Community member John Freeman, known as john80504 in the forums, loves peering into the distance at intricate landscapes, capturing them at the highest resolution possible, then framing multiple shots on a wall to admire. Some of his murals are as large as 15 feet by 50 feet, showcasing wide mountain ranges and vast river valleys.

According to John, he’s the only person in the world who teaches a workshop on Gigapixel Photography, the art of taking dozens or even hundreds of photos and stitching them together into a single image with a resolution that measures in the thousands of megapixels.

Editor’s note: because of the nature of the ultra-high resolution images Freeman creates, we don’t have a way to post the full versions to our site in a way that would let you sensibly view them. We’ve provided links to his website that let you experience them in all their glory.

Our ‘What’s in your bag?’ community spotlight series features readers sharing their favorite gear and photography, including from past DPReview collaborators. See below for what John has to share.

John Freeman

Meet John Freeman

Home base: Longmont, Colorado, USA

Photography has been a lifelong pursuit for John, one that has evolved significantly over the decades. It eventually led him to a highly specialized niche that combines technical precision with artistic vision.

“For more than 58 years, starting at age 13, photography has been a central part of my life. My parents gave me a Kodak Brownie camera for Christmas the year I was in 8th grade. Over that time, I’ve explored many different genres and techniques, but few have challenged and rewarded me as much as gigapixel panoramic wall mural photography. My gigapixel photos are among the largest, highest resolution Fine Art Wall Mural Photos available on the internet.”

That specialization is gigapixel panoramic photography, a field he has spent more than a decade refining and pushing further with advanced techniques.

“When I first started doing gigapixel photos in 2011, I entered a niche market. Gigapixel photography is the process of capturing hundreds – or sometimes thousands – of individual photographs and stitching them together into a single seamless image. Over the past 10 years I have been doing focus bracketing/stacking of the individual images that are stitched into the final image. Adding focus bracketing/stacking has been the single most important skill that has improved my work.”

What’s in John’s bag

John Freeman

Favorite camera: Canon EOS R5 Mark II, though he still carries a Mark I for nostalgia.

“For the past five years, my main camera has been a Canon EOS R5, but before a trip to New Zealand this past April, I added a Canon EOS R5 Mark II to my bag. It has quickly become my favorite. I especially appreciate that it stores focus-bracketed images at 14-bit resolution rather than 12-bit, like the original R5, and that it captures focus-bracketed sequences much faster, which is a big advantage when photographing large landscapes. Most of the time, you’ll find my Canon RF 100-400mm F5.6-8 IS USM mounted on the camera.”

Lenses used across all cameras:

• Canon RF 100-400mm F5.6-8 IS USM
• Canon RF 28mm F2.8 STM
• Rokinon 14mm F2.8

John Freeman

Any experienced photographer is going to have a set of gear that works well together and is ready to go at a moment’s notice. Apart from the cameras and lenses above, here’s John’s other interesting gear he takes with him on trips into the mountains.

Support gear: “For panoramic photography, I typically carry a Nodal Ninja M2 manual nodal head mounted to a SLIK carbon fiber tripod with a Really Right Stuff leveler, along with a Vello Wireless ShutterBoss remote shutter release to minimize camera shake. For longer hikes, I also pack granola bars, a CamelBak water bladder and a phone running the PhotoPills app for planning.”

Camera bags: “For many years, I used a Tamrac Expedition 9x backpack, which had plenty of room for all my gear but became too heavy for long hikes. Last fall I switched to a lightweight Mosiso backpack that’s just big enough for my camera, three lenses and the Nodal Ninja. It also has a side pocket for my tripod, although that part could be better.”

What are some great locations for super high-res shots?

John Freeman

When John goes to a location, one of his goals is to shoot the largest, highest-resolution photo ever taken there – not just by him, but by anyone else.

“One of my most unique and difficult shoots was one I did in February 2026 of the frozen waves that occur in winter at Dream Lake in Rocky Mountain National Park. The frozen ice waves are an unbelievable wintertime phenomenon that is caused by freezing temperatures and strong, dry winds. It is called sublimation, the process in which solid ice changes directly into a gas without becoming a liquid first. The result is a 4.63 gigapixel focus-stacked, stitched image made up of 7090 individual focus-bracketed images. This yielded 225 focus stacked sets in a 9 row by 25 column array.”

While Dream Lake stands out as one of his most technically demanding projects, John is always planning his next destination in search of another record-breaking panorama. Earlier this year, that pursuit took him to New Zealand.

“My wife and I just returned from a second honeymoon trip, a 27-night camper-van tour of New Zealand, in April, 2026. During the trip, we visited both the North & South Islands. While not every photo met my 1 gigapixel requirement, I did manage to capture numerous photos of some of the most beautiful areas of New Zealand.”

Techniques that captured that perfect gigapixel shot

John Freeman

“Even after decades behind the camera, I still find myself excited by the challenges and possibilities of gigapixel photography. One of my current projects is what I call Virtual Rocky Mountain National Park – a long-term effort to create immersive panoramic experiences throughout the park and to preserve these remarkable landscapes in extraordinary detail. This virtual tour of RMNP is free to the public to view and enjoy.

Projects like Virtual Rocky Mountain National Park have also pushed John to refine the technical side of his craft. One of the biggest hurdles comes when photographing scenes with an extreme range of light.

“One of the biggest challenges in gigapixel photography is dealing with scenes that contain both extremely bright and extremely dark areas. Unlike traditional photography, where HDR techniques can often solve these problems, focus stacking and HDR do not work together because the camera cannot perform both focus and exposure bracketing simultaneously. To overcome this challenge, I rely heavily on a technique called Expose To The Right (ETTR). This approach has become an essential part of my workflow, particularly when photographing complex landscapes that contain bright skies, deep shadows, waterfalls, and other high-contrast elements.”

John’s advice for photographers

John Freeman

“I always tell my workshop students, don’t be afraid to make mistakes, just make sure that you learn from your mistakes and avoid them next time.”

John really enjoyed participating in this spotlight article and would love to hear what you think of his photography and to answer any of your questions in the comments below.

You can check out John’s other work at abbascreationsphotography.com.

Editor’s note: This article continues a series, ‘What’s in your bag?’, highlighting DPReview community members, their photography and the gear they depend on. Would you like your photography to be featured in a future installment? Tell us a bit about yourself by filling out this form.

The Sony DSC-RX10 V appears just as prices of the remaining RX10 IV started to get silly. Nearly nine years have elapsed since the launch of the Mark IV but despite first appearances, almost everything has changed in the new camera.

Basic hardware

Both cameras are based around the same fundamental specs: a 24-600mm equivalent F2.4-4.0 zoom and 20MP Type 1 (116mm²) stacked CMOS sensors.

Sony says the lens is the same, despite reporting the focal lengths differently on the side of the barrel. Our understanding is the RX10 IV reports the effective focal length with corrections applied, whereas the RX10 V lists the literal focal lengths.

We were briefed that the sensor has been “updated” but without any specifics about what those changes are. The new camera has significantly more powerful processors and updated AF algorithms, so it’s hard to be sure which, if any, of the spec changes can be ascribed to sensor differences. It seems notable, though, that Sony no longer mentions DRAM, which it did in its description of the previous version.

Ergonomics

The RX10 V’s ergonomics have been reworked, mostly for the best. It has a more comfortable grip, more prominent command dials on its shoulder and one of the large, easy-to-position AF joysticks we’ve seen on the last few generations of Alpha cameras. It loses its top-plate LCD and its focus drive mode switch on the front of the camera, instead getting an AF/MF switch on the side of the lens.

The net effect is a definite positive: the RX10 V feels a lot more like one of the more recent Alpha models, rather than a box full of goodies that you constantly feel you need a tin-opener to get at. It’s disappointing that all three of the camera’s dials (if you include the awkward little dial on the rear face) need to be controlled with the thumb: a front dial would have been a further boost, but overall it feels much nicer to control. And that’s before you get to the menus which, if nothing else, are much more sensibly arranged, with related options much more logically grouped and labeled.

AF and performance

The new camera has Sony’s latest AF system, which is a surprisingly large step forward. The RX10 IV was the first in the series to gain phase detection AF: delivering a big leap forward over previous models, and early instances of Eye detection and animal eye detection autofocus. In video it fell back on the older, clunkier ‘Center Lock-On AF’ system that required a degree of button-pressing and missed focus that seems unthinkable by modern standards.

The RX10 V illustrates just how far things have come in the meantime. The clutter of AF area modes persists, but it’s now backed up by a subject recognition system that can cope with a wider range of subjects, works more effectively and is available in video. The near decade-long lull in enthusiast compact cameras happens to have coincided with one of the most sustained periods of improvement in AF performance and ease-of-use,

Viewfinder and screen

Richard Butler

Both the viewfinder and rear screen have been upgraded, compared with the RX10 IV. We wouldn’t be at all surprised to find some of this is down to old components no longer being available, but if it results in a better viewfinder, we’ll take it.

The RX10 V has a 3.69M dot EVF, meaning 1280 x 960px resolution, rather than the 1024 x 768px view of its predecessor. It’s a physically larger panel, too, with updated finder optics boosting the magnification from 0.7x to 0.78x.

The rear screen gets a more modest boost: 1.62M dots (900 x 600px) in a 3:2 aspect ratio that matches the camera’s sensor, rather than the 4:3 screen on the RX10 IV, which had 800 x 600px resolution, of which 800 x 533px would be devoted to previewing images. In both instances, the screens tilt up or down, but don’t hinge or tilt sideways.

Movies

For the most-part, the RX10 V’s movie capabilities are greatly enhanced: it can shoot 4K at up to 60p from the full width of its sensor (vs 30p on the old model), or 120p with a crop. The AF tracking is vastly improved, it gains Sony’s Auto Framing system that crops in and follows a subject around, to give movement to otherwise static shots, and it adds the ‘Active’ Steadshot stabilization mode. Above all, though, it gains the ability to capture 10-bit footage, making its Log files much more flexibile than before, particularly S-Log3. It also lets you shoot in S-Cinetone, and attractive, ready-to-go profile we’ve liked on other cameras.

Somewhat contraversially, the RX10 V doesn’t offer the 1000fps (960fps in NTSC mode) 1080 video capture of its predecessor. Whether this is a consequence of a lack of DRAM to buffer all that information, or because Sony has just refocused its attention on more mainstream video needs is unclear. The footage was never particularly good (not least because each frame of a 1000fps burst is made up from very little light), but it was a feature that wasn’t really available elsewhere.

Storage / communication

Richard Butler

As you might hope, the RX10 V now accepts UHS-II SD memory cards, letting it write and read data much faster than the older model, which had a UHS-I interface. UHS-II had started to appear in cameras nearly three years prior to the Mark IV, so this isn’t really a case of bringing the new camera up-to-date, and more of reaching the point the IV could have been at, nine years ago. The industry looks unlikely to ever use the newer UHS-III format and may even skip SDExpress, which is based on the same technology as the CF express cards Sony uses elsewhere in its range.

The Mark V does at least gain a modern USB connector, though. It can communicate at up to 10Gbps and can be used for charging the camera. It retains the Micro-B USB socket that the IV had, so that it’s compatible with the same accessories, but this port can no longer be used for charging.

Battery

Richard Butler

Finally, there’s the battery. The RX10 V makes room for the much larger NP-FZ100 battery, which has over twice the capacity of the NP-FW50 used in the Mark IV. This doesn’t result in double the battery life, perhaps because of the additional processing power and higher resolution viewinder, but still sees the battery life rating jump by more than 50%. Ratings of 570 shots per charge via the viewfinder and 630 shots per charge using the rear screen are well into the territory that it’s unlikely you’ll ever have to worry about battery life, as a stills shooter. As usual, we’d expect most people to get around double this number of shots, and still more if you shoot bursts.

Overall

It’s easy to look at the RX10 V, see that the lens and pixel count is the same and conclude it’s a minor update. In practice, just about every aspect of the camera has been improved. The RX10 V looks much more expensive, but a lot of that is because inflation – or, to put it another way, the devaluing of the money in your pocket – in the intervening nine years exaggerates the difference.

As always, it’s up to each individual to decide whether they think a product is worth the cost, but in terms of usability, performance and capability, the RX10 V is a big step forward.

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