Image: Richard Butler

As we bid March adieu, it's a good time to take stock of the wealth of new cameras and lenses announced so far this year. Here's a list of everything we've seen, updated for April 2024!

March 2024

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Leica SL3

Image: Richard Butler

Leica released the SL3 in March, making it the highest-resolution SL camera in its line. The 60MP DSLR-shaped mirrorless camera is built around Leica's L-mount and brings a lot of technology from the Leica M11 models into its radically redesigned interface. Shutterbugs didn't have to wait long for it to arrive. It was available the same day it was announced.

Read our SL3 initial review

Logitech Mevo Core

Image: Logitech

Logitech revisited the Mevo line of streaming cameras to give them a larger Micro Four Thirds sensor and its corresponding lens mount (the previous version was fixed lens). Geared toward users in need of live-feed video, it sports a 6-hour battery rating and supports Wi-Fi 6E up to 4K/30p streaming.

Read our Mevo Core story

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Leica limited edition black Summilux-M 35mm f/1.4

Image: Leica

Leica, whose commitment to the rangefinder style is so strong that it makes actual rangefinder cameras, announced it was producing 200 copies of the M-Summilux 35mm F1.4 with an anodized black coating on its aluminum shell. The design has many elements inspired directly by a lens Leica produced in the 60s and reintroduced in 2022 as part of the Leica Classic line.

Read our Summilux-M 35mm F1.4 story

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Ricoh creates GR III HDF and GR IIIx HDF

Image: Ricoh

The Ricoh GR III HDF and GR IIIx HDF are variants of the company's existing fixed-lens APS-C premium compacts. They feature a unique "highlight diffusion filter" instead of the ND filter fitted in the standard versions of both cameras. When turned on, the HDF creates a diffusion effect, particularly visible in highlight areas. Both cameras will arrive in April, with preorders starting April 2.

Read our GR III HDF and GR IIIx HDF story

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Nikkor Z 28-400mm F4-8 VR

Image: Nikon

A superzoom Z-mount lens with a 14.2x zoom range, Nikon tells us the lens is designed to meet the needs of both photo and video users. Autofocus comes in the form of a stepping motor to deliver fast and quiet autofocus, and manual focus includes support for a linear focus response, which should appeal to video shooters. It is set for release in mid-April.

Read our 28-400mm F4-8 VR story

Meike 55mm F1.4 APS-C

Image: Meike

Meike Global's first autofocus APS-C lens arrived for Fujifilm, Sony and Nikon cameras in March. The new 55mm F1.4's $200 MSRP is targeted at photographers looking for a fast and light prime lens who don't want to shell out for more expensive options.

Read our Meike 55mm F1.4 APS-C story

7Artisans 50mm F1.8 AF

Image: 7Artisans

7Artisans also introduced its first autofocus lens in March and it too runs about $200: a 50mm F1.8 for full-frame Sony E-mount bodies. The company has built up an extensive collection of manual focus lenses (for numerous mounts), and we imagine that this "nifty fifty" is the first of many AF lenses to come.

Read our 7Artisans 50mm F1.8 story

Sigma 50mm F1.2 DG DN Art

Image: Sigma

The 50mm lenses just kept on coming in March (calling it now, it's going to be a hot nifty-fifty summer if this keeps up). Sigma's second F1.2 lens for the E and L full-frame mirrorless camera mounts is one of the lightest lenses of its type. Sigma also says it's designed to give full detail levels even at maximum aperture. It hits stores on April 18.

Read our Sigma 50mm F1.2 DG DN Art story

Tamron 28-75mm F2.8 Di III VXD G2

Image: Tamron

Tamron's popular 28-75mm F2.8 Di III VXD G2 fast standard zoom is coming to Nikon's Z-mount. Built with a newer, linear motor drive, it also features improved optical performance when compared to the G1 version of the lens. The announcement adds a more affordable option for Nikon's Z-mount users, and some hope that Nikon may relax restrictions around the mount.

Read our Tamron 28-75mm F2.8 Di III VXD G2 story

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February 2024

An extra long February brought us a wealth of new cameras and lenses during CP+ 2024.

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Fujifilm X100VI

Image: Richard Butler

Arguably one of the most hyped-up cameras of the year, the Fujifilm X100VI was announced and made available for preorder this February. It is shipping now, but already backordered at some retailers.

Read our X100VI initial review

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Sony a9 III

Photo: Richard Butler

Sony's latest high-speed pro sports camera and herald of the 'global' shutter, the a9 III, was announced in 2023 but began shipping on February 8th.

Read our Sony a9 III initial review

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OM System OM-1 Mark II

Photo: Shaminder Dulai

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with hardware and firmware improvements. Announced and available for preorder in January 2024, it started shipping in February.

Read our OM System OM-1 Mark II initial review

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OM System 150-600mm F5.0-6.3 IS

Image: OM System

Alongside its new flagship, OM System announced a 150-600mm F5.0-6.3 super telephoto zoom (equivalent focal length range of 300-1200mm) as well as a new version of the Olympus 9-18mm F4.0-5.6 (18-36mm equivalent) with an updated body and OM System branding in January. Both are now shipping as of February 2024.

Learn more

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Sony 24-50mm F2.8 G

Image: Sony

Sony's 24-50mm F2.8 G fast, compact walk-around lens was announced this February during CP+ but is not slated to ship until May of this year.

Learn more

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Fujifilm X100VI: Limited Edition

Photo: Richard Butler

While the Fujifilm X100VI itself is easy to pre-order, there is also a limited edition with Fujifilm's founding logo from 1934 that will be a bit harder to find and a bit more expensive. Ask at your local dealer for the chance to pay a $400 premium for this limited run.

Learn more

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Sigma 15mm F1.4 DG DN "Art" diagonal fisheye

Image: Sigma

Sigma's 15mm F1.4 DG DN "Art" diagonal fisheye is shooting to be an astrophotography workhorse with a 180-degree field-of-view, manual focus lock button, lens heater support and a weather-sealed body. It's available for preorder today, with an estimated ship date of mid-March.

Learn more

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Sigma 500mm F5.6 DG DN OS Sports

Image: Sigma

Sigma's 500mm F5.6 DG DN OS "Sports" lens is lighter and a fraction shorter than the similar Nikkor lens for DSLR, despite not using the same phase-fresnel technology Nikon does. It's available for preorder now in E-mount and L-mount favors, with a ship date in mid-March 2024.

Learn more

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Panasonic Lumix S 28-200mm F4-7.1 macro travel zoom

Image: Panasonic

Launched during CP+, Panasonic's Lumix S 28-200mm F4-7.1 Macro OIS for L-mount is, according to the company, is the smallest and lightest long zoom lens for mirrorless systems (where 'long zoom' is defined as 7x or greater zoom range). It's available for preorder now, and set to ship at the end of April.

Learn more

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Venus Optics Laowa 10mm F2.8 Zero-D FF

Image: Venus Optics

The Venus Optics' Laowa Zero-D FF is, according to its makers, the world's widest F2.8 full-frame rectilinear lens. It's also the first lens with autofocus in the company's Laowa line. Available for preorder now, it will ship next month for $799.

Learn more

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Sony PDT-FP1 5G transmitter

Image: Sony

Sony's PDT-FP1 5G transmitter accessory, which was already announced in Japan, is now coming to the United States and other markets. It can be preordered now and has a shipping window of "early summer" 2024.

Learn more

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Apple Vision Pro

Image: Apple

Announced in 2023, Apple Vision Pro got a February 2nd shipping date during CES 2024. It's now available to order on Apple's website for $3,499. Apple Vision Pro is not primarily a camera, of course, but it is, in part, a device for capturing photos and videos. The Vision Pro will be able to capture spatial photos and video using a button along the top edge of the goggle part of the device.

Learn more

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January 2024

The start of the year was no time for rest, we hit the ground running with several product announcements.

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Hasselblad CFV 100C

Image: Hasselblad

Hasselblad has announced a 100MP version of its CFV digital camera back, which combines with the 907x camera to create the smallest medium format camera on the market. It's available for pre-order now and expected to ship in late March to early April.

Learn more

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Panasonic Lumix S 100mm F2.8 macro

Image: Panasonic

In conjunction with CES 2024, Panasonic has announced the Lumix S 100mm F2.8 Macro lens for full-frame L-mount cameras. Panasonic calls it "the world’s smallest and lightest medium-telephoto fixed focal length macro lens." However, as important as its size and weight is versatility: Panasonic tells us its goal was to produce a macro that can also handle portraiture and medium telephoto shooting with vanishingly few drawbacks. It was announced and shipped in January 2024.

Learn more

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DJI Mic 2

Image: DJI

This January, DJI announced the Mic 2, the sequel to its first wireless microphone system released back in 2022. We were fans of the original, especially the details of its interface and user experience, and the Mic 2 expands on that with some additional creature comforts, 32-bit float backup recordings and a new transparent design. It was available for purchase at its announcement in January.

Learn more

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Photo: Richard Butler

We're almost a third of the way through the year already! Here's a recap of the reviews and testing we've done this year so far, with more (and more and more) to come as the year goes on!

April

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Panasonic S5II: Review

Photo: Richard Butler

The Panasonic S5II had the unfortunate luck of landing in our office right about the time we found out that our parent company planned to close DPReview in 2023, so it never went through our regular review process. We've been looking for an opportunity to review it ever since we joined forces with Gear Patrol last summer and finally found the time.

The timing turned out to be good: Panasonic was able to provide us with an early version of the camera's new firmware (v3.0), so we were able to test it with the latest features. Read our review to find out why we think this camera is such a great all-around performer for enthusiasts and pros alike.

Read the review

Sony FE 16-25mm F2.8 G: Sample gallery

Photo: Shaminder Dulai

The Sony FE 16-25mm F2.8 G is a relatively compact wide-angle zoom lens aimed at street and travel photographers.

We were able to get our hands on the lens for a day and figured most readers would be curious to see some examples of street and architectural photography, so we hit the streets of downtown Seattle and ducked into the Seattle Public library when the weather turned ugly.

See the sample gallery

March

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Sony FE 24-50mm F2.8 G: Sample gallery

Photo: Eric Limer

Sony's FE 24-50mm F2.8 G is a fast, compact walk-around lens for its full-frame E-mount cameras. We took it out in snow and sun in New Jersey to put it through its paces.

In practice, we found that it makes for a light and portable package with convenient and satisfying hands-on controls and quick and quiet focus.

See the sample gallery

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Leica SL3: Initial review

Photo: Richard Butler

The Leica SL3 is a 60MP DSLR-shaped mirrorless camera built around Leica's L-mount. It brings a lot of technology from the Leica M11 models but also features a radically redesigned interface. In March we published our initial review.

Read the review

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Sample gallery

Photo: Dale Baskin

Panasonic's newest zoom lens, the Lumix S 28-200mm F4-7.1 Macro OIS, is so small that it just begs to be used for travel, so we took it on a trip to Japan to see if it lives up to its promise. It proved to be an outstanding choice, allowing us to cover a wide range of focal lengths without ever feeling like we were dragging around too much gear. We were pretty pleased with the optical performance, too.

See the sample gallery

Panasonic Lumix DC-G9 II: Studio scene

Photo: Brendan Nystedt

As we enter the final phase of our Panasonic Lumix DC-G9 II review, we've added the test scene images to our image comparison tool.

See the studio scene

Sony a9 III: Sample gallery updated

Photo: Carey Rose

We updated our Sony a9 III sample gallery to include more sports and to get a feel for how effective its global shutter sensor is when combined with subject-detection autofocus in a variety of scenarios. And just to be safe, we also included some low ISO landscape images for those who want to evaluate image quality for other types of photography.

See the sample gallery

The Panasonic S5IIX goes to Japan: Sample gallery

Photo: Dale Baskin

We were working on our review of the Panasonic S5II when it came time for our annual trek to Yokohama, Japan, for the camera industry's annual CP+ trade show, so we took along the S5IIX for some additional testing. It was a joy to shoot and it did a great job of capturing the color and texture of Japan, from the streets of Tokyo to snow monkeys near Nagano. It also proved that its weather sealing was up to the task, operating for hours in pouring rain without missing a beat.

See the sample gallery

Panasonic Lumix G9 II: Review

Photo: Brendan Nystedt

The Panasonic G9 II is the first Panasonic Micro Four Thirds camera to include phase detect autofocus and is based on the same body as the full-frame S5 II. It also comes with a surprisingly long list of video features. Read our full review to find out what we liked and what we didn't.

Read the review

Sigma 50mm F1.2 DG DN Art: Sample gallery

Photo: Jeff Carlson

The Sigma 50mm F1.2 DG DN Art is a comparatively lightweight prime lens aimed at travel, portrait and street photographers. Contributing editor Jeff Carlson immediately jumped on the opportunity to shoot a sample gallery with this lens, capturing spring cherry blossoms, portraits and some low-light photos for good measure.

See the sample gallery

Nikon 28-400m F4-8: Pre-production sample gallery

Photo: Dale Baskin

We had an opportunity to try a pre-production version of Nikon's new 28-400mm F4-8 superzoom lens shortly before it was announced. Let's just say this lens really intrigues us, and we can't wait to get our hands on a production copy for more testing.

See the sample gallery

February

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Hasselblad 907X / CFV 100C: Sample gallery

Image: Hasselblad

Hasselblad's CFV 100C medium format digital back brings most of the features of the X2D 100C to smaller form factor that's compatible with a wide range of cameras from the company's history. We paired it with a 907X camera / lens adaptor and XCD 28mm F4.0 and XCD 90mm F2.5 lenses to shoot a sample gallery.

See the sample gallery

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Megadap ETZ21 Pro Sony-to-Nikon mirrorless lens adapter: Review

Photo: Dan Bracaglia

After getting our hands on it, we can say that, as far as what’s currently available for Sony shooters wishing to dabble in the Nikon realm, there is no better option on the market than the Megadap ETZ21 Sony E-mount to Nikon Z-mount lens adapter.

Read the review

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Nikon Zf: Video reel update

Photo: Richard Butler

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

Read the review

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Panasonic Lumix DC-S5 II: Studio scene

Photo: Richard Butler

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

See the results

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Fujifilm X100VI: Initial review

Photo: Richard Butler

February finally brought us the X100VI, a photographers' fixed-lens camera that combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens. We had it day one, and have published our initial review along with a sample gallery. Unfortunately, those won't help you actually find one to buy.

Read the review

See the sample gallery

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OM System OM-1 II: Sample gallery

Photo: Shaminder Dulai

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with a series of hardware and firmware improvements. In February we published a sample gallery to update our initial review.

See the sample gallery

Read the initial review

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January

Sony a9 III: Initial review

Photo: Richard Butler

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

Read the review

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Lumix S 100mm F2.8 Macro: Sample gallery

Photo: Shaminder Dulai

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

See the sample gallery

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Sony FE 16-35mm F2.8 GM II: Sample gallery

Photo: Dan Bracaglia

Sony's 16-35mm F2.8 GM II lens is smaller, lighter and more capable than its predecessor. Optical improvements come in the form of better corner-to-corner sharpness and a new close-focus distance of just 22 cm.

See the sample gallery

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iPhone 15 Pro Max: Sample gallery

Photo: Jeff L Carlson

When we published our iPhone 15 Pro Sample Gallery, we didn’t yet have an iPhone 15 Pro Max model in hand. In addition to boasting a larger 6.7-inch screen, the Max differentiates itself by having a 5x (120mm equivalent) telephoto camera with a clever tetraprism design. The iPhone 15 Pro’s telephoto camera, meanwhile, shares the same 3x (77mm equivalent) field of view as the iPhone 14 Pro. Is the extra reach worth the bigger physical size and higher cost?

See the sample gallery

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Canon EOS R100: Review

Photo: Shaminder Dulai

The Canon EOS R100 is an ultra-compact 24 Megapixel APS-C mirrorless camera with an RF mount. It is the cheapest way to enter Canon's mirrorless ecosystem, offering more flexibility than a smartphone.

Read the review

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Fujifilm XF23mm F2 R WR: Review

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Photo: Richard Butler

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

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

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

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

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Introduction

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

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

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

Sensor and specs

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

Where they differ: The Nikon can shoot JPEGs at up to 15fps in e-shutter mode, or Raws at up to 11fps using its mechanical shutter mode, whereas the S5 II can shoot at up to 30fps with continuous AF using its e-shutter or up to 7fps if your subject needs a mechanical shutter.

Handling

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

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

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

Autofocus

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

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

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

High-resolution mode

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

Where they differ: Panasonic introduced its system much earlier than Nikon, and its system is generally more advanced and usable than the Zf's. The S5 II shoots eight images with slight offsets to boost the nominal resolution to 96MP. What sets the Panasonic apart is its ability to combine its images in-camera, compare frames, and apply motion correction (using the data from a single image for parts of the image that have moved). It also added a hand-held high res mode, which we'll be testing as part of our full review.

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

Video

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

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

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

Lenses

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

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

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

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

Summary

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

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

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

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

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

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

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

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Olympus XA design and history

The XA is made for shooting from the hip. Photo: Dan Bracaglia

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

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

Olympus XA sample. Photo: Dan Bracaglia

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

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

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

Olympus XA in use

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

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

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

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

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

Olympus XA's modern digital equivalents

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

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

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

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

Final thoughts and samples

Olympus XA sample. Photo: Dan Bracaglia

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

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

Olympus XA sample. Photo: Dan Bracaglia

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

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

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

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Olympus XA sample photos

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

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

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

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

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

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

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

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

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

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

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

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

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

One more thing:

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

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

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

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

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

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Fujifilm's X Summit presentation live feed:

Photo: Richard Butler

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

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Does the X100VI have a better sensor than the X100V?

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

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

Does the X100VI have a better lens than the X100V?

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

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

Does the X100VI have in-body image stabilization?

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

Is the X100VI better for video than the X100V?

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

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

Does the X100VI look different than the X100V?

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

Should you upgrade to the X100VI from the X100V?

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

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

Is the X100V still worth buying?

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

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

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

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

Key features:

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

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

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Index:

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

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What's new?

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

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

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

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

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

Film simulations

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

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

Camera to cloud

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

Video

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

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

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

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

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Other changes:

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

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

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Body and controls

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

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

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

Controls

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

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

Command dials

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

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

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

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

Hybrid viewfinder

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

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

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

Battery

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

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Initial impressions

Richard Butler

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

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

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

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

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

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

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

Plus ça change...

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Sample gallery

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

Photo: Richard Butler

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

Image: Fujifilm

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

Image: Fujifilm

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

Otherwise, the vanilla X100VI is waiting for you.

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

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

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

Press Release

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

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

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

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

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Manufacturer's sample gallery

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Press release

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

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

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

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

View our Fujifilm X100VI sample gallery

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

Image: Sony

Sony has announced a compact 24-50mm F2.8G lens for its full-frame mirrorless cameras. Coming in at just 440 grams (just under 1 pound), this lens covers the most popular focal lengths for everyday shooting in a chassis 92mm (3.6") long.

Sony claims that they've made no compromises with the lens. It has an 11-blade circular aperture, uses ED and aspherical elements, and has twin linear motors for responsive and quiet focusing. Sony says that the lens can keep up with the 120 fps burst mode of its flagship a9 III.

The lens has focus, zoom, and aperture rings; the latter can be "de-clicked" for video shooting. There's also a focus hold button, whose function can be customized. The lens is dust and moisture-resistant (but not 100%, Sony points out), and the front element has a fluorine coating to fight off water and oil.

The 24-50mm F2.8G will be available in May for $1100.

We have the lens in hand, and will be adding sample images to this story in the coming days.

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Photo: Richard Butler

Less than a month after the release of the OM-1 Mark II, OM System has announced that its original OM-1, released in 2022, will benefit from a firmware update later this year. Owners can expect upgraded autofocus capabilities and the option to use the 'trash' button as a programmable shortcut. But don't expect any new features from the Mark II.

While the primary new features of the OM-1 Mark II, like human detection autofocus and improvements to simulated neutral density filters, manifest primarily as software features, they likely rely on the grunt of the Mark II's increased RAM.

In its press release announcing the update OM System is clear: "The new AF performance of the OM-1 will not match the OM-1 Mark II."

The update is slated for this fall.

Image: Fujifilm

The X100VI was undoubtedly the star of Fujifilm's X Summit event in Tokyo earlier this week, but Fujifilm also tucked some additional news into the end of its press conference, including a tease for a new version of its long-standing X-mount kit lens.

Fujifilm's current X-mount kit lens, the XF 18-55mm F2.8-4, is over a decade old. Little is known about what the new XF 16-50mm F2.8-4.8 will include. Fujifilm has promised improvements to compactness, versatility, and sharpness but shared no details yet.

You can watch the relevant section of the press conference below and place your bets on when it will arrive.

Panasonic has introduced what it claims is the smallest and lightest zoom lens for mirrorless systems: the Lumix S 28-200mm F4-7.1 Macro OIS. This L-mount lens is just 9.3cm (3.7") long and weighs in at 413 grams (14.6 ounces).

The 28-200's Dual IS 2 stabilizer can compensate for up to 6.5 stops of camera shake. It's capable of taking half-size (0.5x) close-ups with a minimum distance of 14cm (5.5"). Panasonic says that the lens has been designed to reduce focus breathing, and users can choose between linear or non-linear focus ring settings.

The Lumix S 28-200mm F4-7.1 will be available at the end of April for $899.

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Press Release:

A frame grab from an AI-generated video OpenAI created by entering the following prompt into Sora: "A stylish woman walks down a Tokyo street filled with warm glowing neon and animated city signage. She wears a black leather jacket, a long red dress, and black boots, and carries a black purse. She wears sunglasses and red lipstick. She walks confidently and casually. The street is damp and reflective, creating a mirror effect of the colorful lights. Many pedestrians walk about." AI video credit: OpenAI

In the AI-generation gold rush, OpenAI sent a decisive salvo across the bow of existing video-generation tools like Google's Imagen, Runway Gen-2 or Meta's Make-A-Video.

These competing efforts were blurry, low-resolution, plastic in appearance and altogether rudimentary – more sneak peeks into a future of synthetic images than viable products. OpenAI's Sora is an entirely different beast, taking text prompts to produce photorealistic humans, animals and landscapes. It uses treatments that mimic film grain or cell phone footage and employs professional tracking, dolly and jib movements.

It's not perfect, but it's pretty darn close to being indistinguishable from reality.

The results are rather impressive. A woman's earrings sway naturally with her gait as light realistically reflects off her glasses and rain-soaked Tokyo streets. In another video, several giant wooly mammoths approach, treading through a snowy meadow, their shadows wrapping around them and the environment as expected. Several videos have no sign of the uncanny valley that made synthetic videos of the past scream that something was artificial.

These impressive results are also alarming.

"This is now the worst AI-generated video will ever look. Let that sink in."

Beyond fears of what this means for creative jobs (as highlighted by 2023's Hollywood writer and actor strikes) or what it means for our understanding of photos and video, the biggest alarm bell is for what it means for the future of objective truth, disinformation and power.

If you can't tell what is real (AI-generated videos that look real as well as real videos others claim are fake), nothing is real except what you choose to believe. The last decade has shown us globally the dangers of social media-fueled echo chambers; with selective facts come a selective reality and ultimately, further division and harm to society.

What is real?

Prompt: "Several giant wooly mammoths approach treading through a snowy meadow, their long wooly fur lightly blows in the wind as they walk, snow covered trees and dramatic snow capped mountains in the distance, mid afternoon light with wispy clouds and a sun high in the distance creates a warm glow, the low camera view is stunning capturing the large furry mammal with beautiful photography, depth of field." AI video credit: OpenAI

When looking at the example above with the wooly mammoths, it's easy to say that it's not real. As a viewer, you may recall that wooly mammoths went extinct about 4000 years ago, so you reason this must be an illustration of some sort, AI-generated or not.

(At least until we start cloning wooly mammoths.)

But consider for a moment that such a video was to be packaged and presented as accurate to people unaware that they've gone extinct. That's not as far-fetched as you may think. As the BBC reported last year, AI-generated science YouTube videos targeting children were remarkably effective at convincing kindergarteners that Egypt's pyramids were electric generators, aliens were real and that NASA was hiding that human activity has played no role in climate change. All of these are false, but that didn't stop 5-year-olds from believing it and viewing the videos as proof for these claims.

A tool like Sora, which promises to easily and quickly deliver photorealistic humans and real-world environments to anyone, with little to no learning curve, does present a challenge from bad actors seeking to dupe children (and adults), and that should give you pause. It certainly gives me pause.

Deepfakes of the past took some level of skill and computing power to pull off realistically (at least two weeks and $552 in 2019 for a rudimentary one), but with tools like Sora, the threshold has been lowered to anyone with a keyboard and some time and intention.

OpenAI didn't disclose how long each sample video it created took to make. I've seen several claims they can be made in minutes, but based on my experience with static AI image creation, I suspect it'll be hours or days of fine-tuning and editing to get the ideal results. In posts on X following the announcement of Sora, OpenAI CEO Sam Altman asked for reader prompts and delivered two (a grandma cooking and a fantasy of ocean creatures in a bike parade) within about 90 minutes.

OpenAI has also not shared what video and image sources were used to train Sora or, more pointedly, if copyrighted works were used. The company, which also makes the chatbot ChatGPT and still image creator DALL-E, has been sued with allegations of using copyrighted works to train these previous products.

Regardless, the writing is on the wall. Soon, every Tom, Dick and Harriet will be able to make convincing fake videos. OpenAI seems to have recognized the dangers of AI tools on some level.

A large portion of the announcement was devoted to a safety section with a prominent menu header to acknowledge the risks of misinformation and societal harm. The platform has no public release date yet; it is currently only accessible to a select group of testers who have also been tasked with helping identify and assess risks and potential harms. I hope this level of care is genuine and not lip service.

Prompt: "A movie trailer featuring the adventures of the 30 year old space man wearing a red wool knitted motorcycle helmet, blue sky, salt desert, cinematic style, shot on 35mm film, vivid colors." AI video credit: OpenAI

Wild wild west

At present, there are no regulations on AI-generative tools. The EU's AI Act may become the first, if passed, and would regulate the industry by limiting corporate and law enforcement use of AI along with a means for the public to file complaints. There are also several efforts in the US and China to regulate the use of AI, but at present, they are patchwork at best.

The only safeguards in place as I write this are self-imposed by the companies working on AI.

OpenAI uses language filters to check and reject text prompts that include items it deems violent, sexual, hateful, or attempts to use copyrighted material or the likeness of celebrities. There are plans to implement C2PA metadata into any public release version of the tool.

C2PA (Coalition for Content Provenance and Authenticity) is an authentication standards effort backed by Adobe, Sony, BBC and others. It brings together the efforts of CAI (Content Authenticity Initiative) and Project Origin to address image provenance and authenticity by setting authoring and metadata standards alongside open-source tools for public education about content authenticity.

"New technology is cool, and acknowledging the risk is great, but taking responsibility for the genie in the bottle before you let it out is the right thing to do."

By joining this group and adopting the standard, OpenAI seems to acknowledge the need for a paper trail to determine what is authentic and what is synthetic. Until Sora goes public, we won't know how it'll be implemented, how the public will be trained to use authentication tools, or, more importantly, the value of using such tools.

However, there is one key thing missing from this acknowledgment. C2PA's efforts have predominantly targeted journalists, who may be most concerned about media authentication. What do image provenance and authenticity mean to the average Sora user?

Case in point: rage bait. A critical success metric on social media is engagement – how many people interact with your content: a rubric of likes, comments, time spent consuming, shares, saves and follows. In this model, all that matters is these metrics that define engagement, so it doesn't matter if things are true. The ends justify the means.

New technology is cool, and acknowledging the risk is great, but taking responsibility for the genie in the bottle before you let it out is the right thing to do. We've been entrenched in a years-long debate about AI images and whether they are photos, art, copyrightable or useful. We've snickered that AI can't make hands look human or text look legible. But if Sora reminds us of one thing, it's that technology advances faster than we humans do, and we have a limited window to be proactive before we become reactive to any harm.

This is now the worst AI-generated video will ever look. A year ago we giggled at how AI tools struggled with human bodies and couldn't render a realistic Will Smith eating spaghetti, and 11 months later we have videos like the one below of a man reading a book.

In its presentation, OpenAI shared examples of the tool still struggling with hands, physics and overlapping animals. If we look closely at details, it's possible to tell that something isn't real, but that requires more than a passing glance. Or, in the case of social media and people resharing screengrabs where visual compression reduces image quality, it requires us to be skeptical and seek out the source to verify for ourselves. C2PA tools may help if implemented correctly from a technical side, but they'll also need a robust media literacy education effort.

Looking at how far AI-generated video has come in 11 months, it feels inevitable that the quirks of AI-generated images and videos will resolve themselves in due time. This is now the worst AI-generated video will ever look. Let that sink in.

Prompt: "A young man at his 20s is sitting on a piece of cloud in the sky, reading a book." AI video credit: OpenAI

Weaponized disinformation

Maybe it's because I come from working for newspapers, magazines and TV journalism, but a world in which truth can be buried under fiction with such ease strikes me as hurtling dangerously close to dystopian.

I'm reminded of my family stories from India's colonial period and the riots around the country's 1947 partition. For generations, colonial leaders had pitted different religious and regional groups against each other to keep power isolated at the top. Misinformation was a pivotal tactic to support an effort to place Hindus and Muslims at odds in order to maintain control.

For a lighter example, consider 1975's "Rollerball" (yes, really). In true '70s fashion, the film imagines a future world where corporations and the technology they control shape our world. In one scene, the main character visits a library only to learn that global corporations have digitized and rewritten all books and bent historical knowledge to their liking. An alternative history, complete with "proof," is used to control the public and maintain power.

The scary thing in both examples is that they're both based on a truth: knowledge is power, a power that if used maliciously, can be used to distract or direct others toward an outcome they desire.

History is littered with examples of image manipulation and attempts to pass off inauthentic images as authentic; following Abraham Lincoln's death, a famous image of the former US president was faked. However, unlike in the past, the prevalence of cheaper and easier-to-use image manipulation and fabrication tools, such as AI, has made it possible for anyone to create fake images, and soon videos, and quickly circulate misinformation as truth, either for fun or more nefarious goals.

"Without knowing what is accurate and true, everything becomes suspect and facts become subjective."

Recently, social media has been flooded with visual misinformation on the Hamas-Israel conflict. Images from other parts of the world have been paired with new misleading headlines, AI images are passed as proof of war crimes, fake BBC-style videos share fictitious accounts from the ground, and videos of world leaders with inaccurate English captions sow dissent and confusion. The problem is so significant on X that the platform reminded users about its disinformation policy and how it has ramped up the use of Community Notes, its fact-checking feature, which some insiders say is a bandaid that isn't working.

Today's deluge of visual misinformation challenges society and those producing authentic images. Without knowing what is accurate and true, everything becomes suspect and facts become subjective. Suddenly, bad actors can flood social media and muddy the waters, making it difficult to sort fact from fiction.

When I look at Sora and the samples shared, this fear creeps in of a media landscape in which one cannot confidently know what is real and what is someone trying to pull the wool over our eyes.

Among the AI-generated videos Sora made of animated creatures and paper planes over a jungle are a few concerning videos. Photorealistic humans in real-world environments conjure scenarios of weaponized misinformation. A video created from the prompt "historical footage of California during the gold rush" is anything but historical documentation. Videos from global locals open the door to alternative histories of a place.

Among all the videos shared by OpenAI, there is one that alarms me most. A ten-second Chinese Lunar New Year celebration clip shows a large crowd gathered for a parade, flanking both sides of the street as two dragon puppets participate in a dragon dance down the center.

Prompt: "A Chinese Lunar New Year celebration video with Chinese Dragon." AI video credit: OpenAI

The video is pretty innocuous; not thinking too hard about the angle, you might assume it's smartphone video. With its realistic lighting, lower image quality, lack of depth-of-field, slightly out-of-focus people masking lack of detail and motion blur, nothing triggers a reason to think someone would go to the trouble of making an AI video of such a scene. Coming across this video on social media, you may think it's real and move on convinced.

This is the danger. It's ordinary enough that one might wonder, "Why would anyone fake this?"

Now, consider a scenario where a bad actor wanted to place someone in this scene and have them doing something nefarious in the background; perhaps the target is meant to be seen cavorting with someone they shouldn't be. At a later date, accusations are made against the targeted person, and soon, this fake video is presented as the smoking gun. Now, consider this targeted person as a country's president and planting the seed that they are untrustworthy and harmful for the nation is suitable for the opposing party. That scenario shouldn't seem too far-fetched. In the last year, we've seen this happen with AI-generated still images in the US presidential race.

I won't pose the could/should cliche, but I will say there needs to be considerations of ethics, societal harm, media literacy and corporate responsibility. Now that the genie is out, humanity has a greater responsibility to place guardrails in place with the means to course correct in real-time, not pick up the pieces in the aftermath of harm.

Prompt: "Reflections in the window of a train traveling through the Tokyo suburbs." AI video credit: OpenAI

A value proposition

Every time I revisit AI-generative technology, I am also left with the same thoughts. It is undoubtedly impressive, but what exact problem does it solve? To borrow Silicon Valley's favorite mantra, does this make the world a better place?

I understand that there is a gold rush. I see the surges in stock prices for Nvidia and Microsoft and understand how money motivates AI development. I also see people making inventive things that inspire creativity. I've used AI-generative images for storyboards and mood boards. But I also see the dangers.

"To borrow Silicon Valley's favorite mantra, does this make the world a better place?"

In the example videos shared by OpenAI, none really struck me as having a compelling use case. At its core, Sora is trying to produce a photorealistic video that could pass for real, and I have to wonder, to what end? Fake videos can pass for real with a passing glance. Real videos can be alleged to be fake by anyone. "Truth" becomes fractured and in its place, a million echo chambers rise and are free to enshrine their own version of what is real for them and their followers.

I suppose hindsight will have to be our arbiter. Perhaps one day an AI-Chris Nolan will team up with an AI-Charlie Kaufman to make a meta-commentary AI-Oppenheimer on the moment the AI genie is fully out of the bottle to finally make clear what it meant and what we learned.

Image: Sony

Previously announced in Japan, Sony is bringing its PDT-FP1 5G transmitter to the United States. The smartphone-shaped transmitter is pointedly not a phone (it cannot make calls) but instead uses its 5G connection to transfer files from compatible Sony cameras to an FTP location. It can also use Sony Creators’ Cloud for enterprise app.

The PDT-FP1's software can monitor network communications or use the device as an external display while transmitting data. As far as connectivity goes, you can use the device's built-in eSIM, as well as a nano SIM slot for a physical card. The PDT-FP1 supports both main flavors of 5G (superfast, short-range mmWave and broader-range Sub6) as well as LTE.

Image: Sony

Sony rates the device for about four hours of photo upload time with an LTE connection or two hours of video live streaming, with a charge time of under two hours with the optional 30W quick charger. Regarding transfer speeds, it's rated for 1.1 Gbps up and 8.1 Gbps down, though real-world performance and use-time may vary.

It has a built-in fan to ensure reliability during long periods of video streaming.

What cameras are compatible? Sony says it will provide a list "in due course," presumably before its launch date of early summer 2024 in the US. The PDT-FP1 will be available for $1,100.

Venus Optics has released the Laowa 10mm F2.8 'Zero-D' FF lens, the company's first lens with autofocus, as long as you're using a Sony E-mount or Nikon Z-mount body. Those with Canon RF or Leica L-mount cameras will be manual focus only.

The 10mm F2.8 has a 130° angle-of-view, which the company claims makes it the world's widest rectilinear (i.e., non-fisheye) lens. The lens has a total of 15 elements, including 3 ED and 2 aspherical elements. Venus will offer the lens with either 5 or 14-blade apertures. (The 14-blade version is manual focus.)

The minimum focus distance of the lens is 12cm (4.7") from the sensor, and the maximum magnification is 0.24x. It accepts standard 77mm threaded filters.

The Venus Optics Laowa 10mm F2.8 Zero-D FF will be available next month for $799. You can find a plethora of sample photos on the company's website.

Correction: An earlier version of this article mistakenly used fisheye and rectilinear interchangeably to describe this lens. We regret the error and have corrected the story.

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