:
Small Wonder: Fujifilm Introduces FUJINON XC13-33mmF3.5-6.3 OIS
FUJIFILM X Series’ smallest compact zoom lens, with impressive close focusing capabilities, covering wide-angle to standard focal lengths
VALHALLA, N.Y. – October 23, 2025 – FUJIFILM North America Corporation, Electronic Imaging Division, today announced the release of its FUJINON XC13-33mmF3.5-6.3 OIS Lens (XC13- 33mmF3.5-6.3 OIS).
“Our FUJINON XC lenses have always represented a perfect entry point into the X Mount lens ecosystem for still-centric creators,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “FUJINON XC13-33mmF3.5-6.3 OIS is no different. It is perfect for those everyday moments because of its optical image stabilization and a versatile zoom range, which is ideal for everything from the big picture all the way down to the smaller details.”
Product Features
Fujifilm’s smallest and lightest zoom lens
XC13-33mmF3.5-6.3 OIS is a compact standard zoom lens measuring just 1.48 inches1 (37.5mm) and weighing 4.4oz. (125g); the smallest and lightest in Fujifilm’s current lineup.
When not in use, the lens body retracts, making it ideal for carrying or storage.
A design that blends portability with versatility
XC13-33mmF3.5-6.3 OIS covers focal lengths ideal for everyday use, from the wide-angle 13mm (35mm equivalent: 20mm) useful for everything from expansive landscapes and confined indoor spaces, to the standard 33mm (35mm equivalent: 50mm), effective for portraits and street photography.
Featuring a 10-element in nine-group construction, including four aspherical elements and three extra-low dispersion (ED) glass elements, it suppresses typical wide-angle lens characteristics including distortion, field curvature, and chromatic aberration across the entire zoom range.
Offers a minimum focus distance of 7.87 inches (20cm) across the entire zoom range and a maximum magnification of 0.25x at the telephoto end, making XC13-33mmF3.5-6.3 OIS ideal for close-ups of flowers and plants, pets, and more.
Further features add to creative options
XC13-33mmF3.5-6.3 OIS includes a 4.0-stop Optical Image Stabilization2 mechanism that expands creative options to include handheld night photography and pictorial use of slow shutter speeds.
The lens can autofocus in as little as 0.025 seconds3, exemplifying the lens’ high-speed, high precision performance.
The nine-blade aperture achieves a more circular bokeh effect compared to conventional XC zoom lenses4. This enables beautiful soft focus effects on a wide range of scenes, including portraits, landscapes, and nightscapes.
Pricing and Availability
FUJINON XC13-33mmF3.5-6.3 OIS lens will be available late January 2026 at a Manufacturer’s Suggested Retail Price of $399.95 USD and $489.99 CAD. For more information, please visit https://www.fujifilm-x.com/en-us/products/lenses/xc13-33mmf35-63-ois/.
1 When lens is retracted.
2 Based on CIPA2024 standards. Pitch/Yaw direction correction function, focal length 33mm, used with FUJIFILM X-T3.
3 Compliant with CIPA guidelines, based on internal measurement methods. When mounted on FUJIFILM X-H2 mirrorless digital camera. AF speed at the wide-angle end using phase detection AF with High Performance mode ON.
The previously rumored Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens leak ahead of the official announcement – here are the basic specifications:
Price: £799
Fourth-generation sensor (26 MP)
Fifth-generation image processor
Fujinon XC 13-33mm f/3.5-6.3 OIS lens:
Optical structure: 9 groups 10 elements (including 4 aspherical surfaces, 3ED)
Connexion
