As we bid March adieu, it's a good time to take stock of the wealth of new cameras and lenses announced so far this year. Here's a list of everything we've seen, updated for April 2024!
March 2024
Leica SL3
Image: Richard Butler
Leica released the SL3 in March, making it the highest-resolution SL camera in its line. The 60MP DSLR-shaped mirrorless camera is built around Leica's L-mount and brings a lot of technology from the Leica M11 models into its radically redesigned interface. Shutterbugs didn't have to wait long for it to arrive. It was available the same day it was announced.
Logitech revisited the Mevo line of streaming cameras to give them a larger Micro Four Thirds sensor and its corresponding lens mount (the previous version was fixed lens). Geared toward users in need of live-feed video, it sports a 6-hour battery rating and supports Wi-Fi 6E up to 4K/30p streaming.
Leica, whose commitment to the rangefinder style is so strong that it makes actual rangefinder cameras, announced it was producing 200 copies of the M-Summilux 35mm F1.4 with an anodized black coating on its aluminum shell. The design has many elements inspired directly by a lens Leica produced in the 60s and reintroduced in 2022 as part of the Leica Classic line.
The Ricoh GR III HDF and GR IIIx HDF are variants of the company's existing fixed-lens APS-C premium compacts. They feature a unique "highlight diffusion filter" instead of the ND filter fitted in the standard versions of both cameras. When turned on, the HDF creates a diffusion effect, particularly visible in highlight areas. Both cameras will arrive in April, with preorders starting April 2.
A superzoom Z-mount lens with a 14.2x zoom range, Nikon tells us the lens is designed to meet the needs of both photo and video users. Autofocus comes in the form of a stepping motor to deliver fast and quiet autofocus, and manual focus includes support for a linear focus response, which should appeal to video shooters. It is set for release in mid-April.
Meike Global's first autofocus APS-C lens arrived for Fujifilm, Sony and Nikon cameras in March. The new 55mm F1.4's $200 MSRP is targeted at photographers looking for a fast and light prime lens who don't want to shell out for more expensive options.
7Artisans also introduced its first autofocus lens in March and it too runs about $200: a 50mm F1.8 for full-frame Sony E-mount bodies. The company has built up an extensive collection of manual focus lenses (for numerous mounts), and we imagine that this "nifty fifty" is the first of many AF lenses to come.
The 50mm lenses just kept on coming in March (calling it now, it's going to be a hot nifty-fifty summer if this keeps up). Sigma's second F1.2 lens for the E and L full-frame mirrorless camera mounts is one of the lightest lenses of its type. Sigma also says it's designed to give full detail levels even at maximum aperture. It hits stores on April 18.
Tamron's popular 28-75mm F2.8 Di III VXD G2 fast standard zoom is coming to Nikon's Z-mount. Built with a newer, linear motor drive, it also features improved optical performance when compared to the G1 version of the lens. The announcement adds a more affordable option for Nikon's Z-mount users, and some hope that Nikon may relax restrictions around the mount.
An extra long February brought us a wealth of new cameras and lenses during CP+ 2024.
Fujifilm X100VI
Image: Richard Butler
Arguably one of the most hyped-up cameras of the year, the Fujifilm X100VI was announced and made available for preorder this February. It is shipping now, but already backordered at some retailers.
The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with hardware and firmware improvements. Announced and available for preorder in January 2024, it started shipping in February.
Alongside its new flagship, OM System announced a 150-600mm F5.0-6.3 super telephoto zoom (equivalent focal length range of 300-1200mm) as well as a new version of the Olympus 9-18mm F4.0-5.6 (18-36mm equivalent) with an updated body and OM System branding in January. Both are now shipping as of February 2024.
While the Fujifilm X100VI itself is easy to pre-order, there is also a limited edition with Fujifilm's founding logo from 1934 that will be a bit harder to find and a bit more expensive. Ask at your local dealer for the chance to pay a $400 premium for this limited run.
Sigma's 15mm F1.4 DG DN "Art" diagonal fisheye is shooting to be an astrophotography workhorse with a 180-degree field-of-view, manual focus lock button, lens heater support and a weather-sealed body. It's available for preorder today, with an estimated ship date of mid-March.
Sigma's 500mm F5.6 DG DN OS "Sports" lens is lighter and a fraction shorter than the similar Nikkor lens for DSLR, despite not using the same phase-fresnel technology Nikon does. It's available for preorder now in E-mount and L-mount favors, with a ship date in mid-March 2024.
Panasonic Lumix S 28-200mm F4-7.1 macro travel zoom
Image: Panasonic
Launched during CP+, Panasonic's Lumix S 28-200mm F4-7.1 Macro OIS for L-mount is, according to the company, is the smallest and lightest long zoom lens for mirrorless systems (where 'long zoom' is defined as 7x or greater zoom range). It's available for preorder now, and set to ship at the end of April.
The Venus Optics' Laowa Zero-D FF is, according to its makers, the world's widest F2.8 full-frame rectilinear lens. It's also the first lens with autofocus in the company's Laowa line. Available for preorder now, it will ship next month for $799.
Sony's PDT-FP1 5G transmitter accessory, which was already announced in Japan, is now coming to the United States and other markets. It can be preordered now and has a shipping window of "early summer" 2024.
Announced in 2023, Apple Vision Pro got a February 2nd shipping date during CES 2024. It's now available to order on Apple's website for $3,499. Apple Vision Pro is not primarily a camera, of course, but it is, in part, a device for capturing photos and videos. The Vision Pro will be able to capture spatial photos and video using a button along the top edge of the goggle part of the device.
The start of the year was no time for rest, we hit the ground running with several product announcements.
Hasselblad CFV 100C
Image: Hasselblad
Hasselblad has announced a 100MP version of its CFV digital camera back, which combines with the 907x camera to create the smallest medium format camera on the market. It's available for pre-order now and expected to ship in late March to early April.
In conjunction with CES 2024, Panasonic has announced the Lumix S 100mm F2.8 Macro lens for full-frame L-mount cameras. Panasonic calls it "the world’s smallest and lightest medium-telephoto fixed focal length macro lens." However, as important as its size and weight is versatility: Panasonic tells us its goal was to produce a macro that can also handle portraiture and medium telephoto shooting with vanishingly few drawbacks. It was announced and shipped in January 2024.
This January, DJI announced the Mic 2, the sequel to its first wireless microphone system released back in 2022. We were fans of the original, especially the details of its interface and user experience, and the Mic 2 expands on that with some additional creature comforts, 32-bit float backup recordings and a new transparent design. It was available for purchase at its announcement in January.
We're almost a third of the way through the year already! Here's a recap of the reviews and testing we've done this year so far, with more (and more and more) to come as the year goes on!
April
Panasonic S5II: Review
Photo: Richard Butler
The Panasonic S5II had the unfortunate luck of landing in our office right about the time we found out that our parent company planned to close DPReview in 2023, so it never went through our regular review process. We've been looking for an opportunity to review it ever since we joined forces with Gear Patrol last summer and finally found the time.
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The timing turned out to be good: Panasonic was able to provide us with an early version of the camera's new firmware (v3.0), so we were able to test it with the latest features. Read our review to find out why we think this camera is such a great all-around performer for enthusiasts and pros alike.
The Sony FE 16-25mm F2.8 G is a relatively compact wide-angle zoom lens aimed at street and travel photographers.
We were able to get our hands on the lens for a day and figured most readers would be curious to see some examples of street and architectural photography, so we hit the streets of downtown Seattle and ducked into the Seattle Public library when the weather turned ugly.
Sony's FE 24-50mm F2.8 G is a fast, compact walk-around lens for its full-frame E-mount cameras. We took it out in snow and sun in New Jersey to put it through its paces.
In practice, we found that it makes for a light and portable package with convenient and satisfying hands-on controls and quick and quiet focus.
The Leica SL3 is a 60MP DSLR-shaped mirrorless camera built around Leica's L-mount. It brings a lot of technology from the Leica M11 models but also features a radically redesigned interface. In March we published our initial review.
Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Sample gallery
Photo: Dale Baskin
Panasonic's newest zoom lens, the Lumix S 28-200mm F4-7.1 Macro OIS, is so small that it just begs to be used for travel, so we took it on a trip to Japan to see if it lives up to its promise. It proved to be an outstanding choice, allowing us to cover a wide range of focal lengths without ever feeling like we were dragging around too much gear. We were pretty pleased with the optical performance, too.
We updated our Sony a9 III sample gallery to include more sports and to get a feel for how effective its global shutter sensor is when combined with subject-detection autofocus in a variety of scenarios. And just to be safe, we also included some low ISO landscape images for those who want to evaluate image quality for other types of photography.
We were working on our review of the Panasonic S5II when it came time for our annual trek to Yokohama, Japan, for the camera industry's annual CP+ trade show, so we took along the S5IIX for some additional testing. It was a joy to shoot and it did a great job of capturing the color and texture of Japan, from the streets of Tokyo to snow monkeys near Nagano. It also proved that its weather sealing was up to the task, operating for hours in pouring rain without missing a beat.
The Panasonic G9 II is the first Panasonic Micro Four Thirds camera to include phase detect autofocus and is based on the same body as the full-frame S5 II. It also comes with a surprisingly long list of video features. Read our full review to find out what we liked and what we didn't.
The Sigma 50mm F1.2 DG DN Art is a comparatively lightweight prime lens aimed at travel, portrait and street photographers. Contributing editor Jeff Carlson immediately jumped on the opportunity to shoot a sample gallery with this lens, capturing spring cherry blossoms, portraits and some low-light photos for good measure.
We had an opportunity to try a pre-production version of Nikon's new 28-400mm F4-8 superzoom lens shortly before it was announced. Let's just say this lens really intrigues us, and we can't wait to get our hands on a production copy for more testing.
Hasselblad's CFV 100C medium format digital back brings most of the features of the X2D 100C to smaller form factor that's compatible with a wide range of cameras from the company's history. We paired it with a 907X camera / lens adaptor and XCD 28mm F4.0 and XCD 90mm F2.5 lenses to shoot a sample gallery.
Megadap ETZ21 Pro Sony-to-Nikon mirrorless lens adapter: Review
Photo: Dan Bracaglia
After getting our hands on it, we can say that, as far as what’s currently available for Sony shooters wishing to dabble in the Nikon realm, there is no better option on the market than the Megadap ETZ21 Sony E-mount to Nikon Z-mount lens adapter.
Nikon's Zf is a full-frame mirrorless camera with classic styling, built around a 24MP BSI CMOS sensor. It's designed to mimic the look of the company's FM2 SLR from the early 1980s, meaning it effectively becomes a full-frame counterpart to the company's Z fc APS-C camera. In February, we updated our review with a video reel and impressions.
February finally brought us the X100VI, a photographers' fixed-lens camera that combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens. We had it day one, and have published our initial review along with a sample gallery. Unfortunately, those won't help you actually find one to buy.
The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with a series of hardware and firmware improvements. In February we published a sample gallery to update our initial review.
The Sony a9 III is the company's latest high-speed pro sports camera. It features a Stacked CMOS sensor capable of shooting at 120 fps and able to read all its pixels out simultaneously: the long hoped-for 'global' shutter. Our studio scene analysis shows that it comes at a cost.
Panasonic's Lumix S 100mm F2.8 Macro is a full-frame L-mount lens that's designed to be compact and lightweight, coming in at 82mm (3.2") long and 74mm (2.9") in diameter and tipping the scales at 298g (10.5 oz). Hands-on, we can confirm it is very tidy and light.
Sony's 16-35mm F2.8 GM II lens is smaller, lighter and more capable than its predecessor. Optical improvements come in the form of better corner-to-corner sharpness and a new close-focus distance of just 22 cm.
When we published our iPhone 15 Pro Sample Gallery, we didn’t yet have an iPhone 15 Pro Max model in hand. In addition to boasting a larger 6.7-inch screen, the Max differentiates itself by having a 5x (120mm equivalent) telephoto camera with a clever tetraprism design. The iPhone 15 Pro’s telephoto camera, meanwhile, shares the same 3x (77mm equivalent) field of view as the iPhone 14 Pro. Is the extra reach worth the bigger physical size and higher cost?
The Canon EOS R100 is an ultra-compact 24 Megapixel APS-C mirrorless camera with an RF mount. It is the cheapest way to enter Canon's mirrorless ecosystem, offering more flexibility than a smartphone.
The Fujifilm XF 23mm F2 R WR is a very compact, portable, wide-angle prime lens for Fujifilm X-mount cameras. It makes a great walkaround lens and is well-suited for uses like travel and street photography, as well as things such as moderately wide landscapes and environmental portraiture.
The Sony ZV-1 Mark II is a vlogging-focused compact camera built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor and an 18-50mm equivalent F1.8-4.0 lens. Besides the new focal length range, much of this camera remains the same as its predecessor, which was itself a competent pocket-sized video camera.
Fujifilm's Jun Watanabe and Yuji Igarashi, speaking to us, following the X100 VI's launch. Photo: Richard Butler
"We wouldn’t be here if we didn’t have the X100," says Fujifilm's Yuji Igarashi, "If that failed, we would have been in a very difficult position."
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Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group was speaking to us just before the launch of the X100VI. He and his colleague, Product Planning Manager Jun Watanabe discussed the importance of the X100 series in establishing the Fujifilm brand as it's now recognized. They also spoke about the future of the industry, the role AI has to play and perhaps even hinted at the possibility of a video-centered camera.
"That was the first camera when we stepped up from selling point-and-shoot, entry-level compact cameras," Igarashi remembers: "Smartphones were becoming popular and demand for point-and-shoot cameras was declining so fast."
"But we were determined to continue and to grow in this industry, so we thought very hard, how can we change our business model. This was our first attempt to do that, using the APS-C-sized sensor. X100 was a huge success, which gave us confidence."
What happens next?
Nearly fifteen years later and it feels like the industry is facing up to another existential threat, as the quality of computational photography and the always with you, always connected convenience of smartphones along with the arrival of AI image generation threaten even high-end cameras. But Igarashi sees room for growth, still.
“It’s the younger generation that will drive photography," he says: "People who are photo literate, who use their smartphones all the time, those people have a huge potential”
And he believes there's still room for dedicated cameras, alongside smartphones. “Taking images with your smartphone is great, it’s fun, and you can share those images instantly, but many people don’t know there’s more to it. So if you take time to take pictures or even print your photos you get to learn more about photography and then photography passion will grow.”
But to do this, the camera has to offer something distinctive, he suggests. “We have to think about where the differences are between smartphones and cameras. What is the difference between these two, and what makes them [want to] use a camera."
What can a dedicated camera offer?
Yuji Igarashi - Divisional Manager of Fujifilm's Professional Imaging Division
Watanabe puts forward some suggestions: “Smartphone connectivity is, of course, the most important thing. And the joy of operability of the camera is an important factor”
"The operability and image quality," Igarashi agrees. “and the quality of the product,” says Watanabe.
That ease of sharing is improving, suggests Igarashi: “Most people feel you have to transfer the image. Frame.io, camera-to-cloud has been a game-changer in that sense, but I think we can make it even more seamless in future.”
"When people think it’s one ecosystem, that’s when I think people who use smartphones will feel that a camera is part of their photography life.”
The role of AI
Chatting about smartphones led, perhaps inevitably, to discussions about computational photography and the role AI will play in the coming years.
“I think AI technology has been the trend, in both a good and bad sense," says Igarashi: "It’s helped us improve our subject detection, and make huge improvements in the autofocus, so it can help us enhance our gear a lot. But there are also concerns about what’s a real photographic image, about who created that image, et cetera. So it’s good and bad and I think as an industry we’re still trying to work that out.”
But he thinks the role AI will play in dedicated cameras will be different from those in smartphones.
“For smartphones, in most cases, it would support you automatically. It gives you probably the best-looking picture for a lot of people, but less personality," says Igarashi: "cameras like to assist you to be more creative. How can the AI support you to be more creative, to do what you imagined? So it won't be like smartphone AI.”
But, he says, "I think the biggest impact of AI technology probably has yet to come."
Room for improvement
One area AI might continue to provide benefits is autofocus, says Watanabe: “We think there is some room for improvement. For example, in group sports such as football or basketball it is not possible for the camera to precisely follow the athlete that the photographer wants to follow.”
Also, despite the arrival of AF tracking in the recent GFX 100 II and X100 VI, he also highlights video AF as an area still developing: "The demands of video autofocus are different than for stills photographers. For video the focus has to change smoothly or to change at the speed the creator wants. So there is much room for improvement," he says.
Balancing stills and video
Jun Watanabe - Product Development manager for Fujifilm's X Series
The idea of new video AF features making their X-series debut in the stills-focused X100 VI prompted us to ask about the company's thinking about stills and video, and how they're offered in different products.
"It depends on our product lineup," says Igarashi: "For example, the X100 VI, we’d never have a flip-out screen in this camera. We’re still enhancing the video capabilities but making sure it’s still a photography-centric camera. Then, for example, our hybrid range is totally different: we try to accommodate both as well as possible. And then we would probably have products that are more video-centric. So we try to look at the customers on a case-by-case basis: how and what they want to use it for. I think it’s impossible to have everything [in one camera]."
For this, he says, they listen to customer feedback. "We get feedback on video capability from the X-H side and more requests on the stills side from X-T. So we’re learning a lot and we’re thinking more about the cameras depending on the situation, which camera should be used, how? So it’s been very helpful for us, having different ranges, T and H. I don’t think they’re getting closer but maybe not much further apart. It’s about trying to figure out the right balance."
In discussing the challenges of improving video, Watanabe made a similar point: "In terms of design for a stills and video hybrid, we achieved a successful level. But for a more video-orientated camera we can create another kind of form-factor for easy-to-use, easy-to-handle for video recording. I think we can create another type of design."
The future of X-Pro
For all these apparent hints at a more video-centric model, Igarashi ended the interview by raising the subject of one of the company's most photo-focused models: the rangefinder style X-Pro series. "That's an important category for us. We started with the rangefinder-style X100, then we introduced the rangefinder-style interchangeable [model], the X-Pro," he reminds us. "That's a line we're determined to continue."
7Artisans' has introduced its first autofocus lens, a 50mm F1.8, for full-frame Sony E-mount bodies. The company has built up an extensive collection of manual focus lenses (for numerous mounts), and we imagine that this "nifty fifty" is the first of many AF lenses to come.
Spec-wise, the 50mm F1.8 has 11 elements, including aspherical, extra-low dispersion and high-refractive glass. The focus group is driven by a stepping motor (STM) for quick and quiet autofocus. 7Artisans claims that the lens supports all of Sony's AF features, including eye detection. The minimum focus distance is 0.5m (20") from the end of the lens.
The lens has an all-metal chassis, though there's no indication that it's weather-resistant. It's 104mm (4.1") long and weighs in at 421g (14.9oz)
Samsung is working on a fix for an issue affecting photographers who take pictures using its flagship smartphone.
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Since its launch in January, users have complained of a bug on the Samsung S24 Ultra that results in dark or underexposed photos under particular conditions. According to Samsung, which acknowledged the problem and an upcoming fix in a recent post on its community forum, the bug occurs if users lock the auto exposure at specific zoom magnifications (1.6~1.9x, 4.6~9.9x) in the camera app. Fortunately, it's not a hardware issue, and Samsung says it can be fixed through a software update.
Samsung has advised users to “update your phone to the latest software in the event of a software update pop-up." The company is yet to confirm when exactly users can expect the update.
The Samsung S24 Ultra has a list price of $1,299.99 and comes with three rear cameras that provide 3x and 5x optical reach.
Japan is one of my favorite places for photography, so when I traveled there last month for the annual CP+ camera expo, I thought about what camera to take. Since I'm working on finishing up our reviews of the Panasonic Lumix S5II and S5IIX twins, I decided it would be a perfect opportunity to get some extra shooting time on the S5IIX. As a bonus, it allowed me to test Panasonic's new 28-200 F4-7.1 Macro OIS, a lens so small it just begs to be used for travel.
If there's one theme that's consistent throughout this gallery, it's umbrellas. This was one of the rainiest trips I've taken in years, and except for a couple of days, I was hard-pressed to take a picture of anything without an umbrella in the frame. Although it wasn't specifically my mission, it was an excellent opportunity to test the S5IIX's weather sealing. On several occasions, the camera was exposed to constant rain for several hours, dripping wet the entire time. I'm happy to report that it never missed a beat. Kudos to Panasonic for that.
This gallery includes street photography from Tokyo and Yokohama, as well as photos of snow monkeys at Jigokudani Monkey Park near Nagano.
There are plenty of choices for instant cameras, with different types of film and features. We break down the top six cams for every user's needs.
Instant cameras have dominated camera sales for over a decade. Fujifilm, the 800-pound gorilla in the sector, raked in over $890 million in Instax sales revenue worldwide in 2023, accounting for more than half of the company's overall revenue.
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As DSLR and mirrorless camera sales have declined recently, instant cameras, particularly Instax cameras from Fujifilm, have flourished. Perhaps that is due to appealing to a broad tent of potential users, from nostalgia-chasing Baby Boomers to younger Gen Z and Alpha users seeking a more tactile, physical and social form of photography. They've become more than a camera; they're part of pop culture and it's not uncommon to see special edition instant cameras from the likes of Taylor Swift or BTS.
If you're new to instant cameras or in the market for your next one, we've looked at the landscape and have broken down the six best instant cameras you can buy today.
An instant start
It's best to start with the film stock when considering instant cameras. Fujifilm's Instax film is by far the most popular and widely available and has been adopted by cameras made by Leica, Lomography and the occasional startup. Instax film comes in three types (mini, square and wide) and they're not interchangeable, so deciding which format of Instax you're most interested in before picking out a camera is vital.
There is also Polaroid film, which is presently used only by Polaroid cameras. We liked the color film for its muted colors and staying true to the nostalgic Polaroid look (which we should note is not the same film as the Polaroid of the 70s-90s, but a modern stock made by the Dutch company formerly known as the Impossible Project).
But we also felt that side by side, Instax film had better color, contrast and overall was more pleasing to the eye. Another consideration for budget-conscious shutterbugs, Polaroid's instant film options tend to be more expensive than Instax, running roughly $2 a shot to Instax's roughly $1 per exposure.
A little less popular is the Zink format, which is less of a film stock and more of a printing paper. We've seen this format show up in offerings from Kodak and Canon. Zink prints are the most economical, costing about $0.50 per shot. Unlike Instax and Polaroid film, which expose images on a light-reactive surface, Zink is photo paper with embedded ink dyes. Dyes in the paper are pressure-released and mixed to print photos. These prints tend to produce a wider range of colors than its competitors but struggle with blacks, often lacking contrast, and there's concern over how long prints last, with some from a decade ago showing extensive fading.
Format name
Image size
Shots per pack
Average cost
Zink
5 x 7.6 mm (2 × 3")
50
∼$25 / 50 exposures
Picking a film stock will come down to taste. However, we recommend Instax Mini: photos are vibrant with great quality, it's a widely used format, which makes it unlikely it'll be hard to find, and it's affordable compared to Polaroid.
For casual and beginners seeking a way into instant photography and having fun with analog photography, the Mini 12 fits the bill. It has one-button operation, includes a tiny selfie mirror and most of all, it's affordable. Instax cameras aren't very complicated to begin with and the Mini 12 is as simple as can be. Everything is automatic, from flash control to exposure, and the emphasis is on picture-making; point it at something from 1-1.5m (4-5ft) away, click and out pops a photo. (As its name implies, it uses the mini format of Instax film which is easy to find.)
Pricing for older models like the Mini 11 isn't much lower than the Mini 12 and we don't recommend them. There are subtle improvements new to this model that might keep users from getting frustrated, such as parallax correction, which aligns the viewfinder with the lens when using Close-Up Mode so users no longer have to guess where the center of the frame is (and waste film).
One limiting factor to consider is the lack of flash control, which means that if you're too close to someone/something you will overexpose them/it. It's only worth mentioning as something to be aware of, most instant cameras don't let users control the flash until you get into more expensive cameras.
Best-looking entry-level instant camera: Fujifilm Instax mini 40
An Instax Mini 11 in a much much nicer suit, the Instax Mini 40 wraps itself in faux leather and silver trim for a retro rangefinder-eque design. The specs are identical to the Mini 11, so you won't gain the Mini 12's parallax correction to align the viewfinder with the lens in Close-Up Mode. Otherwise, you'll still have an easy-to-use, automatic camera that accepts Mini film. It's more 'grownup' than the candy-colored plastic design of the Mini 12, but the cool factor comes at a slightly higher cost.
If the Mini format feels too narrow, and it is if you're seeking large group shots or landscapes, there's the Instax Wide 300 ($120), also Fujifilm's only wide format camera.
Shooting Wide film (about twice the width of Mini format) has to be your priority before you consider this camera. The camera itself has limited exposure compensation control and two motor-driven focus positions; otherwise, it's fully automatic. There is an attachment for close-ups (down to 40cm). It's also pretty bulky due to the wide format film, but the larger size does gain a comfortable hand grip.
As an alternative, we also considered the Lomography Lomo'Instant Wide ($170), like the Wide 300 it's also a simple-to-use camera, but this model adds some manual controls, modes like multiple exposure mode, flash gels, an ultra wide-angle attachment lens and a remote trigger switch (but it's on the lens cap making it prone to accidental presses when you go to remove/replace the cap). There is a bit of a learning curve to using the camera, focusing is difficult and we found the plastic build to be lacking in ergonomics. We didn't think the added cost was worth recommending it over the solid and reliable Wide 300.
Built like a tank with anodized aluminum alloy, weighing nearly 900g (2lbs), with an EF-style lens mount, the NONS SL660 brings the SLR experience to instant photography. At $600, it's also only for the most passionate and dedicated photographers seeking a manual SLR-style instant camera that uses Instax Square film. There's also shutter control, bulb, a hot shoe for external flash and the camera supports multiple exposures.
Introducing interchangeable lenses with a TTL viewfinder makes using EF lenses or compatible adapters for other glass possible. A note, there are no electronic contacts on the EF-style mount, so you won't be able to adjust the aperture on genuine EF lenses and it'll default to their widest setting. Using EF adapters, older manual lenses with an aperture ring can be used.
It's pricey, but that price tag gets users solid build quality, a premium feel and new creative possibilities with instant photography.
If you're not ready to commit to a fully analog experience, a few instant cameras have combined digital capture with instant film printing. We like Fujifilm's Instax Mini Evo. It's about $120 more than the analog Mini 12 and you gain a digital camera and a collection of lens effects and film effects such as monochrome, vivid and sepia. The digital images are rather small at 2560 x 1920, about 4.9MP, so it won't be mind-blowing.
There is also a tradeoff in giving up the experience of seeing a photo develop and waiting to see if you got the shot that makes instant photography unique, so on a base level, it is a different experience.
It's a bit of having your cake and eating it too; you can capture digital images and then decide which ones you want to print out on instant film. This saves printing costs for only those choice images you genuinely want and makes it easier to transfer digital files to your computer or smartphone for saving and sharing.
Best instant camera if you don't want Instax: Polaroid I-2
Our reservations over its film being more expensive and not as punchy aside, the Polaroid I-2 is truly one of the best-built instant cameras on the market. It's rather pricey, $600, which is due to all the tech jammed inside it and the purpose it was built for: for advanced users who want to revisit Poloroid's i-Type, 600, and SX-70 film.
The camera has full manual controls, aperture and shutter priority modes, LiDAR (Light Detection And Ranging) autofocus and a sharp 38mm f/3.2 equiv. lens. You also get flash on/off control, an uncommon feature for instant cameras.
Polaroid spent four years developing the I-2, tapping retired Olympus engineers for AF and lens design assistance. Every detail feels intentional, from a viewfinder with displays for current shutter speed, aperture, meter reading, remaining shots, battery life and flash status to the simple film-loading mechanism.
We still prefer Instax's color, contrast and price point, but this is the camera to beat if you're drawn to Polaroid films.
There's been a fair amount of chatter, excitement and some cynicism around Fujifilm's announcement that it's making a limited run of X100VI etched with the company's original 1934 logo, but another company making rangefinder-style cameras has a more established history of doing the same.
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Leica, whose commitment to the rangefinder style is so strong that it makes actual rangefinder cameras, has regularly produced defined-number runs of its products.
The latest example is a production run of 200 copies of the M-Summilux 35mm F1.4 with an anodized black coating on its aluminum shell. The lens, whose original design dates back to the 60's, and that the company describes as 'the true king of bokeh,' was re-introduced in 2022. Part of the Leica Classic line, it usually comes in silver chrome with a stainless steel ring around the front.
The black version sees the distance scales on the lens reversed, compared with the standard version, with the metric markers further away from the camera. This change and the black anodized coating means it more closely matches the original version. It also says Leitz Wetzlar on the front, distinguishing it from the reissued version that simply says Leica.
Although unconfirmed by Leica, 200 is around the number of black copies of the original lens thought to have been made. The special edition will sell for $10,945, rather than the $3,895 of the standard silver chrome version.
New: Leica Summilux-M 35 f/1.4 now available as a limited special edition in black.
Teaneck, March 21, 2024. Leica M-Lenses’ legendary reputation precedes them. One of these outstanding lenses is the Leica Summilux-M 35 f/1.4. Still sought after today, it appeared in 1961 as the world’s fastest wide-angle lens at the time and experienced a renaissance with its new 2022 edition. Now, Leica Camera AG presents the classic lens in a strictly numbered, limited edition design variant.
Based on the first edition, the Summilux-M 35 f/1.4 now emerges in a black anodized finish, featuring the iconic silver stainless steel front ring, commonly referred to as the “Steel Rim”. The engraving on the front reads “LEITZ WETZLAR”. Another detail of the lens is the black painted brass focus lock button which acquires a unique patina with frequent use. To come as close as possible to the original, the engravings on the special edition’s focus ring have been adjusted. The arrangement of the feet and meter scale is also modelled on the original in terms of color and has been swapped in comparison to the silver series lens.
Regarding its imaging performance, the special edition corresponds to the series model. Photographing with open aperture creates pictures with an especially soft, almost magical bokeh which is hard to achieve even with digital image processing. Its extraordinary image look earned the Summilux-M 35 f/1.4 the title “True King of Bokeh”. When stopping down to f/2.8, it produces very sharp and particularly distortion-free pictures which also meet modern requirements for image quality.
The special packaging with its vintage look already hints at the origin of this edition. In addition to the lens, it also comprises of a lens container, a clip-on lens hood as well as an additional round lens hood with E46 thread for the use of filters.
The numbered, limited edition black anodized Leica Summilux-M 35 f/1.4 is available at select Leica Stores worldwide starting today. This lens is limited to 200 pieces worldwide and is priced at $10,495.
Tiffen has announced its new Smartphone 58mm Filter Mount that attaches filters to an iPhone 14 or 15 using Apple's MagSafe attachment system.
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Smartphones have become indispensable tools for many photographers, often supplementing or even replacing a main camera for certain activities. However, one downside to smartphones as cameras is that attaching accessories like filters is more complicated. As a result, those wanting to use something like a polarizing filter for photography or a neutral density filter for video have needed to use add-on accessories to do so.
The Tiffen Smartphone 58mm Filter Mount uses the MagSafe system to quickly attach a 58mm filter to the back of Apple's iPhone 14 and 15 models.
Image: Tiffen
Tiffen's Smartphone Filter Mount doesn't do away with the need for accessories to attach filters, but it does aim to make the process of using them faster and easier. The Tiffen adapter snaps on and off the back of the camera using MagSafe technology instead of relying on clamps or specialized phone cases like many existing products do.
The Tiffen 58mm Smartphone Mount is compatible with all iPhone 14 and 15 models, including the Pro and Pro Max. It retails for $29.99 or bundled with a 58mm circular polarizer for $39.99. It's available for order on Tiffen's website or to pre-order through other retail channels.
Creative Tool for Content Creation, Scouting, iPhone Filmmaking & Photography
For the first time, Tiffen brings award-winning professional motion picture and still lens filters to the iPhone®. With the new Tiffen Smartphone 58mm Filter Mount, any user can benefit from the same trusted tools professionals count on to produce outstanding images.
With seamless integration and user-friendly design, installation is immediate—no tools needed. Thanks to Apple's MagSafe® Technology, the new Tiffen Filter Mount magnetically secures to the back of an iPhone, ready to accept any Tiffen 58mm filter. The filter then simply threads on—to capture images with enhanced creativity, light control, depth, and detail.
By adding the 58mm Filter Mount, the family of Tiffen Emmy and Academy Award® winning filters, (sold separately), offers a multitude of creative choices to enhance the camera-phone in most everyone's pocket. To control light, there's Neutral Density (NDs), UV Protectors, and Polarizers. To smooth complexions and enhance the atmosphere, there's Glimmerglass®, Pro-Mist®, Smoque, and Fog diffusion. For in-camera-phone effects, users can select Star FX, Digital Diffusion FX, and a rainbow of individual Color filters including Sunrise, plus dozens more.
The Tiffen Smartphone 58mm Filter Mount is precision made of black anodized aluminum, built for light weight and long life. It is compatible with iPhone 14/15, 14/15 Pro, 14/15 Plus, and 14/15 Pro Max models. The Tiffen Smartphone 58mm Filter Mount is priced at $29.99 list. Kits are also available. Tiffen Filters are available separately from top dealers worldwide.
Backing up your smartphone images usually involves sending them to the cloud or manually syncing them to a computer. Seamless? Maybe, until you have to start paying monthly storage fees. And while you can plug a hard drive into many modern smartphones, it isn't quite user-friendly or universal across all smartphones.
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PhotoCube PD+, launched via Kickstarter and Indiegogo by Hong Kong electronics company Photofast, aims to make cloud-free physical backups of phone photos more straightforward.
Built for USB-C devices, the PhotoCube PD+ attaches directly to your smartphone or tablet and is compatible with both iOS and Android. It accepts microSD cards with up to 2TB of storage space, and you can interchange your cards if needed.
Supporting SD cards up to 2TB in size, the PhotoCube PD+ can be configured to automatically back up photos when plugged in, as well as additional data like contacts, without the need for additional cables.
An obvious downside is that the device won’t work with iPhones older than the iPhone 15 or any other device that doesn't have a USB-C port. Android users shouldn’t have an issue using the portable device, even with slightly older handsets.
While there's no monthly fee, PhotoCube PD+ obviously costs money upfront. Also, PhotoCube PD+ doesn’t come with built-in storage or a card included, so prepare to bring your own.
Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its 'Trust & Safety' page.
Star Flyer – the 2013 eclipse as seen from the deck of a four-masted sailing ship racing across the Atlantic. Totality was 42 seconds long and I was on a quickly moving (and rocking) surface.
Essentially, it's the ultimate photo challenge. On April 8th, photographers across the continental United States – and especially photographers within the band of totality stretching from Texas to Maine – will have no more than a few minutes to get the shot of a lifetime when the moon passes in front of the sun, and a large swath of North America will be treated to a total eclipse.
And if you ask anybody who knows anything about astronomy, it is a huge deal. Dr. Tyler Nordgren is such a man. He's a professor of physics and astronomy, an award-winning photographer and a self-described Night Sky Ambassador. Here's what he had to say about the solar eclipse of August 21, 2017:
"Half the people that are alive right now weren’t even alive the last time something like this was visible from the continental US. Secondly, there are 12 million people just living in the path of totality that are going to get the chance to see it, so it will be the most-viewed total solar eclipse probably in history. The most seen, most photographed, most shared, most tweeted – potentially the most people in total are going to be able to experience this in one form or another."
"See your first eclipse, photograph your second."
But unless you're a seasoned landscape photographer or astrophotographer, Dr. Nordgren thinks you might be better off not photographing it at all and just enjoying the view. He quotes Warren De la Rue, a pioneer of astrophotography, and the first person to photograph a total eclipse. "He wrote in his journal afterwards, that if he ever got the chance to see another one, he hoped to be able to see it without any equipment at all."
In short, "See your first eclipse, photograph your second." But if you're unconvinced, Dr. Nordgren does have some advice.
Hungary – My first eclipse photo that I took in 1999 superimposed on the stamp I bought there comemorating the eclipse by showing its path across the country.
Photo and caption by Tyler Nordgren
How to prepare to photograph the eclipse
Preparation is key. Time is of the essence. Of course, you'll want a tripod and a cable release to lock everything down and minimize shake.
"If you really must photograph this, you’re going to want to practice a whole bunch of techniques in the weeks leading up so it’s as second nature as absolutely possible during those precious seconds."
Don't forget to take off the filter during totality!
Protecting your eyesight and your gear is equally important. It's only safe to point your eyes or your camera sensor directly at the sun during totality. Just seconds before or after and you're risking serious damage. He suggests a pair of solar eclipse glasses and a filter for your lens. Per NASA, your glasses should meet the ISO 12312-2 international standard.
Be sure to use both during partial phases of the eclipse – you risk damaging your eyesight, not to mention your camera, with just a pair of glasses and an unfiltered lens. Crucially, don't forget to take off the filter during totality. You'll be extremely disappointed with the results if you don't.
For nitty gritty details, Lensrentals posted a useful article detailing some specific settings to dial in if you plan on using a longer lens.
What lens to use to photograph the eclipse
What kind of lens should you use? Well, not surprisingly, it all depends on what you're going for. If you want the sun as your main subject, you'll obviously want a longer lens. "To really capture big detail in the corona and the object itself, you'll want a lens with a focal length of around 500mm; between 400 and 600mm at least."
But don't forget that a total eclipse also presents a unique landscape photo opportunity. If you'd rather capture the eerie effect on the scene, a wider lens will produce excellent results too. It's all a matter of personal preference.
No matter what kind of shot you're going for, you can size things up ahead of time by photographing a full moon.
"Something to keep in mind is that during totality the sun turns black, and is surrounded by this ghostly corona, so the spectacle of the object itself is this black disk with this white glow around it. That black disk is the size of the full moon, so take whatever your camera equipment is, take whatever your lens is and go out and photograph the next full moon. See if whatever size dot that appears. If that’s interesting to you, then great – that’s the lens to use."
Should you go to the path of the totality?
In a word: yes.
If you're set on photographing the eclipse and have the safety and gear requirements nailed down, all that's left to do is get yourself into the path of totality for the big moment. Easy enough, right? Well, unless you're lucky enough to live there, or you started planning your eclipse vacation years ago, chances are only getting slimmer that you'll be able to find accommodations. Your best bet is to find what you can within a reasonable driving distance and set out as early as possible.
Ideally, you also want to aim for somewhere that's less likely to have cloud cover. Dr. Nordgren knows all too well what a cloudy eclipse view looks like.
"If you’re going to do the close-up photograph, you could be almost anywhere provided you’ve got clear skies. But I’ve also seen some really spectacular photos of totality through wispy clouds that give this dramatic view as well... just as long as you’re within that path of totality and the cloud cover is not so total that you’re utterly blacked out. And I’ve had that happen."
This is the partial phase just a minute or two before totality in the Faroe Islands. Those clouds totally socked us all in 30 seconds before totality so we saw nothing.
Photo and caption by Tyler Nordgren
If you're hoping to get a wider shot, then great news: this eclipse will cross much of the continental US. Provided you can get there, you can pretty much take your pick of landscapes. "What do you find compelling?"
Whether or not you can get to the path of totality, and whether or not you choose to photograph the event, you'll still be treated to an amazing array of photos and videos from photographers across the US. And unless you're dead set on photographing it, consider leaving the camera at home.
"If you haven’t seen a total solar eclipse, I encourage you, don’t waste your time photographing it."
"If you haven’t seen a total solar eclipse, I encourage you, don’t waste your time photographing it. Chances are, somebody else will get a better photo. But if you are that kind of expert photographer, practice so that you can set your camera up and let it do its thing with as little input as possible." In the very best case scenario, you'll get a couple of minutes.
"That is not a lot of time to see what I think is the most awe-inspiring, unnatural, natural experience in nature."
Each iteration of X100 retains its family look but there's been constant evolution throughout the series
Photo: Richard Butler
The word kaizen has increasingly come into the vocabulary of camera enthusiasts. It's often been used in conjunction with Fujifilm but is increasingly applied to any company that adds features during firmware. I think this focus on firmware misses the point and risks obscuring the real meaning of the word.
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Kaizen is the name of a Japanese manufacturing philosophy that essentially says that the production process always has room for improvement. So far as I can tell, it was first used in relation to cameras by a blogger who saw parallels with Fujifilm's continued work on the firmware of the original X100, even after it had been superseded.
Fujifilm's commitment to the X100 was admirable and arguably helped relieve other manufacturers' concerns that firmware updates would signal that their products had previously been somehow unfinished or imperfect.
Kaizen is not just about firmware
But while it's definitely a welcome trend across the industry, this focus on firmware doesn't really represent the full concept of kaizen.
Writing a history of the X100 series and having to address whether the X100V users should upgrade made me realize that it's not Fujifilm's firmware updates that exemplify the kaizen concept: it's the series as a whole.
The X100VI is better than the V in a number of ways: a higher resolution sensor and in-body image stabilization being the most obvious, but there are a host of little changes, too. Do these make it worth upgrading from the previous version? That's hard to say, because the X100V was already a very good camera, but if you don't own the V, then the newer version is definitely the one to go for.
The small details are a big deal
It's a small detail, but just swapping the positions of AF-S and AF-C make the camera a little easier to use. And these little changes have happened throughout the camera, across the series, some of them made in firmware but others requiring different hardware.
Photo: Richard Butler
Looking back, this has always been the case. It's best seen in the small details: the way the X100S switched the order of Single and Continuous AF on its focus selection slider, to make the more useful mode more accessible. Or in the way the means of selecting the AF point has been constantly refined and updated: button hold and cardinal point of the rear dial, button press and cardinal point, assigning the four-way buttons to AF positioning and, finally, a joystick and touchscreen. Each implementation better than the last.
Those incremental changes made with every refresh of the camera represent the kaizen concept every bit as much as firmware updates
Look at the smaller changes made on the X100VI, for instance. Some redesign was necessary to accommodate the IBIS unit, but beyond this, the hand grip was been reworked after much prototyping. It meant Fujifilm had to create entirely new tooling for the new model but also means the camera just fits more comfortably in the hand. Likewise the rear tilt screen: it would have been easier to use the existing cradle, but the new version that pulls out a little further from the viewfinder is just a little better for waist-level shooting.
Those little, incremental changes that have been made with every refresh of the camera, represent the kaizen concept every bit as much as firmware updates and the retrospective addition of a film simulation.
Of course I'm not suggesting Fujifilm is the only company to try to make improvements between models, but the continuity in the X100 series in particular makes the small incremental changes stand out.
Sometimes kaizen improves your next camera
From above, the changes are a little more apparent: the simplified top-plate of the V and VI, the addition of an ISO dial, which originally needed to be held in the up position as you were rotating it but now clicks up and down, the third-stop increments on the aperture ring...
Photo: Richard Butler
From a practical point of view, no company has the R&D resources to continue to support all its existing models, and many cameras are achieving a level of polish and refinement that means additional features would risk simply being semi-worthless clutter (don't get me started on multi-shot high res modes).
As an owner of an X100 series camera, I've definitely appreciated the feeling that Fujifilm wanted to keep supporting me, when firmware 2.0 was released. But that support can't last for all models, forever. So I appreciate that the kaizen philosophy means I will be able to buy a camera that's better than my current one could possibly be, when the time comes to upgrade.
Almost six years after the announcement of the Lumix DC-G9, Panasonic rolled out its successor, the Lumix DC-G9 II. This is the company's high-end model aimed at stills shooters, and it is the first-ever Lumix Micro Four Thirds camera to include phase detection autofocus. Despite its target demographic, the G9 II comes with a surprisingly long list of video features as well. A thorough redesign, the G9 II is based on the chassis of the full-frame Lumix S5 II and S5 IIX, giving it room for plentiful controls and ports.
Mar 25: Image quality, Autofocus, Video, Conclusion and additional Sample gallery published
What's new
The Lumix G9 II is a departure from the original G9 design in a few key ways.
Rather than a refresh of the original DSLR-like Lumix G9 concept, the G9 II goes in a more modern direction. Not only does it take technological advancements from the full-frame Lumix S lineup, it has the same external design as the S5 II announced earlier in the year. It's taller, more squared off, and has more controls than its predecessor. It isn't just a similar design – it's literally the same outer shell, but without fan vents and with a different lens mount and sensor inside.
Hybrid autofocus and DR Boost improvements
The G9 II is based around a sensor related to the one in the GH6, but that Panasonic says has been revised at both the hardware and software levels. The most obvious difference is that the version in the G9 II has phase-detection elements that make it the first Micro Four Thirds Lumix model to offer inherently depth-aware autofocus.
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The other change that will make a big difference is the way the dual output gain system works. Panasonic describes it as having two parallel readout paths that are subjected to differing levels of gain, which are then combined. This way, you get the highlight capture benefits of low gain and the cleaner shadow performance of high gain paths, combined as a 16-bit Raw file to ensure room to encode this widened dynamic range.
The sensor in the G9 II is derived from the one in the GH6 but with some key improvements, both in hardware and software.
For the G9 II, Panasonic appears to have reduced the lowest step offered by the high-gain path. Whereas on the GH6, the high gain (shadow) path was only used at ISO settings three stops above base (ie, ISO 800 in standard color modes, ISO 2000 in V-Log mode), on the G9 II, Panasonic says it's available from base ISO upwards, suggesting the high gain step can be dropped further, to make it available at these lower ISOs.
However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log, but for the G9 II, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode seems to suggest a high-gain path applying one stop more gain than the low path in its base state (rather than the 3-stop difference required for DR Boost on the GH6). This doesn't explain how Panasonic can offer a mode that includes a high-gain component while maintaining the same ISO 100 rating for standard gamma, and it's interesing to note that when you exceed 60fps (where the Dual Output mode can't operate) that the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.
More video than you'd expect
Unlike the G9, which gained a lot of video features after launch, the G9 II throws in everything but the kitchen sink right from Day 1. Panasonic swears this is a camera for still shooters, but the number of video resolutions and features accounted for – including V-Log, open gate 5.8K, and ProRes support – sure make it feel almost as hybrid as the GH6 or S5 IIX. It retains the full-size HDMI port of the S5 II series and can even record directly to a USB-C SSD.
Although not marketed as a hybrid model, the G9 II has a ton of features that make it interesting for hybrid shooters and those curious about video.
With its improved autofocus, why would anyone buy a GH6 over the G9 II? Rest assured that CFexpress card support and the built-in fan let the GH6 retain its hybrid crown for now. Panasonic says that G9 II shooters should think of this camera more as a B-cam than a primary run-and-gun setup and that the lack of a fan might become an issue when shooting high-res video in hot environments.
Improved IBIS
The smaller Four Thirds-type sensor is cushioned from jostles by an aggressive 8-stop CIPA-rated in-body image stabilization system. Panasonic says that the SyncIS system, where the sensor and lens stabilization systems work together, is only rated for 7.5 stops and that they're reaching the physical limits of the lens-based optical stabilization systems at this point. There is a benefit though: the synchronization between the body and lens' IS systems allows the camera to maintain 7.5 stops of correction at longer focal lengths where the in-body system alone could not.
High-resolution mode
The improved IBIS also enables the G9 II's 100MP handheld high-res mode. Although the higher resolution of this mode means it's a little slower to stitch its photos together, the more sophisticated algorithm Panasonic uses does a good job of reducing subject motion.
There are two motion blur processing modes; mode 1 doesn't attempt it at all, and mode 2 does.
The scene above is bustling, and you can see how well the G9 handled motion in this 100 Megapixel photo. A few people have extra feet, but otherwise, motion is handled very well.
While we're on the subject of high resolution, here's a real-world example of tripod mode. You'll find an additional example in our studio scene further down the page.
Subject detection improvements
Panasonic's older depth-from-defocus AF system lagged behind the competition somewhat, but the G9 II looks to address that. With the addition of distance-aware phase-detection, the G9 II also brings some new subject detection and tracking algorithms.
There are a number of subject types in the AF menu, including one for animals (mainly pets, but it also can track birds), one for cars (targeting motorsports photography), and another for motorcycles (which they say may work for bicycles, depending on the angle of the subject). Like the G9 II's improved human detection, the animal mode has eye detection as an additional option.
Cropped to taste. Shot in full area AF mode with animal tracking and continuous focus. ISO 125 | 1/400 sec | F4 | Leica DG 50-200mm @ 384mm equiv.
Photo: Jeff Keller
Live Composite
Once a feature exclusive to Olympus cameras, Live Composite made its way to Panasonic's mirrorless lineup in 2020. This is essentially a multi-exposure mode where objects that do not change brightness are left alone during each shot. All you need to do is set the exposure time you want and the delay before shooting starts, then press the shutter release. The camera will silently take photos until you press the button again.
Converted from Raw using ACR. Exposure slightly brightened. Shot in Live Composite mode. ISO 400 | 8 sec per exposure | F3.5 | Leica DG 8-18mm F2.8-4 @ 20mm equiv.
Photo: Jeff Keller
How the Panasonic Lumix DC-G9 II compares to its peers
The new Panasonic Lumix G9 II comes in at a high price, befitting a flagship model (at least, as Panasonic's G-series flagship for stills). Unfortunately, there's a lot of competition in the ∼$2K high-performance camera category. While the newcomer significantly out-specs its predecessor, its stills rival in the Micro Four Thirds world: the OM System OM-1 Mark II, is lighter, has better battery life, and a higher-res EVF. It's also quite a bit more expensive.
That's not to mention the slew of fantastic APS-C cameras out there, and we've included the Fujifilm X-T5 and Sony a6700 as two of the best, both of which are cheaper than the Lumix.
Panasonic Lumix G9 II
Panasonic Lumix G9
OM System OM-1 II
Sony a6700
Fujifilm X-T5
MSRP
$1899
$1699
$2399
$1399
$1699
Pixel count
25.2MP
20.2MP
20.4MP
26MP
40MP
Sensor size
Four Thirds (225mm²)
Four Thirds (225mm²)
Four Thirds (224mm²)
APS-C (361mm²)
APS-C (369mm²)
Image stabilization
In-body + in-lens
In-body + in-lens
In-body + in-lens
In-body or in-lens
In-body or in-lens
Max burst rate
10 fps (mech shutter) 60 fps (elec shutter)
9 fps (mech shutter) 20 fps (elec shutter)
10 fps (mech shutter) 50 fps (elec shutter)
11 fps (mech shutter) 11 fps (elec shutter)
15 fps (mech shutter) 23 fps (elec shutter)
Viewfinder res / mag
3.68M dots / 0.8x
3.68M dots / 0.83x
5.76M dots / 0.83x
2.36M dots / 0.70x
3.69M dots / 0.8x
Rear screen
3.0", 1.84M dot articulating touchscreen
3.0" 1.04M dot articulating touchscreen
3.0", 1.62M dot articulating touchscreen
3.0", 1.04M dot articulating touchscreen
3.0", 1.84M dot articulating touchscreen
Video capabilities
Up to 5.8K/30p open-gate 4:2:0 10-bit
Up to C4K/30p 4:2:2 10-bit
Up to DCI 4K/60p 10-bit
Up to 4K/60p oversampled
Up to 6.2K/30p, 4K/60p sub-sampled
Log video
V-Log, HLG
$100 V-Log firmware
OM-Log400, HLG
S-Log3, HLG
F-Log, F-Log 2, HLG
Mic/ Headphone sockets
Yes / Yes
Yes / Yes
Yes / Yes
Yes / Yes
Yes / Yes
Battery life (LCD)
390
400
520
570
580
Card slot
2x UHS II SD
2x UHS II SD
2x UHS II SD
1x UHS II SD
2x UHS II SD
Weight (loaded)
658g (23.21oz)
658g (23.21oz)
599g (21.13oz)
493g (17.4oz)
557g (19.6oz)
On the whole, the G9 II is fairly competitive in the Micro Four Thirds system. But looking at the APS-C options out there (like the Sony A6700 and Fujifilm X-T5), the G9 II doesn't appear to bring anything spectacular to the table, even if it is a noteworthy move forward for Panasonic's G-series. That said, it's alone here in being able to output video to an external SSD, if video is your thing.
Body and handling
Looking at it from the back, the Lumix G9 II offers up a new 8-way joystick and an improved autofocus selector.
While the original G9 was far from compact, it certainly had a different design philosophy than its successor. Seemingly aimed at DSLR photographers, it was a wide camera with a big backlit top plate LCD. That camera also only had a single exposure mode dial (on the side opposite the grip), front and rear command dials, and a power switch that surrounded the shutter button.
The new G9 II, by comparison, feels more modern. Since it's basically the same design as the Lumix DC-S5 II, this camera throws a ton of controls at the user. Make no mistake: this is a clean-sheet redesign, and if you were a big fan of the original, you might be disappointed that nothing has remained the same. That said, for everything you lose (like the top LCD, front Fn lever, and flash sync port), you gain a whole lot more (more ergonomic twin dials, a more prominent AF selector switch, a dedicated dial for continuous shooting, and an upgraded 8-way joystick).
The Lumix G9 II, unlike the very similar S5 II, lacks fan vents at the bottom of the EVF hump.
And although the G9 II is taller and the grip a bit shallower, it still manages to feel plenty comfortable to hold, despite some of the rear controls being a bit clustered together. Overall, though, even though the weight is the same as the old model, this Micro Four Thirds body seems quite large for what it is.
Something that some found irritating on the original G9 was the overly sensitive shutter release button. Panasonic has addressed that on the G9 II with a firmer, less trigger-happy design.
What hasn't improved a whole lot is the EVF, which is a 3680k dot (1280 x 960px) panel with a slight decrease in magnification at 0.8x. In use, it's totally passable, and the magnification definitely makes up for the lack of sheer resolution. The rear articulating LCD, on the other hand, is a much higher resolution now at 1840k dots, making for a detailed, bright shooting experience even in direct sunlight.
The addition of a USB-C port and support for USB PD charging is a big step up from the original G9's USB 3.0 Micro B socket.
Like its cousin, the Lumix S5 II, the G9 II packs the ports we'd expect for a flagship camera in 2023. You get a full-size HDMI, fast USB-C PD charging (with 10Gbps transfer speeds and the ability to record stills and video to an external SSD), as well as mic and headphone sockets, the former of which is positioned out of the way of the screen hinge.
On the opposite side are two UHS-II speed SD card slots, which can be programmed to work in sequence or in parallel, backing up files on both for redundancy or filling the next card after the first one's full. One benefit that's worth mentioning is that since this is physically just about identical to the S5 II, many accessories will be compatible between the two models, including first-party accessories like the new DMW-BG1 battery grip and third-party add-ons like cages for video rigging.
Battery
The 2200mAh battery lets the G9 II shoot around 390 shots on a single charge.
Inside the G9 II is the same DMW-BLK22 16Wh battery as we've seen in other big Lumix models. On the G9 II, however, you're still only getting around 390 shots on a charge according to the CIPA method with either the LCD or EVF. That's lower than other cameras in its class and certainly in its price range, trailing the OM System OM-1 Mark II by 130 shots and the Fujifilm X-T5 by 190.
This is despite Panasonic putting the camera in a deep sleep mode when it's switched off, from which the camera takes 2-3 second to wake. Once awake, subsequent attempts to turn on the camera are quicker, but it's worth being aware that you can't just grab it from your bag and shoot.
Image quality
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 to see the effect of different lighting conditions.
The G9 II captures a decent amount of detail in its Raw files at base ISO, though the OM System OM-1 and Sony a6700 grab a smidge more. Moiré is well-controlled and competitive with most of its peers, save for the Sony a6700. At mid-ISOs the G9 II looks a lot like its peers, but from ISO 6400 upwards it falls increasingly behind.
Looking at JPEGs, the G9 II appears to use a bit more noise reduction than the other cameras in this comparison, which you can see in these brushes. Color in JPEGs are vibrant without being oversaturated. There's very little noise at ISO 1600 thanks to Panasonic's noise reduction system. At ISO 6400, the G9 II is more-or-less the same as its peers.
In situations where you can use the tripod-based pixel shift mode, the G9 II is able to offer resolution capture far beyond its peers. Our test shots are somewhat hampered by what we suspect is vibration in our testing studio, leaveing cross-hatched artifacts in places. This won't always be the case, though it does give an insight into how steady your tripod and subject need to be to capture the very highest resolution.
Real-world photo quality makes one forget that the G9 II uses a smaller sensor than most of its peers. Whether it's engraving in 19th-century buildings or the plumage on a short-ear owl, you'll see plenty of detail in its JPEGs. As usual, shooting Raw and running it through Adobe Camera Raw or DxO PureRAW will give you the ability to fine-tune sharpening. You can also create a custom Photo Style was stronger sharpening.
Out-of-camera JPEG
Shadows/highlights adjusted in ACR
The G9 II's sensor allows you to boost shadows with a minimal increase in noise, as shown above, and in a few photos in the sample gallery.
Our DR tests bear this out, and highlight the improvement compared with the GH6. However Panasonic has been able to implement dual parallel gain at ISO 100, it works, with much cleaner shadows than its (even) more video-focused sibling. This means both the Raw files and the camera as a whole, are more flexible.
Operating and adjusting autofocus isn't much different than on the 7-year-old DC-G9 (or any Panasonic camera released since then). A switch lets you quickly switch between single, continuous and manual focus. Pressing the button in the center of the switch opens up the AF area menu, which offers the following options:
Tracking
Full area
Zone (Horizontal/Vertical)
Zone
1-area+
1-area
Pinpoint
With the exception of pinpoint (which is well-suited for macro photography), all of the AF options let you turn subject detection on or off.
Adjusting the focus point can be done in a few ways. You can use the joystick, tap on the screen, or by using "Touchpad AF." The latter is available when shooting through the viewfinder; to adjust the focus point, you move your finger on the LCD to adjust the focus point. There are a number of options for what area of the display is used for AF point movement. To switch between detected subjects, you can tap on the screen or use the joystick.
Cropped to taste. Shot in full area mode with animal tracking and continuous AF. Leica DG 50-200 @ 400mm equiv. | ISO 100 | 1/640 sec | F4
Photo: Jeff Keller
Panasonic offers four options for subject detection: humans, animals, cars and motorcycles. For the first two options, you can select what you want the camera to lock onto: eye/face/body for humans and eye/body for animals.
The G9 II's animal mode can detect people, birds, canines (domestic and wild) and felines (big and small). We tested it with all of them, and the camera detected them without issue. It was impressive when tracking owls and harriers in the Skagit Flats conservation area in the full area mode, even when they were flying away.
Customizing AF behavior
One of the four menus for customizing how the camera reacts to moving subjects in AF-C
There are four sets of customizable parameters for continuous autofocus. Here, you can adjust AF sensitivity, AF Area switching sensitivity, and moving subject prediction. Set 1 is for general use, while the other three are for more specific situations. We found that choosing the most fitting option was the most effective.
For our test of continuous autofocus and its ability to judge distanct, we used Set 2, which is defined as "[when] the subject moves at a constant speed in one direction." Face detection was disabled.
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The G9 II's AF system did a nice job in this example. It took a few shots to lock on and then kept the cyclist in focus for the rest of the run, correctly anticipating subject distance and driving the lens accordingly.
Then we tested the camera's ability to track a subject moving around the scene and approaching the camera at a less predictable speed. Here we switched to set 4 ("for situations where the speed of the subject changes significantly"). We then performed the test both with and without face detection.
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As we often see with cameras in this test, the G9 II struggled to keep the cyclist in focus during the turns, where the rate of approach suddenly changes. This was the case both with and without face detection engaged.
When we used face detection, when it started to lose focus, the camera was briefly tricked by the statues of firefighters in the background. Thankfully the G9 II quickly figured it out and locked back onto the correct subject.The G9 II can shoot at 60 fps with continuous AF (75 fps is only for single AF) and performed about the same as at slower speeds, complete with the brief distraction of the statues. These tests don't represent all circumstances, of course, but suggest the G9 II's AF, even when tuned to match the expected subject movement, is not as dependable as the best of its peers.
Video
For what Panasonic bills primarily as a stills camera, the G9 II has a surprisingly complete set of video features. And, as it often does, Panasonic has added more video features to the G9 II since it was announced via a firmware update.
The G9 II can capture "open gate" 5.8K video using the entire Four Thirds sensor using either HEVC. This gives 5760 x 4320 pixel 10-bit 4:2:0 footage at either 30 or 24 frames per second, giving flexibility to crop-in in post, or to take vertical and landscape crops from the same footage. At 5.7K the aspect ratio ships from 4:3 to 17:9 and the maximum frame rate jumps to 60p. At lower resolutions you can shoot 4:2:2 footage, and high-speed 120p capture also becomes available.
The list of video recording options is overwhelming, though you can narrow it down via filters and save your favorites to a custom menu.
If you're using Apple ProRes you get 4:2:2, 17:9 video up to 30p, or 16:9 Cinema 4K at 60p. If it's Raw video output you're after, the G9 II can send it over HDMI to select Atomos and Blackmagic external recorders.
The G9 II supports V-Log capture or the moderately flat Cinelike D2 photo styles if you intend to color grade during the editing process. It also supports HLG capture in most of its modes for direct use on HDR TVs.
The bit rates of the highest quality settings are so high (approaching 2Gbps in some of the ProRes 422 modes) that an SD card just can't keep up, so you'll have to use an SSD connected via USB-C.
Resolution
Frame rates
Aspect ratio
Crop
Bit depth/ chroma
Codec
Media type
5.8K (5760 x 4320)
29.97
25
24
23.98
4:3 open gate
Full area
10-bit 4:2:0
H.265
SD / SSD
5.7K (5728 x 3024)
59.94
50
48
47.95
29.97
25
24
23.98
1.89:1
Full width
10-bit 4:2:0
H.265
SD / SSD
10-bit 4:2:2
ProRes
SSD
4.4K (4096 x 2160)
59.94
50
48
47.95
1.89:1
1.32x (1:1)
10-bit 4:2:0
H.265
SD / SSD
DCI 4K (4096 x 2160)
119.88
100
59.94
50
48
47.95
29.97
25
24
23.98
1.89:1
Full width
1.41x (1:1)
10-bit 4:2:0
H.265
SD / SSD
59.94
50
48
47.95
29.97
25
24
23.98
10-bit 4:2:2
H.264
ProRes
SSD
UHD 4K (3840 x 2160)
119.88
100
59.94
50
48
47.95
29.97
25
24
23.98
16:9
Full width
1.50x (1:1)
10-bit 4:2:0
H.265
SD / SSD
59.94
50
48
47.95
29.97
25
24
23.98
10-bit 4:2:2
H.264
ProRes
SSD
When 5.8K open-gate or UHD 4K is being captured, UHD 4K 4:2:2 is output over HDMI When 5.7K or DCI 4K is being captured, DCI 4K 4:2:2 is output. 48p and 47.95p capture gives 24p or 23.98p HDMI out.
Scrolling through that list is overwhelming, but you can use Rec Quality (My List) feature. When you've found the resolution, frame rate, and bite rates that you lie, just press the Q button to get it to My List. You can then assign a button to access the list you've created, ensuring you only use one of your pre-selected modes.
Speaking of the Q button, there are separate Q Menus for both stills and video. By default, some settings are shared between still and video. Those include exposure, white balance, Photo Style, and metering and AF modes. You can break the link via the CreativeVideo Combined Set. option, found in the gear > image quality 2 section of the menu, to control which parameters do and don't carry over.
Image stabilization
There are two "enhanced IS" electronic image stabilization modes that work on top of the camera's sensor-shift IS system. This takes a small-to-medium crop of the frame and uses the surrounding area to compensate for camera movement. "Standard" enhanced IS adds a small 1.1x crop, while "High" adds a more substantial crop in exchange for its strong shake reduction.
Also worth being aware of is the "Boosts IS" function. This tells the camera that you're try to keep your shot entirely still, and will fight against any movement you then make, rather than trying to anticipate which of your movements are intentional. We found it highly effective at maintaining an almost tripod-like stability.
Some other useful capture tools include waveforms and vectorscopes, shutter angle, V-Log/HLG view assist, anamorphic de-squeeze, preset distances for automatic rack focusing, and numerous audio controls.
At 4K (UHD), the G9 II looks nearly the same as the Sony a6700, which samples video from a 6K area of the frame. The a6700 is just a bit sharper, though you're unlikely to notice in the real world. The same is true at both DCI 4K and 4K/120p settings. The results are similar looking at the high res 5.7K setting versus Panasonic's GH6, with the smallest of difference in sharpness.
Sample video
Conclusion
By Jeff Keller
What we like
What we don't
Excellent image quality and dynamic range
Solid, weather-sealed body
Open gate and 5.7K video
Top-notch image stabilization
Responsive AF with impressive subject recognition
Super-fast burst shooting
Plethora of video capture tools and output options
Impressive handheld high res mode
Dual SD card slots
Full-size HDMI port
Battery life well beneath its peers
Very slow initial start
Higher resolution EVF would've been nice
Large number of buttons and menu options can be overwhelming at first
Top LCD info panel from G9 is gone
External battery charger not included
The Panasonic Lumix G9 II isn't the camera one would've expected Panasonic to release based on its predecessor. The original G9 was a very good stills-focused camera with some video features thrown in for good measure. The G9 II builds on those features, puts them in the body of the full-frame S5, and adds video tools that get it pretty close to the GH6.
Converted from Raw using ACR. White balance adjusted. ISO 3200 | 1/60 sec | F3.8 | Leica DG 12-60mm F2.8-4 @ 68mm equiv.
Photo: Jeff Keller
The G9 was already a fairly large camera, especially for Micro Four Thirds, and the same is true with its successor. As one would expect, the body is weather-sealed, though Panasonic doesn't provide an IP rating. Our G9 II did have a close encounter with a muddy photographer and kept on going after some cleanup.
If you've just picked up the G9 II, you might find the sheer number of dials and buttons to be imposing. The menu system is overloaded with options, so putting your favorites into the "My Menu" is a smart idea.
Another thing to be aware of is that the G9 II's battery life is below that of its peers. If you use Bluetooth to geotag or auto-transfer your photos, it'll drain even faster. Carrying around a spare battery or a power brick (with USB PD support) is a smart idea if you're planning on a full day of shooting.
Cropped to taste. ISO 100 | 1/320 sec | F4 | Leica DG 50-200mm F2.8-4 @ 400mm equiv.
Photo: Jeff Keller
The G9 II's autofocus is generally pretty good and a significant step up from the G9, or any Panasonic camera that uses its Depth-from-Defocus system, for that matter. When attempting some bird photography, I was surprised by how reliably it detected them, locking onto and tracking them even when they were flying away from me. In that situation and some others we tested, the AF system may lose its subject, but it usually got it back.
The G9 II's 25 Megapixel sensor has further closed the gap between Four Thirds and APS-C. Noise levels are somewhat higher than on the likes of the Sony a6700 and Fujifilm X-T5 and trail a little behind the OM-1. While it was difficult to push the shadows on the old G9 without a noticeable increase in noise, you can get away with it on the G9 II.
When the G9 II was released, Panasonic called it a "launching point for video." The fact is that the G9 II is very close to Panasonic's "official" Micro Four Thirds video camera, the GH6. The G9 II can do almost everything the GH6 can, bar the longer recording times and 5.7K/60p capture that the GH6's fan-assisted design delivers.
One video feature that really impressed me was Boost IS, which is designed for stationary shooting. It does that amazingly well, even eliminating the slight tremor in my hands. For more action-oriented footage, the more traditional electronic stabilization modes performed well, with a small-to-moderate crop depending on the intensity.
In conclusion, as someone who has shot with the original G9 for years, Panasonic's G9 II is a significant upgrade in so many ways, from sensor to subject recognition to burst speeds. And it's nice being able to carry a camera and lenses in a range of focal lengths in a relatively small bag. It's not perfect: battery life is not great, the menus can be overwhelming, and it can be frustratingly slow to start up at times. This and AF tracking that's only good, rather than great, are the only things that stop it gaining our Gold award. Overall the G9 II has proven to be a reliable stills camera with strong image quality and some useful computational modes, and can get you well on your way to being a videographer.
Scoring
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Panasonic Lumix DC-G9 II
Category: Mid Range Interchangeable Lens Camera / DSLR
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Optics
Performance
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The DC-G9 II offers image quality and autofocus improvements over the GH6 yet offers much of that camera's video spec and its amazing stabilization. We were disappointed with battery life but other than that it's a worthy Micro Four Thirds stills flagship.
Good for
Wildlife and landscape photographers who want a portable camera system. Amateur videographers who don't need a GH6
Not so good for
Sports photographers. Those who want to shoot for a day on one or two batteries.
87%
Overall score
Compared to its peers
The OM System OM-1 Mark II is an excellent camera conceptually very similar to the G9 II. While both cameras have weather-sealed bodies, the OM-1 II is rated to the IP53 standard and we'd have no qualms about using it in the rain. The larger and higher-res EVF on the OM-1 II is nice, and its battery life is significantly better. The G9 II has more to offer serious videographers in terms of support tools, resolution, frame rates and codecs. And while the OM-1 can recognize more subjects, we think the G9 II's AF tracking performance has a slight edge. Its price is also $500 below that of the Olympus, money that could be spent on lenses.
The Sony a6700's rangefinder-style design is 180° from the G9 II. It's smaller, with fewer, more cramped controls and an underwhelming EVF. Unlike the G9 II it has a single memory card slot and no AF joystick. It has many of the still and video specs of the Panasonic though it's not to the extent of capturing uncropped 4K/120p or open gate footage. That said, the a6700's autofocus tracking performance is probably the best on the market. Sony also has the magic touch when it comes to battery life, which is twice that of the G9 II.
Like the G9 II, the Fujifilm X-T5 appears to be stills-orientated, but with high res video capabilities. The truth is very different, with rolling shutter and significant cropping holding back the Fujifilm. The X-T5's control logic is much more traditional than the G9 II's, which some people will love, and it's a similar story with the two-axis LCD. The X-T5 also has a high-res mode but it requires more shots, has no motion correction and needs to be combined off-camera. The AF systems are similar with good subject recognition sometimes held back by failure to predict distance correctly, leading to significantly missed shots.
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.
When Fujifilm announced its new X100VI rangefinder-style camera at a press event in Japan last month, it teased a special version of the camera: the X100VI Limited Edition. Following an announcement on its Instagram channel today, we now know that sales of the Limited Edition model in the US will be limited to just 300 cameras.
Fujifilm UK has revised its plan for distributing its 110 units and is now asking prospective buyers to register for the Fujifilm X mailing list. A link to join a ballot will be sent out on March 25th, making it easier for photographers outside London to apply.
According to Fujifilm, 100 cameras will be sold daily in the US from Midday Eastern Time March 21st to March 23rd on a first-come, first-served basis, and you'll need to buy them directly from Fujifilm's online store, so if you want one, you'll need to move quickly (and maybe have a bit of luck to boot).
Here's a rundown of where to order the X100VI Limited Edition in different countries:
The X100VI Limited Edition will have a production run of just 1,934 cameras worldwide, a nod to the company's founding in 1934. Limited Edition cameras are available in silver and have Fujifilm's original logo engraved on the top plate and matching lens cap. Each camera will be individually numbered from 0001 to 1934, with numbers engraved on the camera's hot shoe. The camera will also include a titanium shutter button, a soft-release shutter button accessory, a special strap, and Fujifilm history cards.
At the camera's launch event, Fujifilm indicated that the Limited Edition would have an MSRP of $2,000, a $400 premium over the standard model's list price of $1,600. However, considering the cult following recent models of the X100 series have developed, we'll likely see prices go higher on the resale market. Although one hopeful eBay seller famously listed a Limited Edition model at an eye-watering $18,000, a search of sold items on eBay shows that at least a couple of Limited Edition cameras have sold for prices over $4,000.
Even the standard edition X100VI can be hard to come by right now, but unlike the Limited Edition, it's available to order today.
Sigma has announced the 50mm F1.2 DG DN Art, its second F1.2 lens for the E and L full-frame mirrorless camera mounts.
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The company says the lens is designed give full detail levels even at maximum aperture. It uses 17 elements, four or which are aspherics, in 12 groups and has thirteen rounded aperture blades. It has an internal focus design with an 'HLA' high-thrust linear actuator to drive it.
The 50mm F1.2 will focus as close as 40cm (15.8"), giving up to a 1:6.2 reproduction ratio.
It weighs 745g (26.3oz) which Sigma says makes it the lightest lens of its type. Its 109mm (4.3") length makes it less than 1mm longer than the smallest of the major makers' 50mm F1.2 lenses.
Sigma says the lens will be available from April 18th at an MSRP of $1,399.
Sigma 50mm F1.2 DG DN Art 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.
Press Release:
SIGMA 50mm F1.2 DG DN
Unveiling another SIGMA Art line F1.2 lens. Elevating photographic mastery beyond conventional limits.
Highest descriptive power to take advantage of F1.2 brightness
Lightest weight lens body in its class, suitable for a wide range of applications
A wealth of functions for professional use and excellent build quality
The lightest in its class* ― Bright F1.2 maximum aperture and the highest level of descriptive power from SIGMA’s Art line
SIGMA's Art line has been offering new possibilities and surprise for expression, and now the SIGMA 50mm F1.2 DG DN | Art is here to break the standards. SIGMA's focus with this lens is on the descriptive power that is perfectly usable from the widest aperture, and on portability that allows the high performance to be demonstrated in any field. In terms of image rendition, SIGMA achieved high resolving power from the maximum aperture throughout the entire focus range, while also enriching the beauty of the large bokeh effect at F1.2. In addition, the lens construction and mechanical design have been stripped down to the bare essentials, resulting in a significantly compact and lightweight body. The lens is also equipped with a full range of functions suitable for professional use, including high-precision AF using the latest HLA (High-response Linear Actuator) that reduces volume while maintaining the same thrust. We hope users will enjoy the superb Art F1.2, which will transform everything they capture and even their photographic experience into something extra special.
[Key Features]
1. Highest descriptive power to take advantage of F1.2 brightness
The SIGMA 50mm F1.2 DG DN | Art has been designed with an emphasis on high resolution from the maximum aperture to the full focus range and large, beautiful bokeh expression. The contrast between the sharpness of the focus surface and the melting bokeh effect creates a three-dimensional effect thanks to its F1.2 aperture. In addition, the 13-blade diaphragm allows for beautiful bokeh expressions. Focus breathing is also well-suppressed that the F1.2 rendering can be fully utilized in video recording.
Brightness of F1.2 maximum aperture and high resolution from minimum to infinity focus The latest optical design achieves high resolving power with each aberration thoroughly suppressed from the maximum aperture. The lens is capable of rendering details without color bleeding in any situation. In addition, the incorporated floating focus is advantageous in improving short-range performance, ensuring a stable, high-level image quality throughout the entire range from the minimum focusing distance to infinity.
Rich and beautiful bokeh without color bleeding By correcting spherical aberration, sagittal coma flare, axial chromatic aberration, and other aberrations, the lens delivers natural bokeh images that blur smoothly and without color bleeding from the focal plane. Double-line bokeh is also suppressed, allowing users to take advantage of the mellow bokeh effect in their expression.
Rounded diaphragm with 13 blades The lens incorporates SIGMA's first 13-blade diaphragm, which maintains a circular shape even when stopped down from the maximum aperture. The surface accuracy of the aspherical lens has been enhanced to the utmost to enable smooth and beautiful round bokeh expressions.
Designed to minimize focus breathing Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.
Designed to minimize flare and ghosting Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.
2. Lightest weight lens body in its class*, suitable for a wide range of applications
By uncompromisingly pursuing high optical performance and portability, which are inherently contradictory, the highest level of performance has been condensed into the lightest lens body in its class. The SIGMA 50mm F1.2 DG DN | Art can be used not only in limited situations and applications, but in all kinds of shooting environments.
Dual HLA incorporating a new system A new system was developed that significantly reduces the volume while maintaining the same thrust of the HLA, which is characterized by its high driving accuracy and quietness, and is featured in each of the two focus groups. This technological innovation has realized both high-speed autofocus and a compact lens body.
Lens construction and mechanical design stripped down to the absolute minimum Each piece of glass is made as thin as possible while employing glasses with a high refractive index and four aspherical lenses. The high level of production technology at SIGMA’s only manufacturing base, the Aizu factory, provides the exacting precision necessary for processing these thin glass elements and making this mass production possible. In addition, the floating focus ensures high performance while shortening the overall length, resulting in a compact lens. In the mechanical design phase, emphasis was placed on weight reduction. Through the systematic elimination of individual components, SIGMA attained the distinction of producing the lightest lens in its class, weighing a mere 745g / 26.3oz.*2
3. A wealth of functions for professional use and excellent build quality
In addition to various functions that support photography, such as the AFL button*3 and an aperture ring, the construction of the lens body itself and its high-quality touch and feel are also pursued. The SIGMA 50mm F1.2 DG DN | Art is designed with high functionality and reliability to meet the stringent demands of professionals, as well as excellent build quality for long-lasting, reliable use.
Proud to be a tool of expression, excellent build quality with SIGMA’s Art line specifications By assembling high-precision parts made of lightweight and strong TSC*4 and other materials, the lens has the high level of rigidity and durability of SIGMA’s Art line specifications without sacrificing portability, as well as excellent build quality that allows for long-lasting and reliable use as a photographic tool.
Various shooting assist functions The lens is equipped with an AFL button which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.
Dust and splash resistant structure*5 and water and oil repellent coating In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.
Including a petal-type hood with lock A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.
[Additional features]
Lens construction: 17 elements in 12 groups (4 aspherical elements)
Inner focus system
Compatible with high-speed autofocus
HLA (High-response Linear Actuator)
Compatible with Lens Aberration Correction*6*7
Supports DMF and AF+MF
Compatible with AF assist (for Sony E-mount only)
Super Multi-Layer Coating
Water and Oil Repellent Coating (front element)
Aperture ring
Aperture ring click switch
Aperture ring lock switch
AFL button*8
Focus Mode switch
Support for switching between linear and non-linear focus ring settings (for L-Mount only)*9
Dust and Splash Resistant Structure
Petal-type hood with lock LH782-03
Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
Designed to minimize flare and ghosting
Every single lens undergoes SIGMA’s proprietary MTF measuring system
13-blade rounded diaphragm
High-precision, durable brass bayonet mount
Mount Conversion Service available
“Made in Aizu, Japan“ craftsmanship
*As an AF 50mm F1.2 interchangeable lens for full-frame mirrorless cameras. (As of March 2024 by SIGMA) *2 These figures are for L-Mount *3 Function available on supported cameras only. Available functions may vary depending on the camera used. *4 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing. *5 The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable. *6 Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model. *7 On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON‘(AUTO). *8 Function available on supported cameras only. Available functions may vary depending on the camera used. *9 Function available on supported cameras only.
Nikon has announced the Nikkor Z 28-400mm F4-8 VR, a superzoom lens with a 14.2x zoom range. Nikon tells us the lens is designed to meet the needs of both photo and video users.
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The 28-400mm F4-8 comprises 21 lens elements in 15 groups, including three aspherical and four ED lens elements, with nine aperture blades. It has a close focus distance of 0.2m (7.8") at 28mm and 1.2m (3.9 ft) at 400mm and a maximum reproduction ratio of 0.35x at 28mm.
Additionally, the lens includes Nikon's vibration reduction (VR) technology, delivering 5.0 stops of image stabilization at 400mm, per CIPA standard, and up to 5.5 stops using Nikon's Synchro VR technology when paired with select Nikon cameras, including the Z8 and Z9, that have in-body stabilization.
Autofocus comes in the form of a stepping motor to deliver fast and quiet autofocus, and manual focus includes support for a linear focus response, which should appeal to video shooters.
This photo of the Z 28-400mm F4-8 VR, captured during our hands-on time with the lens, shows its size relative to the Nikon Z8.
Weighing in at 725g (1.6 lbs), the lens is 85mm (3.4") in diameter and 142mm (5.6") long when collapsed. It uses a 77mm filter thread.
The lens includes a compact, square lens hood, and Nikon describes the lens as dust and drip-resistant.
Pricing and availability
The Nikkor Z 28-400mm F4-8 VR will be available from mid-April at a suggested retail price of $1,299.
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.
The All-In-One Lens that Goes the Distance: Nikon Releases the Nikkor Z 28-400mm F/4-8 VR Full-Frame Super Zoom
Versatility and Portability with Wide-Angle to Super-Telephoto Coverage
MELVILLE, NY (March 27, 2024) Today Nikon Inc. announced the release of the NIKKOR Z 28-400mm f/4-8 VR, a supremely versatile high-power super-zoom lens for Nikon Z series full-frame/FX-format mirrorless cameras. This latest addition to the expanding line of NIKKOR Z lenses offers the highest zoom ratio in its class*1, making it a must-have for travel, sports, backyard wildlife and more.
“So many photographers and creatives will love the versatility of the NIKKOR Z 28-400mm, which gives you clarity, range and fantastic backgrounds,” said Naoki Onozato, President and CEO, Nikon Inc. "Wherever your travels lead, this is definitely a lens to consider packing.”
The NIKKOR Z 28-400mm f/4-8 VR is a high-magnification zoom lens that covers a broad range of focal lengths — from 28mm to 400mm. Whether up close or far away, from landscapes to distant vistas, users will appreciate the extreme versatility and powerful capabilities of the 14.2× zoom. Although it is a super-telephoto zoom lens with a range up to 400mm, it’s also the lightest in its class*1, weighing only approximately 1.6 lbs (725 g), making it easy to carry when traveling.
This new lens also has a remarkably close minimum focus distance*2 of only 7.8 in. (0.2 m) at the maximum wide-angle position and 3.9 ft. (1.2 m) at the maximum telephoto position. The maximum reproduction ratio of 0.35x lets users capture close-ups at short distances for food, flowers and animals. When shooting far away, users can fill the frame with their subject and still have a pleasing blurred background.
The NIKKOR Z 28-400mm f/4-8 VR uses a stepping motor (STM), which enables fast and quiet autofocusing, allowing rapid focus on moving subjects. The lens also features a vibration-reduction (VR) function with performance equivalent to 5.0 stops, which helps achieve sharp photos and stable video with ease, even when handheld.*3
Primary features of the NIKKOR Z 28-400mm f/4-8 VR
Covers a broad range of focal lengths— from 28mm to 400mm, with a 14.2× zoom which is a first among NIKKOR Z lenses.
A minimum focus distance of 0.2 m at the maximum wide-angle position and a maximum reproduction ratio of 0.35× allow users to get closer to their subjects for dynamic expression.
A total length of approx. 5.57 in. (141.5 mm) and a weight of approx. 1.6lbs (725g)– the lightest lens in its class– make this an easy lens to carry and shoot hand-held.
Stable VR performance equivalent to a 5.0-stop increase in shutter speed effectively reduces blurring in dimly lit surroundings and with hand-held shooting. When paired with a compatible camera, Synchro VR can be activated to achieve up to 5.5-stop stabilization*4 by combining in-camera VR and lens VR.
Stepping motor (STM) enables high-speed AF drive.
Support for linear MF drive enables smooth focusing, which is especially useful for video shooting.
Comes with a compact, square lens hood that combines superior performance and usability.
Designed to be dust- and drip-resistant with thorough sealing on various portions including movable parts of the lens barrel to keep dust and water droplets from entering the lens.*5
Price and Availability
The new NIKKOR Z 28-400mm f/4-8 VR lens will be available in mid-April for a suggested retail price of $1299.95*. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit Nikonusa.com.
*1. Among lenses with a zoom ratio of 10x or over for full-frame/FX-format interchangeable-lens mirrorless cameras, announced as of March 27, 2024. *2. When capturing close-ups with the lens hood attached, take care that the lens hood does not come into contact with the subject. *3. Measured in accordance with CIPA standards with VR function set to “NORMAL”, and zoom at the maximum telephoto position. *4. Measured in accordance with CIPA standards with VR function set to “NORMAL” when combined with cameras that support Synchro VR. *5. Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.
The Sigma 50mm F1.2 DG DN Art is a comparatively lightweight prime lens aimed at travel, portrait and street photographers. At 745g (26.3oz) and 109mm (4.3") in length, Sigma claims it is the lightest lens of its type.
We got our hands on the lens recently, and it happened to be cherry blossom season, so you know we had to visit them for a sample gallery. We also made street portraits and visited Seattle's nightlife to make the most of our time with the lens.
Note: 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.
Meike Global has released its first autofocus APS-C lens for Fujifilm, Sony and Nikon cameras. The new 55mm F1.4 targets photographers looking for a fast prime lens. At $200, the lens could be a sound budget alternative to similar lenses available on the market.
The 55mm F1.4 uses 11 elements in 8 groups and has nine aperture blades. It has a minimum focusing distance of 0.6m (23.6”) and weighs 286g (10.1oz). Along the barrel, there is an AF/MF switch, a manual focus ring and an aperture ring. Meike has included a USB-C port at the rear of the lens, which it says will be used to install future firmware updates.
The $200 asking price is notably cheaper than other fast, APS-C prime lenses around the 55mm focal length.
Image: Meike
Meike’s 55mm lens has a de-clicked aperture ring, which may present an issue for users seeking a tactile response or greater precision. Meike also confirmed to DPReview that the lens isn’t weather-resistant, which may not be a surprise at this price point, but it’s good to know exactly what you’re buying.
Another consideration: although the company has a large catalog of manual focus lenses, this is only the Hong Kong-based manufacturer's fifth autofocus lens. This isn’t necessarily a bad thing, but it’s good to keep in mind that the company is relatively new to implementing the technology.
The Ricoh GR III HDF and GR IIIx HDF are variants of the company's existing fixed-lens APS-C premium compacts. They feature a unique "highlight diffusion filter" instead of the ND filter fitted in the standard versions of both cameras.
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Ricoh says the HDF has been developed using its inkjet technology and adds a diffusion effect to the images, particularly visible in highlight areas, comparable with a 'black mist' filter. This, it says gives images "resembling those captured in film photography or vintage movies."
As with the standard models, the GR III HDF offers a 28mm equivalent F2.8 lens and the IIIx has a 40mm equiv F2.8. Both use the same 24MP APS-C sensors as the standard models.
By replacing the switchable ND filter in the optical path, the HDF effect can be turned on or off, depending on what you're trying to achieve in each shot. By default, the Fn button will be set to engage and disengage the HDF filter.
Other than the filter, the cameras gain more customization around white balance (which will come to the standard GR III and GR IIIx in a forthcoming firmware update). There's also a Zone Select AF feature that lets you select a zone within which the camera narrows down when focusing.
The shutter buttons of the HDF versions of the cameras are dark silver, rather than black, to denote the difference, in every other respect, the HDF versions of the cameras are identical to their conventional versions.
Ricoh announces GR series cameras featuring built-in highlight diffusion filter
RICOH GR III HDF and RICOH GR IIIx HDF soften light sources and diffuse highlights for more expressive images that create a sense of depth and emotion
PARSIPPANY, NJ, March 27, 2024 — Ricoh Imaging Americas Corporation today announced the RICOH GR III HDF and RICOH GR IIIx HDF premium digital compact cameras. These new versions of the acclaimed RICOH GR III and RICOH GR IIIx cameras feature a newly-developed Highlight Diffusion Filter (HDF) that diffuses highlights for softer light, creating more expressive images with a sense of depth and emotion. The HDF, which can be turned on and off in a single action, allows the user to add a totally different kind of visual expression to captured images.
Developed using RICOH’s advanced inkjet technology cultivated over the years, this special- effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to produce images resembling those captured in film photography or vintage movies. Since the HDF can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention.
“The RICOH GR III HDF and RICOH GR IIIx HDF inherit the fundamental merits of our GR series – exceptional image quality, flawless point-and-shoot operation and outstanding portability,” said Ken Curry, president, Ricoh Imaging Americas Corporation. “The new GR HDF models give users a new creative option that expands the visual boundaries of snapshot photography.”
| Pricing and Availability |
The RICOH GR III HDF and RICOH GR IIIx HDF will be available in April at www.us.ricoh- imaging.com as well as at Ricoh Imaging-authorized retail outlets at a manufacturer’s suggested retail price of $1,069.95 for the RICOH GR III HDF and $1,149.95 for the RICOH GR IIIx HDF.
| Main features of the new RICOH GR III HDF and RICOH GR IIIx HDF |
Single-action switching to the new, built-in HDF to create softer light, more expressive images: The new GR HDF versions incorporate the newly developed HDF (Highlight Diffusion Filter) to emphasize highlights and produce softer light and more expressive images. Developed using RICOH’s advanced inkjet technology cultivated over the years, this special-effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to capture images resembling those captured in film photography or vintage movies. Since the Highlight Diffusion Filter can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention. This creative versatility expands the visual boundaries of snapshot photography.
The color of the shutter-release button has been changed to dark silver to subtly differentiate the HDF models from other GR series models and to symbolize the effortless shift of visual expression. The default setting of the Fn (Function) button has also been changed to the ON/OFF switching of the HDF,* allowing the user to quickly engage the HDF with a press of a button.
The user can pre-program up to three white-balance settings as the base white balance.** It is also possible to couple the base white balance with the White-balance Fine Adjustment function.
The new models feature Zone Select AF,*** which automatically sets the focus at the most appropriate point within the image area after the user shifts the 3X3 focus area to the desired zone.
* The user can also select another function as the default setting of the Fn button. ** This function can be added to all RICOH GR III- and GR IIIx-series models using function- expansion firmware, which is scheduled to be released along with the market launch of these new models. *** The 3X3 focus area is identical in size to that of the Auto-area AF (Center) mode.
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