Photo: Moment

Camera accessory brand Moment has introduced a new line of camera bags that take a fresh look at lightweight packs. The Moment Fast & Light camera bags aim to offer slimmed-down, minimalist options for adventurers, with looks that can transition to everyday carry.

Moment says the Fast & Light line was inspired by running and cycling gear, and that's especially true of the vest, the most interesting offering in the lineup. After all, the Exposure 10L Vest looks more like a running vest than a traditional photographer's vest. Moment says the vest can be worn loosely or tightened down for a no-bounce fit using bungees on the sides. It also features bungee sternum straps instead of the front zipper closure found on photographer's vests, allowing a snug fit.

The front pocket design also takes cues from running vests. It offers a zippered stretch pocket and a quick-access stretch pocket on the front straps for easy access to things like film, your phone or those ever-important snacks. The back design borrows features from a cycling jersey, with stretch back pockets that allow for no-look access without removing the vest.

There's a main compartment that supports up to a 14" laptop, a tablet or a hydration bladder. A dedicated battery pocket in the main compartment is connected to a charging channel that lets you run a charging cable through the vest to keep your phone charged while in the front stretch pocket.

Moment says it's designed to keep your gear close to your body so that it "moves the way you do." The pockets disperse items between your side, front, and back, which helps get rid of bulk and keep the weight comfortable. The vest is also lightweight, at just 0.8kg (1.7 lbs). It's made of the company's 210-denier fabric called LiteWeave Ripstop and features a durable water repellent (DWR) coating for protection against the elements. It comes only in black but is available in two sizes: S/M, which fits chest sizes 38-45 inches, and L/XL, which fits chest sizes 45-55 inches.

Photos: Moment

Also in the new lineup is the Sequence 23L Camera Backpack, which looks like a much more traditional camera bag, though with plenty of useful features. Inside the bag are padded dividers that you can fold away when they aren't needed. A removable waist belt adds stability and comfort when needed. It offers two access points, including top access for quick-grab items like layers, and front access for camera gear.

The pack also features vest-inspired shoulder straps with pockets, LightWeave Ripstop fabric with a DWR coating and a laptop sleeve that doubles as a hydration bladder compartment with a pass-through hole for the tube. Side stuff pockets allow you to store water bottles, a tripod or additional layers. It's available in black, white and green.

The 1.5L sling is designed for compact cameras and essentials. Photo: Moment

Finally, the Fast & Light line includes 4L and 1.5L slings. Both can be worn as waist packs or crossbody bags and offer one-handed quick adjustments without hanging straps to dial in fit. They also each offer a front mesh pocket for quick access items and two zippered pockets for better organization. The 4L sling features a removable three-point stability strap that keeps the bag against your body when you're on the move and straps for jackets and tripods.

The new bags are now available for pre-order through Moment's website. Moment says the first 100 units will ship by the end of December, but the second batch won't arrive until March. The Exposure Vest costs $120 and the Sequence Backpack $230. The 1.5L sling is priced at $55, and the 4L sling at $99.

The OM System OM-5 II is a Micro Four Thirds mirrorless camera that uses the same stabilized 20MP sensor as its predecessor. It also features the same processor as the OM-5, so the list of new features is relatively subtle, but it gains some minor updates that make it feel a bit more modern.

Key Specifications

• 20MP Four Thirds CMOS sensor
• 50MP handheld high-res multi-shot mode
• Up to 7.5EV stabilization with Sync IS lenses
• Up to 30fps continuous shooting, configurable pre-capture
• 2.36M-dot 0.68x OLED viewfinder
• IP53 dust and water resistance rating
• USB-C for charging / data transfer
• Updated menu system

The OM-5 II retails for $1199 body-only, the same as its predecessor, and is available now. It comes in black, silver and a "sand beige" tan.

Index:

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

---

What's New

USB-C

When the OM-5 launched in 2022, its use of a micro USB port instead of a USB-C one felt like a huge omission, especially given that the European Union was already well on its way to mandating the more modern charging and communication standard. Thankfully, the OM-5 II doesn't repeat that mistake; it uses USB-C for charging and connecting to your computer, where it retains the ability to act as a webcam without any additional software or drivers via the UVC/UAC protocol.

This is mostly an upgrade to the charging experience. You'll still want to use an SD card reader for offloading photos, as the type C port still runs at USB 2.0, less than a tenth the speed of the 5Gbps "SuperSpeed" ports found on a majority of modern cameras.

Updated grip

While the OM-5 II's design is mostly unchanged from its predecessor's, OM System has made the grip a touch larger to help with ergonomics. Compared to the OM-5's, it fills out your hand just a bit more, which helps make it a touch more comfortable and easier to handle.

New menus

The OM-5 II's menus, like those on the rest of the company's modern cameras, now look and work a lot like Canon's.

OM System has also brought over its updated menu system from the OM-1 and OM-3, with color-coded sections and tabs. Unlike its predecessor, the camera will try to give you an explanation for why certain items are unavailable instead of leaving you to guess what you need to change to access those features.

You can navigate through the sections using the front dial and switch pages using the rear one, which can be very quick once you get the hang of it. The four-way controller is required for changing your settings; you can use the touchscreen to switch tabs and sections, but not to navigate through or adjust the settings themselves.

CP button

OM System has replaced the OM-5's exposure compensation button with the 'CP' button that debuted on the OM-3. It gives you quick access to the camera's myriad computational photography modes; giving it a single press will activate your last-used mode, and if you press and hold it, you can use either command dial to scroll through the various modes and select the one you'd like to use.

The OM-5 II doesn't gain any new computational features compared to its predecessor, which is a bit of a shame since we've found the Live Graduated ND feature included in the higher-end models to be useful in some situations (though that may only be possible because of those cameras' Stacked sensors, which capture images faster, with less risk of rolling shutter). However, the OM-5 II still has a suite of useful computational modes:

All the multi-shot modes are processed in-camera, making them much more convenient to use compared to similar modes from other brands that have to be stitched with desktop software. However, that can take a while for some modes; the most taxing are the handheld high-res shots, which lock up the camera for over 15 seconds; even the progress bar won't move from the EVF to the display or vice versa if you move your eye to or away from the camera.

New color modes

Standard Color Profile	OM Cinema 1	OM Cinema 2

The OM-5 II includes the two video-only "OM Cinema" color modes from the OM-3, which are made to capture the same level of highlight information as the Log mode but without the extremely low-contrast, low-saturation logic that requires grading. The company says the OM Cinema 1 mode is designed to highlight yellows in the bright parts of your image and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.

Like Log mode, these modes capture the additional highlight information by using a minimum ISO of 400, meaning they're designed to receive one stop less exposure than standard mode.

Light, camera, action

Speaking of video, the OM-5 II now features a red LED in the top right corner on the front of the camera, which acts as a tally light to make it obvious when you're recording video.

A little help

The OM-5 II adds two new assistance features: a 'Night Vision' mode that boosts the live view's brightness, making it easier to focus and/or compose in dark environments and a 'Handheld Assist' mode that shows you how stable you're keeping the camera during long exposures. It gives you a target that shows how much you've moved the camera since you started taking the picture. It makes it easier to tell whether your photo will come out blurry since you'll know whether you've moved more than the stabilization system can compensate for.

---

How it compares

The OM-5 II is mainly focused on people looking to capture their outdoor adventures, a niche that's often serviced by action video cameras. However, there's nothing about its design that precludes it from being a general-use stills camera. As such, we're comparing it to several comparably-priced APS-C cameras that are good for photos (no EVF-less, e-shutter only, single-dial cameras here) but that still include some decent video specs.

* - the original OM-5 could shoot at 10fps mechanical, but not with continuous autofocus.

In some ways, OM System sets itself apart by offering features you'd usually need to pay more for, such as a stabilized sensor and weather sealing. You have to jump up to at least $1499 and the Fujifilm X-S20 to get them in an APS-C camera, and OM System is one of only two camera companies to offer a specific IP rating rather than a vague claim of "weather resistance." The other being Leica.

Like Fujifilm, there's a wide array of sensible lenses available you can pair with the OM-5 II, though Micro Four Thirds offers lighter and more compact options than even APS-C. It also offers an unusually high number of multi-shot modes with in-camera processing, that can boost its performance.

However, the OM-5 II misses out on some features that are quickly becoming table stakes, such as the ability to shoot 10-bit video or stills for playback on HDR displays, a 60p video mode, and a wider array of AI-derived subject detection modes for its autofocus system. At this point, there are cameras well under $1000 that have these features, so they feel like notable absences.

---

Body and Handling

Like its predecessor, the OM-5 II is very light, while still managing to remain well-balanced when paired with larger lenses like OM System's 40-150mm F4 Pro. The extra grip helps in this regard, filling out your palm and making the camera feel more substantial without adding much weight or bulk.

The OM-5 II has a selection of buttons and levers, and as is tradition for the brand, most of them can be customized to do pretty much anything you'd like. While the buttons around the four-way controller are fixed, you're free to do what you wish with the buttons on the top plate, including the two semi-circular ones atop the power lever. The settings are separate for stills and video modes.

It also has OM System's customary function lever, which is unfortunately much more limited; it can only be used to power the camera on or off (leaving the dedicated power lever to do nothing), turn the camera into video mode, or to switch between a small subset of dial functions or autofocus settings. It does not recognize the eye recognition mode, so you can't use it to switch between, say, tracking autofocus and continuous autofocus with eye recognition – unlike many other cameras, you can't have both human detection and the general tracking mode on at once.

It also features a locking mode dial, with settings for all the major exposure modes, along with video, scene and art filter modes. Its two top-plate command dials have relatively aggressive knurling, making them easy to manipulate even while wearing gloves.

Despite the revised menus, one of the OM-5 II's best features remains its "Super Control Panel," which is mapped to the OK button by default. It lets you easily access and control most of the camera's main shooting settings on a single touchscreen panel: drive mode, AF mode, face and eye detection, exposure and ISO control, etc. You can just tap on the screen and spin a command dial to change all the camera's key settings.

EVF and Monitor

The OM-5 II's viewfinder remains unchanged from the 2.36M dot 0.68x (equiv.) magnification model found on its predecessor. While it's relatively small, it usually gets the job done, and it's good to have in bright conditions where the fully articulating 3" LCD – also unchanged – will get washed out.

Battery

The OM-5's tripod mount is somewhat controversial, and OM System tells us it's unchanged for the II.

The OM-5 II uses the same 8.5Wh BLS-50 battery as its predecessor, which the company says will last for around 310 shots based on CIPA test standards. While you can generally expect to get more shots than the rated number in real-world use, it's a useful indicator for comparing across cameras. In this case, it's relatively low; if you're going into the wilderness for a weekend, you may want to pack a spare battery or plan on topping it up with your USB-C power bank.

---

Image Quality

The handheld high-res multi-shot mode is easier to access than ever on this camera, and can be used to gain a bump in image quality. But it only works with very still subjects, and is slow to process. OM-5 II | OM System 25mm F1.8 II | F5.6 | 1/500 sec | ISO 200 Photo: Mitchell Clark

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

To start by answering the obvious question: there are no discernible differences between the output of the OM-5 and the OM-5 II that couldn't be explained by run-to-run variation; the two cameras perform virtually identically in our tests.

That's not necessarily a bad thing, as the original provided solid image quality. At base ISO, the OM-5 II's Raws have good levels of detail, roughly in line with what the Canon EOS R10 and Nikon Z50II capture, and slightly more than the Fujifilm X-S20 (though that may come down more to the difficulty some programs have with processing pictures taken using Fujifilm's X-Trans color filter). Given its smaller sensor, it's unsurprising that it has more noise across the tonal range than its APS-C competitors.

This also translates to worse low-light performance, though the images from the OM-5 II are still usable at mid-range ISOs and its stabilized sensor will let you shoot at slower shutter speeds (depending on your subject) than with its unstabilized competitors, so you may not have to use the higher ISOs as often.

Its JPEG processing generally does a good job of sharpening and reducing noise at base ISO, though Canon and Nikon have a slight edge when it comes to preserving fine details. At higher ISOs, the OM-5 II does a good job of reducing noise without smoothing away details, as do the rest of the cameras in this lineup.

We found the colors in the OM-5 II's JPEGs to be quite pleasing. They're not overly punchy, but are saturated enough to make images pop.

The multi-shot high resolution modes, which are thankfully processed in-camera rather than in a desktop app, can be used to gain a bit of extra detail under the right circumstances. They only work with very still subjects, such as landscapes (as long as there's not a lot of wind), which limits their usefulness.

Dynamic Range

Shot at base ISO and exposed to preserve highlights. Shadows lifted in Adobe Camera Raw and edited to taste. OM-5 II | OM System 20mm F1.4 Pro | F4 | 1/160 sec | ISO 200 Photo: Mitchell Clark

The camera offers good dynamic range performance, giving you lots of flexibility to shoot to preserve highlights and to raise shadows in post. However, it doesn't have the advantage in read noise that it once did; when the OM-5 came out, we found it had substantially cleaner shadows than the (much more expensive) Panasonic GH6. Comparing it to the GH7, that's no longer the case, not that we suspect most people will be choosing between these two cameras, despite their shared sensor size.

Exposure Latitude | ISO Invariance

---

Autofocus

The OM-5 II doesn't have eye detection or animal detection, but the tracking can do a decent job, even on somewhat wiggly subjects. OM System 20mm F1.4 Pro | F2.8 | 1/8000 sec | ISO 800

The OM-5 II has several autofocus modes: single, continuous and continuous with tracking, as well as a special star autofocus mode for shooting the night sky. In the standard modes, you have several selection point shapes to choose from, ranging from a small single point to the whole area. You can also set up four custom-size zones and exclude whichever target modes you want from the menu.

To move the autofocus point or area, you can use the screen for tap-to-focus or the four-way controller. You can also enable the "AF targeting pad," which lets you use the right half of the screen as an autofocus controller while looking through the EVF. These options do a decent job of making up for the lack of an autofocus joystick, though we still occasionally found ourselves missing that direct physical control.

The OM-5 II's autofocus points only cover around 60% of the sensor, which means you'll have to be a bit more cautious when composing, trying to track a subject, or setting up your camera to get a shot when something enters the frame.

The OM-5 II has face/eye detection, which works in single, continuous, and manual focus modes, but it feels like a decidedly first-generation implementation. It typically only recognizes humans' eyes, not animals'. It can occasionally struggle to identify human faces if they're wearing glasses, tinted or clear. And unless you're using tap-to-focus, the camera won't respect your chosen focus point if it recognizes a face; it'll snap to it, and you'll likely have to turn detection off to get it to focus on something else.

The face detection also doesn't work in conjunction with tracking mode; you can have either it or tracking. And, frustratingly, you can't just switch to the C-AF + Tracking mode to turn off face detection; you have to turn off face detection to even be able to access the option, though the camera will automatically switch back to tracking in some (but not all) circumstances.

Autofocus Performance

The OM-5 II's single and continuous autofocus performance is snappy and accurate, generally doing a good job of driving the lens to get the subject in focus without having to hunt. There were very occasional misteps that resulted in slightly soft images, but overall we were quite pleased with it.

Its tracking performance is a slightly different story. While it could do a decent job of keeping the autofocus point on a selected subject, it does feel a ways behind what companies like Nikon, Canon and Sony are doing. The tracking point isn't always as tenacious as we'd like, and it was sometimes unable to lock onto lower-contrast subjects at all. It would also occasionally start to drift off the subject being tracked, and the tracking box the camera displays sometimes lagged behind what it was supposed to be tracking.

Because of its identity as an outdoor adventure camera, the tracking performance means you may have to work a bit harder if you're trying to photograph wildlife or athletic activities. For some, that won't be an issue, but it could lead to a slightly frustrating learning curve for beginner photographers who may otherwise find the OM-5 II's price and relatively robust feature set attractive.

---

Video

The OM-5 II's 4K/30 video is reasonably sharp for everyday use, but falls well short of the image quality you can get from other cameras like the Nikon Z50II and Fujifilm X-S20. It includes a Log profile that lets you shoot footage designed to retain flexibility for color grading, but unlike its more expensive siblings, can only do so in 8-bit, which severely limits that flexibility. It also lacks a 4K/60 mode for higher-resolution slow-motion.

It also lacks some of the assistance tools that are increasingly becoming standard for serious video shooting, such as a waveform monitor or false color preview, HDR output, or in-camera support for LUTs (though there is at least preview assistance when you're shooting in Log). And while it has a microphone socket, you won't have any way to monitor the audio, given its lack of a corresponding headphone port and apparent* lack of support for a USB-C to 3.5mm adapter.

This isn't to say that the OM-5 II isn't capable of casually shooting video, but it'd be a frustratingly limited tool for more serious shoots. For capturing clips, though, the IBIS is relatively effective at smoothing out hand shake and other movement, and the autofocus generally does a good job, though it can occasionally drift, especially when capturing more complex scenes.

This is made all the more disappointing as its rolling shutter performance is excellent, taking 10ms to read out the sensor when shooting in 4K/24.

* - We tested with one to no effect, but they're not always universal.

---

In Use

When I reviewed the OM-3, I found myself very willing to try out the handheld high-res mode to get a bit more image quality, even in situations where I was a little unsure whether it'd produce good results. That wasn't true with the OM-5 II; I quickly learned that the time it takes to process the 50MP images was far longer than I'm willing to wait. The other computational modes – made easier to access by the "CP" button – are a bit quicker, but it's the area where this camera's processor most shows its age. I also found that they ate through the camera's already relatively meager battery quite rapidly. That made me far less willing to use them outside of very specific scenarios where I knew I'd get the full benefit.

There are very few other cameras that I'd be willing to put in my backpack when paired with a 100-400mm equiv. lens. OM System 50-200mm F2.8 IS Pro | F2.8 | 1/100 sec | ISO 2500

That frustration was somewhat offset by just how easy it was to take this camera anywhere. It's nowhere in the realm of pocketable, even with a small prime attached, but it's small enough that I found myself throwing it in whatever bag I was taking, just in case I ran into interesting things to photograph. That included bringing it along on a backpacking trip and a kayaking outing (my confidence perhaps a bit too buoyed by the IP53 rating), where I was able to get photos that looked substantially nicer than what my phone could've produced.

None of this will be a revelation to the Micro Four Thirds faithful, but it's a benefit worth reiterating. Although in theory someone should be able to build an APS-C rival with a comparable feature set, the OM-5 II still offers an unmatched combination of size, price and capabilities.

It's also hard to overstate how far the new menu system goes to making the camera feel more modern than the original OM-5. While there will be those who prefer a vertical tab system versus a horizontal one, the color coding and improved tips that give you a hint as to why certain options aren't selectable go a long way to making the camera feel more approachable. Their inclusion here makes their exclusion on the original OM-5 all the more baffling, but at least they're here now.

Minor complaint: if you set the function switch to act as the power switch (letting you turn the camera on and control it with the same hand), the default power switch on the left side of the camera becomes completely useless.

The new menus don't solve OM System's issue of its features not necessarily integrating with one another. It remains frustrating that you can't use the mode toggle switch, which would otherwise be a very handy feature, to switch between, say, continuous autofocus with facial recognition, and Tracking autofocus. The face detection mode (and any other modes added after the switch first appeared on the OM-D E-M5 II) can't be controlled by the switch; it will simply stay on, overriding Tracking AF. Still, the camera is very customizable, letting you reassign most of its buttons and dial directions.

Of course, USB-C is also a massive improvement, especially given that the OM-5 II has just okay battery life. Being able to charge your camera using the same equipment you have for your phone, computer, etc., is a luxury that you don't miss until it's gone, and it's a tradeoff this camera no longer asks you to make. Particularly for traveling, this is valuable.

Speaking of tradeoffs, though, we'll also point out that the OM-5 II isn't compatible with OM System's FL-LM3 flash unit, which we consider to be the best pack-in flash unit. We've written an entire article on the matter (and have since attached the flash to our OM-5 II to confirm it didn't work), but felt it deserved a mention here, given that the FL-LM3 did work with the original OM-5.

---

Conclusion

By Mitchell Clark

When viewed in a vacuum, it's hard to find much to complain about with the OM-5 II. It has a winning combination of good image quality, ergonomics and usability, combined with extra features you normally wouldn't get at this price point like an IP rating, computational photography modes and very solid IBIS. If this was your first camera, or if you were coming from a much older model, you'd probably be pretty happy with it.

There are, however, places where it starts to show its age. And unfortunately, it's in the basics. Autofocus is perhaps the most glaring; in 2025, even much cheaper cameras (which, admittedly, lack those aforementioned features) will provide more reliable tracking and offer greater AF area coverage and additional subject recognition types. Most will also have better video specs, with more flexible 10-bit recording modes and a headphone jack.

This camera's hardware also makes OM System's computational photography features – a major selling point on some of its other cameras – less appealing, because of just how long it takes to process them. That also means it's less convenient to use the high-resolution modes to gain back some of the image quality you give up by going with a smaller sensor.

The OM-5 II's biggest problem, at least initially, may be the original OM-5 itself, which is now selling for significantly less money. It's not that the Mark II doesn't offer any meaningful upgrades, because it does. But if you're willing to put up with microUSB and the old menus, you're getting essentially getting the same camera, but with slightly faster fixed-focus mechanical shutter burst rates and support for one of the best small flashes out there.

We do think there's a market for the OM-5 II. Like the company's other cameras, it still fits well into its niche as a tool for those traveling outdoors who may encounter bad weather and who don't necessarily want to bring a tripod. But as the entry point to that system, there are enough asterisks that you'd have to really want the specific things the OM-5 II is offering to choose it.

In theory, it's the kind of camera we'd love to recommend to people just starting out with the hobby, but its once ground-breaking spec is just a bit too far behind (in a way that cameras like the OM-3 and OM-1 / OM-1 II aren't) at this point for us to do that. As such, we don't feel as if we can grant it an award.

Scoring

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

Compared to its Peers

The Canon EOS R10 will provide more capable autofocus with better general tracking, face detection, and support for detecting other kinds of subjects. Some users will also greatly appreciate the ability to select an autofocus point with a joystick, rather than a touchscreen or four-way controller, and others will benefit from its much better video spec and higher burst rates. While Canon tightly controls what lenses are available for APS-C RF cameras, the selection that's available now is quite good for most types of shooting, even if it's not as extensive as the Micro Four Thirds system. Of course, it does ask you to give up weather resistance and sensor stabilization.

The Fujifilm X-S20 also has better face-tracking and more subject detection modes, but the autofocus performance gap between it and the OM-5 II isn't quite as big as with the Canon. However, it's even more capable when it comes to video – the headphone jack is great for monitoring audio – and is the cheapest APS-C option to offer a stabilized sensor (though its US price has crept up by a few hundred dollars since we listed it as a competitor).

The Nikon Z50II's comparison will reach much the same as the Canon's; it has much better autofocus and video than the OM-5 II, but is slightly held back by lens selection and an unstabilized sensor. Like the OM-5 II, it lacks an AF selection joystick, though the reliability of its '3D Tracking' system means you may find yourself missing it less. It's also the only APS-C camera in this price range to make a claim of weather resistance, though it's the typical vague promise, rather than the IP rating OM System tests for.

---

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.

Pre-Production Sample Gallery

Photo: The Camera Store

Break-ins at small businesses are always disheartening, but they hit especially close to home when the business is a photography-related one. After all, local camera stores are vital resources and places of community for so many of us. Unfortunately, that's just what happened to The Camera Store in Calgary, Alberta, Canada, on October 23.

The Camera Store, also well-known for its YouTube channel, recently shared news of the break-in on its blog. It explained that at approximately 2:50 a.m. MDT, an individual forcefully entered the store. That person targeted two of the store's high-end Nikon and Sony showcases, shattering the glass on the display case and stealing the gear inside. Surveillance video The Camera Store shared shows the thief filling a hockey roller bag with professional cameras and lenses and then fleeing the scene. The thief was in and out in under two minutes.

The store said it lost nearly $100,000 CAD (roughly $71,500 USD) worth of inventory and shared a list of all the stolen gear along with serial numbers in its blog post. That amount doesn't include the extensive damage to its display cases and building, which will result in costly repairs, the store said in its post. "We are devastated by this act that not only impacts our staff and customers but also our ability to serve the local photography community," said Evelyn Drake in the blog post.

This isn't the first break-in for this particular store, either. In 2018, a break-in resulted in $35,000 CAD of stolen equipment; another in 2023 involved a loss of more than $30,000 in inventory.

The Camera Store is offering a reward of $5000 in-store credit toward a shopping spree for information that leads to a conviction. Anyone with information or who witnessed suspicious activity around the location should contact the Calgary Police Service at 403-266-1234, or if you wish to remain anonymous, call Crime Stoppers at 1-800-222-8477 using case number CA25462267.

Here at DPReview, we greatly value local camera stores. Earlier this month, we even asked our community about their favorite local camera stores for our Question of the Week series to highlight some of the gems around the world. It’s truly disheartening to hear of a break-in at a store that plays such an important role in the photography community.

Unfortunately, this is just one example of the difficulties these types of stores are struggling with to stay in business. It's a good reminder to all of us to support our local camera stores when possible. Otherwise, we may lose access to these important places.

Image: Adobe

Disclosure: DPReview is attending Adobe Max, with Adobe covering travel and lodging expenses.

Adobe is holding its Max conference this week, which means we're getting a slate of updates to Photoshop and Lightroom that make some of the features it's been announcing over the year available to the general public.

Perhaps the most exciting one, especially for photographers, is Lightroom's Assisted Culling feature. Adobe said it was working on it earlier this year, but it's finally arriving in public beta. The idea is that it will let you quickly filter through a large batch of images to find the good ones, selecting by angle and how in-focus and sharp they are. The company says the feature will be launching in public beta soon.

The updates coming today include a bunch of small tweaks and features, too. Photo: Mitchell Clark

The company has also brought its automatic dust removal feature in Lightroom and Adobe Camera Raw out of beta, which can help deal with spots on your sensor that show up in photos. It's part of the Remove Distractions suite of tools, which also lets you use Generative Fill tools to remove people and other objects from your photos, which the company says is now two times faster. The company also says it's improved the reflection removal tool, which it introduced into Adobe Camera Raw last year.

Adobe is integrating a chat assistant into several of its apps, including Photoshop. Image: Adobe

Another feature previewed earlier this year is what Adobe is calling the "Photoshop AI Assistant." Essentially, it's an AI chatbot that you can ask to do various tasks in the app, such as renaming layers and adjusting saturation, potentially saving you some clicks or time that otherwise would've been spent looking up a tutorial or searching for a specific tool. The company is now starting to roll it out, making the feature available in Photoshop for the web as a private beta, via a waitlist that Adobe says it will let people into starting this week.

Of course, several of the features Adobe has announced make use of generative AI. Photoshop's Generative Upscale feature, which was added to the Photoshop beta earlier this year, is launching in the mainline version of the app. By default, it will be powered by Adobe's Firefly model, but now the company says you'll have the option of using Topaz Labs' Gigapixel and Bloom models as well, which could work better on certain types of images. They can, however, cost quite a few AI credits – up to 20 of them – and, the ones included in the cheaper Photography Creative Cloud plans don't work with any of the features that utilize partner models.

In that vein, the company is also updating Photoshop's Generative Fill to support models other than its own Firefly model. Like Generative Upscale, this feature was announced earlier this year in beta, but is now available to the general public. Additionally, the "Harmonize" feature, which was shown off as a preview at last year's Max and made available in beta this summer, is now widely available. The tool attempts to composite different layers together by matching color and lighting.

One AI Feature that doesn't necessarily involve the cloud is subject selection, which the company says is improved in the latest release. In April it introduced the option to process the selection in the cloud, which provided better performance. Now, that model they were using can be run locally, instead, making it easier to select subjects even if you don't have an active internet connection. Adobe's Stephen Nielson, Sr. Director of Product Management of Photoshop, told us that the company was interested in using local models rather than cloud-based ones whenever it was feasible.

Despite Adobe's best efforts, not everything new revolves around AI

Despite Adobe's best efforts, not everything new revolves around AI. The new, more powerful version of Photoshop Mobile, which launched earlier this year for iPhones and iPads, is also now generally available for Android phones, greatly expanding the number of people who can access it. It has a free tier that you can use without a Creative Cloud subscription, but some features will require one. Access is included in the Photoshop Mobile and Web plan, which costs $7.99/month or $69.99 annually.

Image: Adobe

Speaking of Photoshop Web, the company is bringing the stylization effects feature out of beta. These make it easy to add different looks to your image (or specific parts of it), and include options like "glitch," which separates the red, green, and blue channels to make your image look like a poor VHS transfer, "comic" to give it an illustrated look, and motion blur, which adds directional blur to make it seem like something's moving. Each effect has a set of parameters you can tweak. Of course, they're all things you could have achieved in Photoshop before, but having them as one-click options makes the process substantially easier.

Adobe has also updated Camera Raw, giving you the option to automatically mask out snowy parts of landscapes, letting you easily isolate it for editing. There's also now a slider called "Variance" in the color mixer panel, which Adobe says will let you "fine-tune the color and tone of an image to achieve tonal consistency," especially when it comes to skin tones and fine variations in color.

We'll be on the ground at Adobe Max this year, so stay tuned for demos of some of these new features and previews of what we might see over the next year.

Image: Adobe

Disclosure: DPReview is attending Adobe Max, with Adobe covering travel and lodging expenses.

Adobe has announced new features for its Premiere Pro video editor. The updated tools could make it much easier to achieve effects that previously would've required specialized compositing software.

The first and biggest one is called Object Masks, which lets you select an object, such as a person or product, in the video. Premiere will then use AI to detect the edges and create a mask for it, separating it from the background so you can apply effects or transitions to each part of your video, independently.

The Object Mask feature should make it relatively easy to select and track specific elements of your footage. Image: Adobe

This may sound familiar to Lightroom users; Adobe's photo-editing apps have had similar masking tools for a while now. It's also essentially an automated version of rotoscoping, which has long been one of the most tedious parts of video editing.

Of course, a mask wouldn't be particularly useful if it's only for a single frame. Adobe has also updated the built-in mask tracking features to make them faster and better at dealing with changes in perspective if the object is moving towards or away from the camera. If you're running tracking on an Object Mask, Premiere will try to adjust the mask's shape to match whatever you're trying to track as it moves.

Image: Adobe

The standard shape masks made using the rectangle, eclipse or pen tools have also been updated with a cleaner UI and support for the updated tracking tools.

The updates are launching in public beta today, and will likely be a welcome addition to editors who use Premiere, especially if Object Masks works as well as they do in Adobe's demos.

Exciting as they are, masks aren't the only thing that have gotten an update in Premiere. There's a new auto-censoring feature that uses the automatic transcription to let you bleep out any specific words you don't want included in the final cut. Premiere will also let you use a custom sound, if you'd prefer something other than the traditional swear beep. The feature is launching as a public beta today.

Image: Insta360

Insta360 has announced the X4 Air, a lightweight take on its X series of 360-degree action cameras. Despite shedding some weight, Insta360 promises flagship-level features from the new camera, with 8K 360 video and larger sensors than the X4.

Action cameras are already quite compact and lightweight, but Insta360 cut down the X4 Air to 165g (5.8oz). Insta360 says it is its lightest-ever 8K 360 camera. Still, while the company highlights that as a primary selling point, it's only 35g (1.2oz) less than the X5, and 38g (1.3oz) lighter than the X4. That's around a 19% reduction, but in absolute terms, it's hardly earth-shattering weight savings.

The X4 Air effectively sits in between the X4 and X5, with upgrades over its namesake and both shared and downgraded specs when compared to the X5. Despite the shared specs, Insta360 makes it clear that the X4 Air sits below the flagship model. "Where X5 is engineered for precision, X4 Air is made for freedom," the company says. The most prominent difference is that the new camera uses dual Type 1/1.8 (7.1 x 5.3mm) sensors, which are significantly smaller than those in the flagship model.

Insta360 says the new camera is capable of up to 8K30 when recording 360-degree video, just like the last two X model cameras. What's new, though, is that the 8K resolution is also available when using the 'Active HDR' mode, which is Insta360's wide-dynamic range footage compressed into an SDR space. That's an improvement over the X5's 5.7K 60 max resolution when recording with Active HDR.

Insta360 says the biggest improvement comes from AdaptiveTone, which it describes as its "intelligent exposure algorithm." The company says Adaptive Tone analyzes light from both lenses independently to balance brightness and color better. It says this protects highlight and shadow detail for higher quality 360 images without heavy color grading.

Images: Insta360

The X4 Air also offers durability upgrades over the X4. The company implemented the user-replaceable lenses introduced on the X5 so users can swap lenses themselves if they get scratched or shattered (extra lenses are a separate purchase). The camera is also waterproof to 15m (49") without a separate case.

Otherwise, the X4 Air gets all the standard Insta360 features. That includes a Portrait Mode that automatically detects faces and adjusts brightness and color accordingly, a night mode that promises better lowlight performance and the company's FlowState Stabilization and 360° Horizon Lock. It also supports gesture and voice control, and provides multiple preset recording modes to simplify the editing and sharing process.

The Insta360 X4 Air is available starting today in Graphite Black and Arctic White. The Standard Bundle costs $400, while the Starter bundle, which includes a 14cm Invisible Selfie Stick, Lens Cap and extra Battery, costs $440.

Composite image of Nikon Zf product rendering and Nikon Grain Effect sample photo.

Nikon has just released firmware v3.0 for its Zf classically styled full-frame mirrorless camera, adding a grain effect option and other updates, including a JPEG-only 'C15' 15fps burst mode and UVA/UAC tethered webcam mode.

The latest firmware brings the grain effect we got a chance to preview, earlier this month, as one of what the company says are more than twenty upgrades and enhancements. Nikon has not shared details of all these changes, but it does say they include additional on-screen frame guide options, an option to apply focus peaking only when live view is magnified and an option to manual focus the lens wide open, regardless of capture aperture.

Click here to see our Nikon Zf Grain Effect samples

In addition, Nikon says it's added an option to its EVF/LCD auto switching system so that the rear screen doesn't black out if something gets too near the eye sensor when the screen is folded out from the body.

The grain effect option is the biggest update, though, bringing the choice of six intensities of grain and three sizes. Nikon says the pattern constantly changes so that each image looks distinct and video has a convincing randomness to the grain's appearance.

The firmware can be installed via Nikon's SnapBridge software and there's now an option to have it automatically install updates via the Nikon Imaging Cloud service. You can set a time of day at which the camera checks for updates and, if turned off and connected to a power source, it will download and install the firmware.

Nikon Zf firmware v3.0 is available (free) immediately.

Google's newest Pixel 10 smartphone (right) gained a dedicated telephoto camera module, similar to Google's Pixel Pro models. Image: Google

When Google announced its new Pixel 10 smartphone with a new telephoto camera, giving it a triple-camera array similar to the Pixel 10 Pro, it positioned it as an upgrade over the dual-camera systems of its predecessors. However, as we reported at launch, Google made some cost compromises to squeeze that third camera into the phone: the main and ultrawide cameras were downgraded compared to previous Pixel models.

In a world where new phones generally arrive with better cameras than their predecessors, this raises a key question for owners of models like the Pixel 7, 8 or 9: is upgrading to the Pixel 10 for its telephoto camera worth the compromise?

To find out, we conducted side-by-side photo comparisons of the Pixel 9 and Pixel 10 across various lighting conditions.

Pixel camera hardware

Comparing the camera specs of the last four Pixel models reveals a significant shift by Google with the Pixel 10. Moving left to right in the table below, we've marked any camera modules that notably improved upon earlier generations in green. Camera models downgraded relative to previous generations are marked in red.

Editor's note: To make comparisons more straightforward, all focal lengths in this article are listed as full-frame equivalents.

Main camera: The Pixel 7, 8 and 9 used a Type 1/1.31 (72mm²) sensor like the ones used on Google's Pixel Pro models and similar to those on recent iPhone Pro models. In contrast, the Pixel 10 uses a Type 1/2 (31mm²) sensor, which has less than half the surface area of the earlier models. A smaller sensor captures less light, creating a disadvantage in low-light conditions that even advanced image processing can't overcome.

Ultrawide camera: The Pixel 10's ultrawide camera is also smaller than its recent predecessors, and 30% smaller than the ultrawide sensor in the Pixel 9. It's also a 13MP sensor, similar to the Pixel 7 and 8's 12MP sensor, but falls behind the Pixel 9's 48MP Quad Bayer sensor that facilitates additional computational processing to improve image quality.

Telephoto camera: The Pixel 10 is the only model in this group with a dedicated 5x telephoto camera module. But don't get confused; it's not the same telephoto camera module found on the Pixel Pro models, which use a larger sensor.

However, it's worth noting that modern smartphones are based on computational photography: a larger sensor (if it's combined with a bright lens) should yield better results, but a smaller sensor might be able to keep up if newer algorithms can combine more images. All things being equal, a larger sensor should be better, but since the computational component of smartphone cameras is somewhat opaque, all things may not be equal. So, we'll need to look at photographic tests to see how the cameras compare.

Photographic tests

We took matched photos using the Pixel 9 and Pixel 10 across a variety of lighting conditions to find out how the Pixel 10's new triple-camera array stacks up to its predecessor's dual-camera configuration. A sample gallery with all of these side-by-side photos, and more, is included at the end of the article.

Daylight: main camera

In bright light, the main cameras on both phones deliver broadly similar results, at least when viewed on a small screen. At 100% view, however, it's clear the Pixel 9 retains more detail than the Pixel 10. Whether that's a function of the smaller sensor, the lens, or a combination of the two is hard to tell, though in some photos the Pixel 10's lens exhibited slightly more chromatic aberration than the Pixel 9.

Winner: Pixel 9

A close-up view from the main cameras on the Pixel 9 (left) and Pixel 10 (right). The Pixel 9 manages to capture more detail. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: ultrawide camera

The difference between the ultrawide cameras is more dramatic. Even in bright sunlight, the Pixel 9's ultrawide camera is sharper and retains noticeably more detail than the Pixel 10. The differences can become even more apparent when you get close to the corners.

Winner: Pixel 9

A close-up view from the ultrawide cameras on the Pixel 9 (left) and 10 (right). The Pixel 9 retains noticeably more detail even in bright sunlight. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: telephoto camera

Things get interesting when we look at the Pixel 10's headline feature: the new 5x telephoto camera module, a feature absent on the Pixel 9. Instead, the Pixel 9 simulates a 5x camera using a crop of the main camera's sensor. Google markets this as "optical quality zoom," but take that claim with a serious grain of salt.

(Note that while Google describes both models' telephoto settings as "5x," the 110mm equivalent camera on the Pixel 10 is actually 4.6x longer than the main camera, which explains the wider field of view in the comparison shots below.)

A close-up view from the 5x "zoom" on the Pixel 9 (left) and the 5x telephoto camera on the Pixel 10 (right). Look closely at the text on the signs, and you can see that AI upscaling techniques used on the Pixel 9's 5x mode don't quite live up to Google's claims of "optical quality" zoom. Click to view the full-sized images: Pixel 9, Pixel 10

As we've explained previously, cropping is not "optical quality zoom," and while the linked article is about iPhones, Google employs the same basic approach, using AI and computational techniques to maintain image resolution.

A look at the close-up images above quickly reveals the limits of this approach, particularly on the text of the signs in the window. In the Pixel 9 image, much of the text morphs into quasi-hieroglyphics. In contrast, the Pixel 10's dedicated 5x telephoto camera retains perfectly legible text. You'll see similar effects on other subjects, but it's particularly noticeable whenever there's text in a scene.

Winner: Pixel 10

High dynamic range

Both models handle HDR (high dynamic range) scenes well, allowing photos to appear more realistic when viewed on HDR displays, such as those found on smartphones. The Pixel 9 retains a bit more detail, but the most noticeable difference is in the processing, where the Pixel 10 tends to lift shadows a bit more aggressively.

On a smartphone screen, HDR images from both models look good. Note that the versions you see here have been flattened to fit an SDR display, so while they do look a little different, it's not the best way to compare photos intended to be viewed using an HDR screen. To really see this difference, you'll need to download the original, full-sized images to a device with an HDR display to compare them.

Winner: Pixel 9 (by a hair)

HDR images from the Pixel 9 (left) and 10 (right) differ in processing, with photos from the Pixel 10 generally having a flatter, more HDR "look" to them. Click to view the full-sized images: Pixel 9, Pixel 10

Night Sight: main camera

Google's Night Sight feature is designed to help smartphone photographers get better results in low light. The Pixel 9's sensor, which has more than twice as much surface area as the Pixel 10's, can make a big difference, and Night Sight photos from the Pixel 9 consistently outperform those from the Pixel 10.

The photo I chose to illustrate this point pushes both cameras to their limits. Upon closer inspection, both images look like watercolor paintings, but the Pixel 9 exhibits less noise and retains more information in the shadows rather than crushing them to black, and the Pixel 10 essentially obliterates all but the most prominent stars. Both cameras can deliver better Night Sight photos in less challenging situations, but the relative performance remains the same.

Winner: Pixel 9

A close-up of Night Sight photos from the main cameras on the Pixel 9 (left) and 10 (right). Neither camera exhibits stellar results in this challenging scene, but the Pixel 9 exhibits less noise and holds onto information in the shadows rather than crushing them to black. Click to view the full-sized images: Pixel 9, Pixel 10

Night sight: ultrawide camera

Night Sight, using the ultrawide cameras with their much smaller sensors, pushes the limits of computational photography even further. The Pixel 10 is particularly challenged because it has a smaller sensor and a slower aperture, giving it about 40% of the light-gathering ability of its predecessor. That difference is clearly visible in Night Sight photos, with the Pixel 9 easily outperforming the Pixel 10 in almost all scenarios.

Note that the Pixel 7 and 8 ultrawide sensors are closer in size to the Pixel 10 (though still about 20% larger), so the difference in performance won't be quite as dramatic.

Winner: Pixel 9

A crop of Night Sight photos from the ultrawide cameras on the Pixel 9 (left) and 10 (right). Both cameras struggle here, but the Pixel 9's 50% larger, Quad Bayer sensor handily outperforms the Pixel 10. Click to view the full-sized images: Pixel 9, Pixel 10

Low light portrait

People photos and portraits represent one of the most common uses for any smartphone camera. We love to take photos of each other, and it frequently happens indoors and in low light.

The Pixel 9's larger sensor wins out here, producing more natural, less pixelated-looking textures and skin. Whether that's important depends on how you plan to use the pictures. If you're sharing photos with people who will primarily look at them on smartphones, it might not. If you want to make a print, it will.

Winner: Pixel 9

A close-up of a low-light photo taken in portrait mode on the Pixel 9 (left) and 10 (right). The Pixel 9's larger sensor allows it to retain more natural-looking details. Click to view the full-sized images: Pixel 9, Pixel 10

Conclusion

While the Pixel 9 came out on top in all but one of the head-to-head comparisons, the choice between the newest Pixel and its recent predecessors is nuanced, and the best option depends on your priorities.

The Pixel 10's dedicated telephoto lens makes the camera more versatile for social media use, and could be a key factor for anyone who uses the telephoto feature a lot, handily outperforming the virtual 5x camera on earlier models. If flexibility outweighs absolute image quality, it could be a good option.

But physics matters, and you're more concerned about absolute image quality, the larger sensors and faster ultrawide lens on the Pixel 9 give it a clear edge. The Pixel 7 and 8 retain that advantage on the main camera, but the difference in ultrawide modules is less pronounced.

What's clear is that Google made a strategic decision to further differentiate the base model Pixel from the Pixel Pro models. Rather than giving Pixel owners the same cameras as the Pixel Pro, but fewer of them, it's setting up the Pixel Pro as the go-to choice for serious photographers while giving Pixel owners a more versatile solution, but at some cost to image quality.

Image: Apple

Adobe's Project Indigo, a powerful camera app for iPhone, is finally available for the iPhone 17. Despite Apple releasing the iPhone 17 over a month ago, Project Indigo wasn't previously compatible with the new phone, reportedly due to the front-facing camera.

A post on Adobe's forum on October 16, as reported by The Verge, shared that the company had issues when developing support for the new iPhone 17 series of phones. "We have run into some issues, especially with the front camera," the post from product manager Boris Ajdin said. "Some of them we flagged to Apple, who have made a fix and will ship it with iOS 26.1. Sadly, that means we need to consider disabling the front camera in Indigo until that version of iOS is shipped."

A screenshot of the App Store update on the Project Indigo page.

For context, the iPhone 17's front camera uses a square multi-aspect ratio sensor, which isn't typical for smartphone cameras. The square sensor allows users to capture landscape or portrait photos and videos without rotating the phone. However, it also apparently complicates things for camera app developers, at least in the case of Adobe's app.

It appears that Adobe has now solved some of those issues. Over the weekend, Adobe's Chris Welch shared on Threads that Project Indigo is now ready for the iPhone 17. Welch shared a screenshot of the App Store listing, which says it required lots of "grinding, sanding, welding and polishing."

While the app is functional on iPhone 17s now, the selfie camera is currently disabled. The App Store description for Project Indigo says that front camera support for 17-series devices will be added in the next version of the app, which will come after Apple publicly releases iOS 26.1.

Fujinon 13-33mm F3.5-6.3 OIS @ 33mm | 1/125 sec | F6.3 | ISO 160

The Fujifilm X-T30 III is a gentle refresh of the Mark II, bringing it into line with the other models in the lineup.

We shot a sample gallery in a Seattle autumn, to show how its images look. Although the camera itself is a fairly known quantity, its new, ultra-wide XC 13-33mm F3.5-6.3 OIS kit lens is a different story. We focused on this lens when putting the gallery together, to show how it performs.

The September Editors' photo challenge

The theme for our October Editors' photo challenge was "Fall Follies."

With the last wisps of summer in the air and days getting shorter, we challenged you to show us what makes fall special. From vibrant leaves to fall harvests and annual traditions, we asked you to show us what Fall Follies looks like through your lens.

Our community of DPReview photographers didn't disappoint, capturing nature's grand finale in a blaze of color. As usual, we were overwhelmed with great pictures – many more than we can present here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

Thanks to everyone who participated in this photo challenge. If you want to participate in other photo challenges, visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Fall in upstate New York

Photographer: mxzrevman

Photographer's statement: I was very lucky with the timing. The leaves were just perfect, and the weather was perfect with the sun at a nice height above the horizon. This was at Thatcher State Park outside of Albany, New York.

Equipment: Nikon Z5 + Nikon Nikkor Z 20mm F1.8 S

Day of the Dead

Photographer: JeffryzPhoto

Photographer's statement: In Mexico, this time of year means preparations for Day of the Dead, or Día de Los Muertos: the time when departed souls can return to visit loved ones left behind. Marigolds feature prominently, their color and scent helping to guide them.

Equipment: Fujifilm X-T4 + Fujifilm XF 8-16mm F2.8 R LM WR

Hidden gem

Photographer: JC-W

Photographer's statement: The Moselle, a river between Luxembourg and Germany, is a famous wine region. In October each year, you can find these beautiful grapes on the hillsides separating both countries.

Acer

Photographer: TheDispossessed

Photographer's statement: An acer, photographed in Durham Botanic Gardens, England. Capturing these leaves involves being there at the right time on the right day to get the light just right.

Equipment: Canon EOS 80D + Canon EF 70-300mm f/4-5.6 IS USM

Foggy fall in Norway

Photographer: hach

Photographer's statement: This photo was taken from the roadside overlooking a small farm. Underneath is the Tyrifjorden lake, covered by fog. The location is at Sollihøgda (Sunny heights), just north of Oslo.

Equipment: OM System OM-1 + OM System 40-150mm F4.0 PRO

Follow the colors

Photographer: RacingManiac

Photographer's statement: Early fall colors at the Kiyomizu Dera in Kyoto. I like the treeline, and the roof of the shops all lead to the pagoda on the opposite side of the footpath

Equipment: Sony a7 IV + Sony FE 70-200mm F4 G OSS II

Fall Sunset at Graveyard Fields

Photographer: Sam Bennett

Photographer's statement: Pink echoes in the valley of Graveyard Fields in Western North Carolina as the forest slowly heals itself year over year after the ravages of Hurricane Helene.

Equipment: OM System OM-3 + Olympus M.Zuiko Digital ED 12-45mm F4 Pro

Cypress trees

Photographer: Gman58

Photographer's statement: We were taking a fall road trip to visit friends in the mountains of Tennessee when I noticed these beautiful cypress trees, living in the water of the lake, at the terminus of the Ocoee River Gorge.

Equipment: Pentax KP + HD Pentax-DA 20-40mm F2.8-4 ED Limited DC WR

Joe Lay Reservoir, Grand Staircase, Utah

Photographer: MtnBikerCalif

Photographer's statement: I was fortunate enough to be in the Grand Staircase-Escalante National Monument in Utah with four friends, mountain biking the Great Western Trail. My OM-1 is too heavy and inconvenient while biking through tough terrain, but my new iPhone was great for photography and helped with navigation. I wasn't expecting the incredible fall colors of the aspens. They were the highlight of the trip. I'd never seen such expanses of golden leaves.

Equipment: iPhone 17 Pro

Autumn leaves

Photographer: SergeAP

Photographer's statement: Autumn is beautiful with its dramatic blend of vibrant, lush colors and the deep lyricism and silence of evening city parks, the already cold and damp air with the amazing taste of fallen leaves, and the warmth of melancholy memories of the past summer.

Equipment: Nikon D800

Fish and fog on the Rogue River

Photographer: Eric Hensel

Photographer's statement: I rarely arise before dawn, these days, with two exceptions: salmon fishing or a photography expedition. I managed to combine both pursuits on this particular morning, as I tried out a lens I had purchased from a local shop for twenty dollars. I couldn't believe my luck when I rested the lens on the handrail of the Depot St. Bridge in Rogue River, Oregon, just as a drift-boat was heading toward me in the fog.

Equipment: Sony a7 + Vivitar series-1 70-210mm f/3.5

Fall in Silverton

Photographer: Tough Gritz

Photographer's statement: When the Aspens bring out their fall display, they make for exceptional landscapes like this one on Highway 550 facing north from Silverton, Colorado, toward the town of Ouray, Colorado, on the Western Slopes of the Rocky Mountains.

Equipment: OM System OM-5 II + OMS 8-25 f/4 PRO

Short lens, long shot

Photographer: decentred

Photographer's statement: Shot way back when, on Kodachrome. The light was low, the ISO was 64, I was crouched down, elbows tucked in, holding my breath, dialing in some self-timer to get the mirror slap out of the way early, and shooting at maximum aperture.

Equipment: Nikon FE + Nikkor AI 35mm

Autumn view of the valley

Photographer: cbf_si

Photographer's statement: The creeping morning mists herald the arrival of winter. But first, nature delights us with an explosion of autumn colors. Photographed from Mount St. James (Sv. Jakob) in Slovenia.

Equipment: Sony Alpha a99 + Minolta AF 35-70mm F4

Happy family

Photographer: wim

Photographer's statement: I'm always amazed by the shapes of leaves. They're all different, just like people. I found these personalities and happily placed them side by side.

Equipment: Fujifilm X-T1 + Fujifilm XF 35mm F1.4 R

Autumn

Photographer: Robert_Schild

Photographer's statement: On a walk through the woods, I came across these branches climbing up trees with a display of beautiful autumn colors. It was still early autumn, and most trees were still green, but these leaves stood out.

Equipment: Pentax K-1

Fall color, Eastern Sierra

Photographer: REHS

Photographer's statement: When you hear the words "near peak," you need to make your reservations, cancel pending appointments, and activate your back-up coverage. Charge your batteries, pack the essentials, and pray for good weather. And then, get there early!!! It all fell into place this year, but the only show seemed to be in the area just west of Bishop, California. I'm so grateful that I didn't miss this event!!! Yaahoo!!!

Equipment: Nikon D850 + Nikon AF-S Nikkor 24-70mm f/2.8G ED

In the spotlight

Photographer: more cow bell

Photographer's statement: After some morning rain showers, a shaft of sunlight spotlights a fallen leaf whose journey from treetop to earth was interrupted by a tangle of branches.

Equipment: Fujifilm X-T2 + Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR

Yoshino colours

Photographer: gnohz

Photographer's statement: Many photos taken here depict a snowy night scene with street and building lights leading to the main Zao Hall building of the Kinpusen-ji Temple (at top right), so I opted for a different take to show the splendid autumn colors instead.

Equipment: Nikon D850 + Nikon AF-S Nikkor 85mm F1.4G

Equipment: Nikon D610

Old tree

Photographer: brian505

Photographer's statement: I captured this photo in a forest back in 2015, showing a giant beech tree that, I was told, might be around a 100 years old. Its trunk was so wide that it would take about four people holding hands to circle it completely.

Equipment: Nikon D7000

The M EV1 is, perhaps, the exception that proves the rule, in the sense that by not conforming the existing pattern it helps clarify the 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, does that mean 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 image." 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.

If you're looking for more information on the X-T30 III, check out our first look video and initial review. You can learn more about the lens in our separate article covering the announcement.

Image: Just_Super / E+ via Getty Images

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.

To ensure we can continue supporting this community for years to come, we'll soon be making some important updates to our forums.

What's happening

Since their inception, DPReview's forums have run on a proprietary, custom-built platform. While that system has served us well, it has become increasingly complex and expensive to maintain. To keep the forums vibrant and accessible, we're migrating to a modern software platform built for today's web.

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.

When it begins

We plan to begin the migration on October 31. During this transition, the forums will enter read-only mode for approximately five days. You'll still be able to browse and search existing discussions, but posting and uploading new content will be temporarily paused while we move all data to the new system.

We've worked hard to ensure no content is lost. When you log back in, all your discussions, posting history, photo albums, private messages, and other data will still be there – you'll simply be joining the same community in a more modern home.

Get more info

We know there will be a lot of questions. To help, we've created a detailed forum thread that provides additional background on this update and what to expect, along with a comprehensive FAQ addressing many common questions. If something isn't covered, please post your questions in that thread and we'll do our best to provide answers.

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.

To all of you who have participated over the years – the experts, the beginners, and even the trolls – thank you for being part of DPReview. We look forward to many more discussions, debates, and shared discoveries in the years ahead.

Thank you for your continued support,
The entire DPReview Team

Read our detailed forum post about this update and what to expect

Read our FAQ about the forum update

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.

---

*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)

Photo: SilverBridges GmbH

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.

Photo: Pomma Partiew / Fujifilm

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 ring 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 moving elements 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 that improves the refractive index of the lens, promising 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.

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.

---

Index

• What's new
• How it compares
• Body and handling
• Initial impressions
• Leica M EV1 specifications
• Press release

What's new

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 wrote, back when the M11 was launched, that the flexibility of live view and the added focusing precision it offered risked making the rangefinder and optical viewfinder seem redundant. My experience with the M EV1 so far suggests I was wrong.

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 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.

---

Index

• What's new?
• What is it?
• How it compares
• Body and handling
• Video
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new?

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.

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.

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.

Pre-production Fujifilm X-T30 III 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.

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.

Fujifilm XC 13-33mm F3.5-6.3 OIS specifications: