DPReview Editors' Challenge results

Last week, we issued a challenge to the DPReview community to show us what you got. We wanted to see your best images from the North American total solar eclipse, and over 150 of you submitted!

We saw heaps of creativity and technical know-how on display. It was also interesting to see all the solar flares that matched among photos taken hundreds of miles apart. Before we dive in, a heartfelt thanks to everyone who submitted. We couldn't call out every image we liked and tried to restrain ourselves as best as possible (otherwise this article would be four times as long). We should also note that images are presented in no particular order other than to provide an engaging visual flow (so we don't end up with similar back-to-back photos). If you don't see your work here today, we encourage you to submit for our next challenge. We love seeing your work!

Also, a quick reminder to keep comments constructive and civil. To be blunt, it's one thing for editors to receive harsh comments, but it's another threshold to be rude to people not on our staff who want to make some images and share their work. Rule #1: Be nice. That's it, there is no rule #2.

Plane over eclipse with sunspots seen in Toronto at 02:35 PM EST, by philmar

It's not only one of the more descriptive titles we saw, but it's also a great image.

"Shot with a 10 Stop ND filter," philmar writes, "A plane fortuitously passed through the frame. I did notice plane until I reviewed my shots in Lightroom. Toronto experienced 99.95% of the eclipse but was under thick cloud except for about 20 minutes."

Created on Canon EOS R7 at 400mm with adjustments to color temperature, exposure, texture, clarity, vibrance and sharpening.

Untitled, by Morris0

Totality photographed through light clouds in Del Rio, Texas. Morris0 used a Fujifilm X-H2s with a Fujifilm XF 150-600mm lens. They said they previously used this lens to photograph the 2017 eclipse and "knew that the corona fits nicely at 600mm." The photo was also handheld, as Morris0 had left their tripod at home while racing to catch a flight to see the eclipse from a hotel in Del Rio, Texas.

"Experiencing totality is very special as it’s a stunning sight and you feel it get cold, the birds fly to their nests and everyone around expresses emotional outbursts. I was thrilled that we got to see the eclipse and felt that the clouds added to the look and experience."

"Photography is a passion as are nature and wildlife and blending them drives me. I’ve been a member of the DPReview community since about 2000 and have made many friends here. It has been a pleasure sharing my photos and knowledge with the community."

And then the frogs began to sing, by protapic

Captured at the Holden Arboretum in Kirtland, Ohio, given the title, one imagines the false night tricked some amphibians that day. Captured on a Panasonic Lumix DMC-GM1 with Olympus M.Zuiko Digital ED 8-25mm F4 Pro.

Cloudy Eclipse, by Sam Eileen

Taken in Oneonta, NY, using a Canon EOS Rebel T6 (EOS 1300D) with a Canon EF 75-300mm F4.0-5.6 III lens.

"Edited solely in Photoshop 2023. Brightness & Contrast + 15 Slight curves Vibrance & Sat. +35 Smart sharpened w/ 30% noise reduction."

A truly once in a lifetime photo, by cwatson1982

To hear cwatson1982 tell it, this photo was cobbled together through grit and luck.

"We didn't seriously prepare ... I was shooting through an old adapted Nikon 70-210 F4 and a 1.4x teleconverter at 210mm (on a Panasonic Lumix GH6) and using an ND1000 filter," they wrote.

"To be completely honest, I was just shooting bracketed sets on a tripod at regular intervals hoping like most people to get some decent shots of the eclipse. I did not see the birds until after the capture; it was just a very happy accident. I exclaimed 'what are the odds of that?' ... I kind of feel like I used up all my luck for the year!"

We hope that's not true cwatson1982. We're only four months into the year! Wishing you more luck for the year ahead.

Darkness Above, Sunrise all Around, by JMLobert

It's a thing of beauty when you see a fisheye lens used well.

JMLobert paired a Nikon Z6 with a Sigma 8mm F3.5 EX DG Circular Fisheye and pulled this eclipse image among the trees.

"Venus visible to the right of the sun and Jupiter to the left. While dark above, there is sunrise and sunset all around the viewer, 60 miles out. It's an eerie and wonderful experience when it suddenly gets dark, temperature drops and the wind stops."

The final image is a composite image made from multiple exposures.

"To accommodate the changing brightness, I bracketed 9 stops every 30 seconds and changed that bracket by 5 stops up, shortly before totality (then back shortly after). Totality is about 12 stops darker than the sunlit day, just a bit short of the 16 stop light loss going from day to night."

solarEclipse-3, by Wakawaka Studios

This scene with backlight clouds was taken just after totality, as the moon moves past the sun. It was taken in Frisco, Texas, with a Canon 5D Mark III and Canon EF 70-200mm F2.8 IS II USM lens.

Several adjustments were made in Lightroom: contrast -3, highlights -41, shadows +100, clarity +80 and sharpened.

eclipse 2024 Ohio, by deoreo

Taking a more environmental approach to the eclipse, deoreo opted for a wide angle Sigma 14-24mm F2.8 DG DN zoom to pair with a Sony a7R IIIa, outside their home in Akron, Ohio.

The best-laid plans, however, presented some challenges. "I completely underestimated how dark totality would be! I managed to get five photos but had to change ISO, f-stop, and shutter on the fly to get this image. The final image was processed with Photoshop
to lighten up the shadows."

Challenges aside, we asked them how they felt about the result. "I'm glad I was able to include my family in the photo. It will be fun to look back on it in the future to remember the moment, and where we were!"

Sanger Eclipse, by Facyn6

It seems this DPReview shutterbug figured who needs lens filters when you can just slap your eclipse-viewing glasses in front of the lens. It feels risky, but the result is rather nice and stands out amid fellow entries.

"I took this photo in the backyard of my home with eclipse glasses in front of the lens," Facyn6 wrote. "Only cropped for better composition. No any other edit."

Eclispe 2024, by Jason333

This was one of the few smartphone entries that caught our eye. It was created at Niagra Falls in Ontario, Canada, and was taken with a Samsung Note 20 Ultra 5G camera.

DLittle, by Phodougrapher

A partial solar eclipse, as seen from cloudy Winnipeg, Manitoba, Canada. The image was made with a Nikon 1 V1 with an FT-1 adaptor, Nikon 70-200 and Nikon TC -14E II, for an effective focal length of 756mm. The image has been cropped and resized for sharpness in Adobe RAW.

NJ Eclipse 2024, by Holger Drallmeyer

We've seen a strong contingent of submissions from New Jersey in this photo challenge (does DPReview need to make a road trip out?). This submission comes to us from The Garden State, a 1-second exposure of clouds whipsing past the solar show.

Captured with a Canon EOS 6D and Sigma 150 - 500mm F5-6.3 DG OS HSM lens with a 16.5 stop ND Filter. Lightroom adjustments to exposure, highlights and shadows.

Untitled, by scottyinfrisco

Taken with a Panasonic Lumix DMC-FZ2500 using an eclipse filter. "I knew [I] needed the most reach, and this, with digital zoom, was the longest lens I had available."

"The image is SOOC JPEG on Standard Highest quality," wrote scottyinfrisco. "Image is completely unedited."

"I know gear drives this hobby, but never underestimate your own skill in making images."

Great advice and execution, scottyinfrisco; we couldn't agree more.

Untitled, by Kfsumo

Without a doubt, the most creative submission to the challenge. Kfsumo captured this image with a Ricoh GR III in macro mode pointed at a sheet of colored paper. The shadows on the paper were created holes in a metal umbrella above the paper.

The concept is the centuries-old camera obscure, and the execution is great. Well done!

Untitled, by BaronGreenback

Niagara Falls was under overcast conditions, but BaronGreenback still got a shot of the sun just before or after totality.

Taken on a Nikon D850 with Nikon AF-S Nikkor 200-500mm F5.6E ED VR lens.

Eclipse Stages, by NickMammone

A composite image created from 13 images captures the multiple stages of the eclipse.

NickMammone writes: "While the moment of totality is a spectacular moment, there is a lot more to this event than just those 2 minutes. I wanted to capture that in one picture. This is a combination of multiple photos from different stages of the Eclipse. All shot on the same camera, same lens, same location."

Lightroom edits were made to exposure, contrast, whites, blacks, highlights and color temperature. Level adjustments were also made to each picture to blend the edges into the black background.

Breaking Out from Totality, by dan7901

Solar flares are seen as the moon moves past the sun. Captured in Norwalk, Ohio, along the center of the path for totality, with almost four minutes of darkness.

dan7901 used a Nikon D500 with a Sigma 150-600mmlRig Fluid head AD-01 tripod, all equipment they use as self-described amateur wildlife photographers lens and a Smal. The timing was the biggest challenge they faced.

"In order to catch the solar prominences, I needed to remove the filter before the totality and keep the lens unfiltered for a very short time period after totality."

To help with this, they turned to an app that had countdowns for when the sun would enter and leave totality.

"Since I used the timing app, I really rested myself from taking photos during most of the totality period to enjoin the experience, and after the shots right after leaving the totality, I checked some of the shots, and felt satisfied and released!"

2024 solar eclipse from NJ, by kssharma

Cloud cover is always a concern for eclipse viewing, but kssharma took on the challenge by getting creative. A four-second exposure on their OM System OM-1 yielded this dramatic sky scene over Edison, New Jersey.

"The challenge was how to get an interesting eclipse pics as almost everyone would be taking similar pics," they wrote. "Since I love taking long exposure and my OM-1 allows it handheld I thought to give it a try to make the clouds dramatic instead of using high shutter speed to freeze it." From there, they edited the file to give some definition to the clouds, raise shadows and adjust the tonal curve in Photolab 7.

"Photography is my way to meditate. I love exploring small world around us which we can't see with our naked eyes. To the DPR I just want to say a huge THANK YOU! DPR itself and the members of the community have been a source of inspiration for me."

Thank you

Thank you to everyone who participated. Seriously, how amazing is it to see our fellow DPReview reader's work? To see all the entries for yourself and vote for your favorites, head over to the challenge now. The complete shooting specs and gear used for each photo in the challenge platform can also be found in the challenges gallery.

If you couldn't participate in this editors' challenge, keep an eye out for our next one. We'll be doing more during the year as we celebrate 25 years of DPReview. Speaking of which, do you have a suggestion for an Editors' challenge? In the comments, let us know what to do for our next one.

Editor's note: This review is based on Panasonic's April 2024 firmware update for the S5II (v3.0) and S5IIX (v2.0), which was provided to DPReview ahead of its public release.

90%

Overall score

Jump to conclusion

The Panasonic Lumix DC-S5II is the company's latest version of its mid-range full-frame stills and video mirrorless camera. It adds phase detection autofocus to its 24MP CMOS sensor and uses the L mount shared with Leica and Sigma.

A separate camera variant, the Lumix DC-S5IIX, is also available and includes a more extensive video feature set.

Key specifications

• 24MP BSI CMOS sensor with on-sensor phase detection
• Up to 30fps e-shutter shooting with C-AF and Raw capture
• 96MP multi-shot high-resolution mode
• 6K 3:2 open-gate video capture up to 30p (4:2:0 10-bit)
• 6K or DCI/UHD 4K from full sensor width up to 30p
• DCI/UHD 4K up to 60p (S35), unlimited record times and proxy option
• Dual conversion gain sensor with explicit 'Dual Native ISO' gain selection
• Pre-burst shooting mode (up to 1.5 seconds before the shutter is pressed)
• Cooling fan
• Twin UHS-II card slots
• Camera-to-Cloud integration with Frame.io
• Optional paid upgrade for Raw video output

Additional features on the S5IIX

• Raw video output
• Video recording to SSD over USB
• All-I compression modes
• Internal/SSD ProRes capture
• Wired/wireless IP streaming

The S5II has a recommended price of $1999 (€2199). The S5IIX commands a $200 (or €300) premium over the less video-centric version, with a suggested retail price of $2199 (€2499).

An optional paid upgrade for the S5II that adds Raw video output is available for $200/€200.

Index:

• What's new?
• How it compares
• Body and controls
• Image quality
• Video
• Sample video
• Autofocus
• Conclusion
• Sample gallery
• Specifications
• Press release

What's new?

Phase detection AF

The biggest news is the inclusion of on-sensor phase detection, a technology Panasonic has not previously used. Phase detection works by generating two views of the scene from slightly different perspectives (typically by forming separate images that 'look' through the left and right sides of the lens) and comparing them. Just as with human vision, which uses two eyes set apart from one another, this enables the camera to establish an understanding of distance and depth in the scene.

Comparing the two images lets the camera calculate how far it needs to drive focus to bring the two perspectives into alignment, at which point the aligned subject is in focus. This is especially valuable in video mode, as it allows the camera to refocus to a different distance without overshooting. It also, critically, means the camera can check that it's still in focus without having to move the lens. This means phase detection can be decisive in situations where it must hold focus, as it can confidently stay there.

Previous Panasonic models relied on the company’s Depth-from-Defocus (DFD) system, which used the out-of-focus characteristics of a lens to interpret depth and drive the AF system. DFD's main shortcoming was reliably predicting movement and driving the AF system to match. In principle, phase detect autofocus should provide more reliable performance, particularly in low light levels and backlit conditions and when dealing with multiple subjects (staying locked on your chosen subject better because it knows which one in the scene it is).

Subject recognition AF

The S5II’s subject recognition and tracking modes were significantly upgraded as part of the camera’s April 2024 firmware update. Combined with its newfound depth awareness, the S5II effectively gains the capabilities found on the more recent G9 II, including improved tracking performance and additional types of subjects that can be identified and tracked.

The camera is trained to recognize humans, animals, cars and motorcycles. Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies.

In each mode, the camera will start searching from your selected AF point and the area immediately around it, meaning It will focus on the specified subject type if it's found under your AF point. This system makes it possible to use the AF point to select an individual subject in a group. Note that when using wide-area AF, Face/Eye mode will choose to focus on someone facing the camera, not simply the nearest human it can detect.

Updated in-body image stabilization

Panasonic has also improved its image stabilization system, promising performance twice as effective as that of the S5. For its revised system it's adopted the branding 'Active IS,' though it hasn't been very specific about how these improvements have been achieved.

What the company has said is that its algorithms have been reworked and that the camera assesses camera motion more precisely. The Boost IS mode, which tries to cancel all movement for a tripod-like video look, is particularly impressive.

The April '24 firmware update added a new 'High' setting to the camera's electronic image stabilization system, intended to correct extreme levels of camera movement. It applies a 1.4x crop factor to video.

The stabilization system also underpins the eight-shot 96MP Handheld High Resolution mode. It includes an optional motion correction function that prevents artifacts from moving subjects in the scene.

New processor

At the heart of the S5II is a new processing engine, the first product of Panasonic's L² co-development project with Leica. The two companies shared know-how and resources to develop the new processor, which we'd expect to see in future Leica models, too.

While Panasonic says the sensor in the S5II is also new, from what we've seen, its performance appears to be similar to its non-phase-detect predecessor, which suggests that its newfound ability to shoot at up to 30fps in e-shutter mode is more about having a processor able to cope with this speed.

Built-in fan

The S5II includes a fan mechanism to allow video shooting for extended periods. The fan is at the top of the camera, with vents under the leading edge and along the sides of the viewfinder hump, drawing the heat up and out of the camera. As usual, the fan sits outside the body's sealed area, so the vents aren't a weak point for its dust and splash-resistant design.

The fan means the S5II can record for unlimited periods in most of its video modes, as tested by Panasonic at temperatures of 40°C (104°F). Panasonic points out that most of its rivals only quote figures for 22–25°C (72–77°F), which is significantly less demanding and less representative of average temperatures across much of the US.

Pre-burst shooting

The April 2024 firmware update adds a new shooting mode that captures a series of images in the buffer before the shutter button is pressed. Labeled 'SH PRE', the feature pre-captures 0.5, 1.0, or 1.5 seconds of images at 30 frames per second using the electronic shutter. It's considered to be a burst shooting mode, with settings located in the Burst Shot Setting menu.

Video

The S5II builds on the video capabilities of the S5 despite using a sensor with similar ~21ms readout times for its 16:9 footage.

The most obvious addition to the camera's capabilities is the ability to shoot full sensor height 3:2 'open gate' video. This is available at up to 30p and provides the scope to crop into various aspect ratios or to pan around the frame in post. Alternatively, there are 6K options, either in UHD-style 16:9 aspect ratio or the DCI-like 1.89:1 format.

Beyond this are the full-width 4K modes (both DCI and UHD), which are taken from 6K capture. These are offered at up to 30p and up to 10-bit 4:2:2 encoding.

Panasonic's rivals have increasingly added 10-bit capture capability in this class, but the S5II goes beyond these with a range of support tools and features that aren't as commonplace amongst the competition so far.

Panasonic is still somewhat unique in this part of the market in providing the S5II with a waveform display and vectorscopes (though some recent Nikon models have also started to include waveforms). These are standard video-industry ways of understanding the tone and color distribution in the image, and they can be hugely valuable when setting exposure and white balance. Likewise, the S5II can express its exposure time in terms of shutter angle, which makes it easier to maintain a sensible exposure when switching between capture frame rates.

You may not notice them at first, but the finned vents of the fan on either side of the viewfinder show that the S5II is serious about video.

Syncro scan (the fine-tuning of exposure time to better sync with flickering light sources) is becoming more common, as are the option of four-channel audio capture and more video-focused settings display screens. The S5II's distinctly Arri-like screen, borrowed from Panasonic's Varicam line, is particularly clean and clear. Likewise, the ability to capture 4-channel audio (with an optional XLR adapter) is becoming more common, but the S5II includes options such as line-level input and dual input gain settings on its mic inputs that its rivals lack.

The S5II gains a couple of additional functions, including 'Full-range HLG' shooting. This ignores the upper and lower brightness limits imposed by the HLG standard, meaning you retain a little more flexibility in the edit. This is handy both if you have HLG as your final intended output or if you're using it as a Log-like intermediate step.

Anamorphic support

Tying in with the S5II's ability to capture open-gate and 4:3 APS-C footage is a good selection of tools to support shooting with anamorphic lenses. As on previous Panasonic models, the S5II can stretch the footage horizontally to give a real-time 'desqueezed' preview for a wide variety of squeeze factors. The camera can then plot safe-zone markers for various output aspect ratios over the top of this view, so you know you're capturing the action in a part of the frame that will be used in your final footage.

Telling the camera the squeeze ratio of your lens also allows the S5II to adjust its image stabilization system to accommodate the differing effective focal lengths of your vertical and horizontal capture, improving the stabilization performance.

LUT-applied shooting

The S5II gains the ability to import LUTs in the industry-standard .cube format (in addition to Panasonic's own .VLT type). It can store up to 10 LUTs and adds the ability to apply the LUT to the footage as you shoot. Doing so means you lose post-processing flexibility, putting greater emphasis on getting exposure and white balance right in-camera, but it lets you achieve the look you want straight out of the camera.

S5IIX features

The cameras' twin UHS-II SD card slots aren't sufficiently quick for recording the 4K ProRes modes offered by the S5IIX, so it can record directly to an external solid-state drive (SSD) over its USB port.

All the differences between the S5II and S5IIX relate to the latter's video capabilities. The X's body has a stealthy all-mono design with blacked-out 'Lumix' branding and no red accents on the control dials, but the two look the same in almost every other regard.

Under the hood, the S5IIX brings enhanced video modes that are better suited to post-production work.

• Raw video output
• Internal ProRes capture (422 and 422 HQ)
• All-I codecs
• USB-SSD output
• Direct wired and wireless streaming (per GH5 II)

S5II owners can buy an upgrade to add Raw video output for their camera, but it won't come with the other enhancements of the S5IIX. In the US, at least, the paid upgrade costs the same as the difference in cost between the two models, so if you think there's a chance you'll want these additional features, you're probably best off stretching your budget upfront to buy the S5IIX.

How it compares

Like the S5 before it, the S5II is clearly aimed at the same $2000-2500 mid-range full-frame audience. It's perhaps the most competitive segment of the market, packed with capable cameras that are adept at both stills and video shooting. This makes it difficult to stand out and means that real-world AF performance and usability become the difference between an impressive spec list and a great camera.

All four cameras are well specced, with only a few features helping set the models apart. Canon and Panasonic both offer rapid burst shooting rates, with the EOS R6 II achieving the faster rate with less rolling shutter and a pre-burst mode. The Canon and the Nikon lead the pack in terms of image stabilization rating, but this doesn't mean they offer the smoothest stabilization in video.

Image quality is broadly comparable, with the Sony offering slightly better detail capture at low ISO but slipping slightly behind in low light conditions. The Sony offers the most impressive battery life but also the weakest rolling shutter performance in video, making it more difficult than ever to choose between the four cameras.

The S5IIX offers a broader range of video capabilities than any of the other current models, at a lower introductory price than the Canon, and equal to the Sony.

Body and handling

The styling of the S5II is very much in keeping with that of the original model: it's a mid-sized, fairly squared-off design with a very distinct SLR-like shape (compared, say, to Nikon's Z-series cameras). Despite being the smaller model in the company's L-mount lineup, it has extensive external control points, including details such as a dedicated AF mode switch, that are unusual at this level.

Despite the familiar appearance, a lot has been redesigned or reworked. The most significant change is the addition of the fan to the camera's viewfinder hump. This is central to the camera's promises of video endurance, but is designed not to undermine the body's weather sealing.

Beyond this, the S5II gains a higher-resolution 3.68M-dot OLED viewfinder, an eight-way AF joystick (rather than the four-directional one on the original S5), and a full-sized HDMI port.

The S5II also sees its second card slot upgraded to the UHS-II standard, allowing the use of faster SD cards in both slots. Notably, even with the fastest V90-rated cards, UHS-II isn't fast enough to record all the S5IIX's video modes, with the most demanding of its All-I capture modes and all its 4K and 5.8K ProRes modes requiring the use of an external SSD. Panasonic says it has worked with third-party accessory makers to provide useful ways to attach popular SSDs to the camera.

There is enough commonality between the S5 and the Mark II that the new camera can still use the existing DMW-BGS5 battery grip, providing space for a second battery.

Battery

There's no separate charger with the S5II, but the Type 3.2 Gen 2 USB port can be used to charge, power or power and charge the camera.

The S5II continues to use the DMW-BLK22 battery from the previous version, which means it's also fully compatible with the same AC adaptor, DC coupler and dedicated battery chargers as the Mark I.

The S5II does not come with a charger. Instead, it uses the USB-PD standard to allow in-camera charging, operation or operation and charging when connected to high-current power sources.

The camera's battery life rating is somewhat disappointing, with 370 shots per charge, per CIPA standard testing methods. As always, these numbers tend to significantly underestimate how many shots you can typically expect (unless your shooting style is very energy-intensive). A 370 shot-per-charge rating will normally give you plenty of charge for a day's shooting, but you'll want to keep extra batteries or a USB power source at hand for intensive shoots. A power-saving mode gives a rating of 1,250 shots per charge for viewfinder shooting.

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 Panasonic S5II uses a 24MP BSI CMOS sensor, similar to many enthusiast-level full-frame cameras, so it's no surprise that its Raw resolution is on par with other cameras in this 24MP cohort, nor that the a7 IV pulls ahead by a small margin thanks to its slightly higher resolution. At moderately high ISOs, noise levels are roughly comparable to its 24MP peers, and at very high ISOs it edges out the R6 II by a hair. Notably, all the 24MP cameras outperform the a7 IV with respect to noise performance.

JPEG colors appear good, with punchy pinks and less saturated yellows (though there's perhaps a hint of green in there). Overall, the colors are pleasing, which is consistent with the images in our S5II and S5IIX sample galleries. The camera’s sharpening is a bit more aggressive than the Canon, resulting in some halos around the text, but similar to the Zf; the extra sharpening results in more apparent detail in some areas, like the foliage.

Noise reduction is well balanced at middle ISOs, smoothing away much of the visible noise but leaving enough to retain (and give the impression of) more detail than the Nikon or the Canon, as seen on the spools of thread or the paint brushes. The tradeoff is fractionally more noise in areas of solid color, though you have to look close to see it. The same holds at high ISOs, but in exchange, the camera doesn’t smooth away as much information in areas of fine detail, such as the fine threading on the Beatles patch. This remains the case even at very high ISOs.

The S5II and S5IIX produce pleasing colors and don't go overboard with noise reduction. Panasonic S 28-200mm F4-7.1 | F4.0 | 1/200 sec | ISO 12,800 Photo: Dale Baskin

Dynamic range

The S5II uses a very familiar sensor and its dynamic range is predictably excellent. You can pull a lot of detail out of the shadows at base ISO without noise becoming too intrusive, but its dual conversion gain design means that it's worth bumping things up to at least ISO 640 in low light. There are diminishing returns beyond that, so ISO 640 is a good place to stop if you're trying to retain highlights such as neon lights in low-light scenes.

Exposure latitude | ISO Invariance

Autofocus

The S5II is the first Panasonic mirrorless camera to benefit from phase-detect autofocus, so expectations are high. Fortunately, those expectations have mostly been met, but equally important to the shooting experience are the camera's improved subject recognition and tracking capabilities.

AF modes and controls are basically unchanged from previous Panasonic models; the camera includes single area, zone, wide area and tracking modes, along with pinpoint AF for precise focusing. The focus point can be set using the 8-way joystick, tap-to-focus, or using touchpad AF with the viewfinder to your eye.

Panasonic S 28-200mm F4-7.1 | F7.1 | 1/320 sec | ISO 800 Photo: Dale Baskin

Phase detection essentially solves the shortcomings associated with Panasonic's previous Depth from Defocus (DFD) system, real and perceived. Autofocus movements on the S5II are decisive: in most cases the system effectively predicts movement toward or away from the camera in both photo and video modes, and the user experience is more refined. Overall, it instills a higher level of confidence, bringing the S5II’s AF performance much closer to being on par with competing Sony, Canon and Nikon models.

While the AF system performs well, it's not infallible. During our tests, the camera sometimes failed to acquire focus or experienced a lag in acquiring focus on some subjects, throwing up a red box in the center of the viewfinder. This happened most frequently when a reasonably significant shift was required to bring the image into focus or in low-light situations that didn't challenge other cameras to the same degree.

Subject recognition

With subject recognition enabled, the camera will automatically highlight a recognizable subject as soon as your designated focus area comes within close proximity of it. This makes it easy to lock onto your subject quickly.

However, this presents one challenge: if you want to focus on something exceptionally close to a recognizable subject, you may need to turn off subject recognition to prevent the camera from jumping to the nearby subject, which can be done very quickly via the touchscreen. However, Panasonic's algorithm generally strikes a very good balance of sensitivity that will work correctly in most situations.

The S5II's updated subject detection menu (Firmware 3.0)

When using wide-area AF, the camera will highlight all the subjects it can identify within the frame, and a tap of the joystick will toggle between subjects. While this sounds good on paper, it's often less practical in practice: the time required to tap back and forth to your preferred subject is often longer than it would take to place your AF point over your desired subject in the first place to begin tracking.

The April ’24 firmware update promised improved subject recognition and our experience is consistent with that claim. Subject recognition was solid before the update, but the system is now faster at identifying and locking onto subjects and more tenacious at sticking with them. It’s still not quite at the level of class-leading subject tracking systems from Canon and Sony, but it’s very close.

Currently, subject recognition must be set to one category (humans, pets, cars, or motorcycles). There’s no catch-all setting that will attempt to identify both humans and animals, for example.

The S5II’s subject recognition and primary AF modes extend to video shooting and provide a similar level of performance.

Video

The S5II’s sensor has been around in various incarnations for a while, so its video performance is fairly predictable. However, it's Panasonic’s implementation of video modes and useful video tools that make the camera particularly interesting to video shooters.

The camera captures 6K video (including ‘open gate’ 6K that utilizes the entire 3:2 area of the sensor) and 4K video downsampled from 6K, using the full width of its sensor, and does so in10-bit color at frame rates up to 30p. It can also capture 4K/60p using an APS-C crop of its sensor. These are strong but no longer stand-out specs.

But equally as important, the S5II offers a robust feature set to support video capture, including Panasonic’s V-Log gamma profile, the ability to load custom LUTs into the camera, waveform and vectorscope tools for judging exposure and color, proxy recording, and a Camera-to-Cloud option.

The S5II can capture very detailed 4K video, downsampled from 6K, using the full width of its sensor. As we would expect, it produces results that are broadly similar to its 24MP peers. However, like other cameras based on the same sensor, the S5II must switch to an APS-C crop to capture 4K/60p footage. There's a small penalty in overall quality for doing so, but it's close enough that most viewers probably won't notice the difference in practice. However, this means the effective field of view of your lenses will change when shooting 60p – particularly challenging at the wide end – and that you'll encounter issues with noise more quickly in low light. This also puts the S5II at a disadvantage relative to the Canon R6 II, which can shoot 4K/60p using the full width of its sensor.

If you need more detail, you have the option to shoot 6K video (up to 30p), providing additional flexibility for post-processing even if you plan to deliver in 4K. Of course, the S5II also has the ultimate party trick of capturing ‘open gate’ footage that utilizes the entire 3:2 sensor for video capture, letting you crop and pan around the footage in post.

The S5II’s rolling shutter measures approximately 22ms: a solid number, but not stellar by today’s standards. As a result, there’s a risk that fast movement across the frame or reasonably quick pans with the camera will result in some horizontal skewing of vertical lines in the frame.

Panasonic S 85mm F1.8 | F1.8 | 1/640 sec | ISO 400 Photo: Chris Niccolls

Image stabilization

Panasonic’s new Active IS algorithm is impressive, stabilizing most hand-held shooting. Although we don’t have a quantitative way to check Panasonic’s claim that the system is twice as effective as the S5, performance has definitely improved. If needed, the S5II also includes electronic image stabilization (EIS), which results in a 1.1x crop. It’s noticeably more effective at eliminating unwanted motion, such as when walking, and does so without a noticeable impact on image quality.

The new ‘High’ setting in EIS mode, part of the April 2024 firmware update, can compensate for even more dramatic movement, such as running with the camera. It’s remarkably effective – almost gimbal-like – when moving in a straight line, though quick turns or pans can result in some vertical jitter. The tradeoff? The high setting results in a 1.4x crop factor, which is necessary to provide enough latitude to compensate for such extreme motion.

Other video features

The April '24 firmware update brought two additional features to the S5II: proxy recording and Camera-to-Cloud capability.

Proxy recording

Proxy recording generates a lower resolution, lower bit rate version of each video clip for quick sharing or to make editing easier on your computer and can be useful for fast-turnaround deliverables. On the S5II, they are available when shooting resolutions up to DCI 4K: open gate, 6K, 5.9K and 3.3K anamorphic modes aren't supported.

The S5II can record proxy files at three quality levels, high, medium and low, at bit rates ranging from 4 Mbps to 16 Mbps.

Proxy files can be created when recording .MOV files (including ProRes on the S5IIX). The proxies are recorded to card slot 2, with the primary footage captured to slot 1 or to an external SSD on the S5IIX. You can choose three file sizes, which output 1080 or 720 clips. All clips are 16:9 and letterboxed if your primary footage is in the wider DCI 4K aspect ratio. Applying an in-camera LUT to proxy files is possible, even if not applying one to the original video.

Camera-to-cloud

Camera-to-cloud is a means of integrating with Adobe's Frame.io service, making it easy to upload video clips and photos as they are captured and enabling collaboration. For example, a wedding photographer shooting a ceremony and uploading video clips to Frame.io in real-time could employ a remote editor to quickly cut together a video of the ceremony, allowing it to be shown to guests at a reception just a few minutes later.

Connecting to Frame.io is remarkably simple, and it took us less than five minutes to connect the camera to a local Wi-Fi network and link it to a Frame.io project. Clips can be uploaded automatically as they are captured or selectively uploaded at a later time.

Note that the camera will not upload original video files to Frame.io, so you'll need to enable proxy recording to use this feature. Raw and JPEG images can also be uploaded to Frame.io.

One addition we'd like to see is the ability to assign Frame.io settings to a custom button. As of this writing, one must navigate the camera's menus to access it.

Sample video

This video, captured along Seattle's Lake Washington Ship Canal, includes clips recorded at a variety of resolutions up to 6K, at both 24p and 60p frame rates. It was shot mostly handheld with autofocus. Due to the wide dynamic range, most daytime shots were captured using Panasonic's V-Log gamma profile (with the V-Log LUT applied in post-processing), and most evening shots were captured with the Like709 profile. One pair of clips shows an example of walking with the camera with EIS turned on and off.

Conclusion

By Dale Baskin

The S5II finally delivered the one feature many Panasonic users had requested for years: phase detection autofocus. While the headline feature is worthy of attention, it would be a mistake to overlook the many other upgrades that make it a compelling camera, including improved image stabilization, subject recognition, and an integrated fan for better thermal management.

While phase detect AF makes the S5II a more attractive camera than its predecessor, particularly for video shooters, it’s not a panacea. It does provide a more refined and reliable autofocus experience that delivers on many of its promises, but the implementation still feels less polished than on more mature systems. However, it’s good, and when paired with the subject recognition updates included in the April 2024 firmware update, it becomes a very solid performer.

Panasonic has long been known for making cameras that are great for video, and the S5II (and S5IIX) continue that tradition, offering video-centric features ranging from a waveform monitor to the ability to set shutter angle in video – things that typically don’t even appear on the spec sheet of other cameras in its class. The only thing holding it back from being an even better video camera is its sensor, a design that’s been around for a while and can, under the right conditions, reveal rolling shutter artifacts, and requires an APS-C crop to capture 4K/60. However, don't mistake the S5II for a video-first camera. It's a very competent stills camera that's also great for video.

Panasonic S 28-200mm F4-7.1 | F7.0 | 1/125 sec | ISO 1600 Photo: Dale Baskin

The camera’s lines are not as graceful and elegant as some of its competitors, nor does it embrace the retro styling that’s been making a comeback. In contrast, the S5II is a pragmatic everyman’s camera, designed to get the job done. That’s not a knock against it or even a suggestion that the camera isn’t aesthetically pleasing, but rather a recognition that the S5II is an excellent example of form following function, for the right reasons.

The S5II is one of those cameras that isn’t necessarily the best in class at a lot of things. Instead, it makes its case by being the best at some things and very good at many things. The result is one heck of an all-around camera that will satisfy the needs of enthusiasts who shoot photos, videos, or both, and the cherry on top is that it’s also a delightful camera to use. And for that, the S5II receives our Silver Award.

Scoring

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

Compared to its peers

The Canon R6 II remains our top performer in this class. It features outstanding ergonomics, a more dependable AF system, and a more usable electronic shutter thanks to the camera's faster sensor. That sensor also allows the R6 II to capture high-quality 4K/60p using the entire frame width. However, the camera doesn't include the myriad video tools found on the Panasonic. It's also one of the most expensive cameras in its class and is effectively limited to using Canon's own range of mirrorless lenses, so it's a good idea to make sure Canon has the lenses you want at a price you're comfortable with.

The Sony a7 IV is another camera worth considering. Its 33MP sensor delivers a bit more detail, but where the Sony really shines is its autofocus system, which is exceptionally dependable and features outstanding subject tracking. However, it's a more photo-oriented camera, with higher rolling shutter making it less attractive to someone looking to shoot both stills and videos. Where it competes well is lens selection. With multiple manufacturers making lenses for E-mount, including Sigma, users are spoilt for choice and frequently have options at various price points for a given focal length.

The Sony a7C II is worth a look if size is a factor. It's essentially a Sony a7 IV squeezed into a more compact body and a simplified shutter, meaning it has almost the same pros and cons as that model, though with better image stabilization.

Finally, there's the Nikon Zf, a camera whose design is inspired by Nikon's classic film SLRs. In some respects, it's a great alternative to the S5II; it uses the same basic sensor and delivers similar image quality. However, its design makes the comparison more complex. The decision to buy a camera like the Zf will likely be driven, in part, by a desire for a specific type of shooting experience, and one that's very different than the S5II. Also, similar to the Canon, you'll mostly be limited to Nikon's own mirrorless lenses (though recent history suggests that Nikon is beginning to open the mount to allow some third-party options). If you prefer a more modern design, you could also consider the Nikon Z6 II, though that model is a bit long in the tooth compared to the other options here.

Sample galleries

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.

Panasonic Lumix DC-S5IIX in Japan

87%

Overall score

Jump to conclusion

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.

Key specifications

• 25MP CMOS sensor with dual output gain
• 5-axis in-body image stabilization (CIPA-rated to 8 stops)
• On-sensor phase detection (779 points)
• 3", 1.84M-dot fully articulating touchscreen
• 3.86M-dot OLED electronic viewfinder with 0.8x magnification
• 60 fps burst shooting with AF-C and electronic shutter (10 fps mechanical)
• 100MP handheld high-res mode
• Up to 5.8K Open Gate 4:2:0, C4K 4:2:2 10-bit, with V-Log and HLG
• ProRes 422 and 422 HQ recording to SSD
• Raw output to Atomos and Blackmagic external recorders
• 390 shots per charge battery life (using LCD)
• USB-C power delivery
• Dual UHS-II card slots

The G9 II is priced at $1899 body-only: a $200 increase from its predecessor.

Buy now:

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.

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.

Handheld 100MP | ISO 100 | 1/250 sec | F5.6 | Leica DG 12-60mm F2.8-4 @ 38mm equiv. Photo: Jeff Keller

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.

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.

ISO Invariance | Exposure Latitude

Autofocus

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.

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

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.

ISO 100 | 1/125 sec | F3.2 | Leica DG 12-35mm F2.8 @ 52mm equiv. Photo: Jeff Keller

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.

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.

Buy now:

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.

Production gallery

Pre-production gallery

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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. Photo and caption by Tyler Nordgren

Editor's note: We originally ran this story in conjunction with the solar eclipse of August 21, 2017. We've updated and republished it ahead of the solar eclipse of April 8, 2024.

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."

Photo: Richard Butler

We're almost a quarter 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!

March

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

Photo: Eric Limer

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

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

See the sample gallery

Buy now:

Leica SL3: Initial review

Photo: Richard Butler

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

Read the review

Panasonic Lumix DC-G9 II: Studio scene

Photo: Brendan Nystedt

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

See the results

February

Hasselblad 907X / CFV 100C: Sample gallery

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

See the sample gallery

Buy now:

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

Photo: Dan Bracaglia

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

Read the review

Buy now:

Nikon Zf: Video reel update

Photo: Richard Butler

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

Read the review

Buy now:

Panasonic Lumix DC-S5-II: Studio scene

Photo: Richard Butler

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

See the results

Buy now:

Fujifilm X100VI: Initial review

Photo: Richard Butler

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

Read the review

See the sample gallery

Buy now:

OM System OM-1 II: Sample gallery

Photo: Shaminder Dulai

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

See the sample gallery

Read the initial review

Buy now:

January

Sony a9 III: Initial review

Photo: Richard Butler

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

Read the review

Buy Now:

Lumix S 100mm F2.8 Macro: Sample gallery

Photo: Shaminder Dulai

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

See the sample gallery

Buy now:

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

Photo: Dan Bracaglia

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

See the sample gallery

Buy now:

iPhone 15 Pro Max: Sample gallery

Photo: Jeff L Carlson

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

See the sample gallery

Buy now:

Canon EOS R100: Review

Photo: Shaminder Dulai

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

Read the review

Buy now:

Fujifilm XF23mm F2 R WR: Review

Photo: Mike Tomkins

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.

Read the review

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Buy now:

$449 at Amazon

$449 at B&H

$449 at Adorama

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Sony ZV-1 Mark II: Review

Photo: Shaminder Dulai

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.

Read the review

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Buy now:

$898 at Amazon

$898 at B&H

$898 at Adorama

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Tenba Axis V2 18L backpack: Review

Photo: Tim Barribeau

The Tenba Axis V2 18L ($200) is a well-made, quietly competent but otherwise uninteresting backpack. Tenba has been in this industry long enough to know the basics of building a functional bag, but this simple black rectangle struggles to stand out against a field packed with more interesting, stylish, or specialized options like Peak Design's exceedingly versatile Everyday Bag or LowePro's hiking bag that happens to hold cameras well too.

Read the review

Buy now:

Updated: March 13, 2024

It's not so long ago that $2000 would buy you the lowliest, entry-level full-frame camera. Now, for around the same money, you get a choice of high spec cameras that shoot excellent stills and video, and include autofocus systems approaching the performance of professional sports cameras.

Choosing a camera also means committing to a lens mount, and the wider system that goes with it, so we advise checking whether the lenses you want to use are available at a price you're willing to pay. Not all camera makers allow other lens makers to produce lenses for thier mount, for instance, which can limit choice.

It's worth noting that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, it's worth considering whether they're good enough that you need to stick with a camera to which they can be adapted. You might get better results by selling-up and buying modern equivalents of your most-used lenses.

Several cameras have arrived in this price bracket fairly recently, and we've not yet completed our full reviews. We've only recommended cameras we've used extensively enough to be confident you'll be happy with them.

Our recommendations:

• Best camera around $2000: Canon EOS R6 II
• Best camera under $2000: Nikon Zf
• The compact, versatile option: Sony a7C II
• Best for stills and video: Panasonic Lumix DC-S5 II
• Best for vlogging: Sony ZV-E1
• A fixed-lens option: Fujifilm X100VI

Best camera around $2000: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

Buy now:

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

Read our full review of the Canon EOS R6 II

See the Canon EOS R6 II studio scene

Best camera under $2000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

The Nikon Zf is a retro-styled camera built around an image-stabilized 24MP full-frame BSI CMOS sensor.

Read our initial review of the Nikon Zf

The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

Read our full review of the Sony a7C II

Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is, in several ways, a better camera than the a7C II. It has a much nicer viewfinder and slightly better ergonomics. It also has a full mechanical shutter, which means there's no risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If compactness doesn't matter to you then it might be worth your while to pay a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.

What about other sensor sizes?

There are a couple of high-end APS-C cameras that fall in the realm of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.

Also worth mentioning is the OM System OM-1 II, released in early 2024, holding the torch as a flagship for Micro Four Thirds. At a price of $2,400, it's quite a bit more than $2,000 and really only makes sense for adventurers who demand high speed from the most compact possible kit.

Best for video and stills: Panasonic Lumix DC-S5 II

24MP BSI CMOS sensor | 6K/30p 10-bit video | 96MP high-resolution mode

Photo: Richard Butler

Buy now:

The Panasonic Lumix DC-S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.

The S5 II can't quite keep up with the latest Sony and Canon bodies for AF reliability, but it's pretty close, and its video feature list is particularly strong. Features such as waveforms and a built-in fan for recording dependability make it the strongest option in its class if you plan to shoot both stills and video.

There's also an S5 IIX model which can record video directly to an external SSD, allowing higher quality capture in All-I and ProRes codecs. It's a better choice if you're serious about video.

Read our initial review of the Panasonic DC-S5 II

What's best for video?

If you're only interested in video, Sony's FX30 might be a better choice than the S5 II or S5 IIX. The Panasonics offer full-frame 4K up to 30p, which give a potential image quality benefit over the APS-C FX30, but the Sony will exhibit less rolling shutter distortion. The FX30 also has the benefit that its 60p footage isn't cropped-in, compared with its 24 and 30p capture, meaning you won't have to zoom or swap lenses if you change frame rates. It applies a heavy crop for its 4K/120p mode, but that's something the Panasonics can't offer at all.

The S5 II also offers a waveform display and control in terms of shutter angle, which the Sony lacks, but the Sony's gimbal or rig-friendly design and superior autofocus make it the better choice if video is your primary focus.

Best for vlogging: Sony ZV-E1

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

Photo: Richard Butler

Buy now:

The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.

The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.

Read our initial review of the Sony ZV-E1

A fixed-lens option: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy. Photo: Richard Butler

Buy now:

While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

If you're looking to make an investment in a camera with a ton of versatility, the X100VI can't quite go toe-to-toe with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Updated: March 13, 2024

It's not so long ago that $2000 would buy you the lowliest, entry-level full-frame camera. Now, for around the same money, you get a choice of high spec cameras that shoot excellent stills and video, and include autofocus systems approaching the performance of professional sports cameras.

Choosing a camera also means committing to a lens mount, and the wider system that goes with it, so we advise checking whether the lenses you want to use are available at a price you're willing to pay. Not all camera makers allow other lens makers to produce lenses for thier mount, for instance, which can limit choice.

It's worth noting that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, it's worth considering whether they're good enough that you need to stick with a camera to which they can be adapted. You might get better results by selling-up and buying modern equivalents of your most-used lenses.

Several cameras have arrived in this price bracket fairly recently, and we've not yet completed our full reviews. We've only recommended cameras we've used extensively enough to be confident you'll be happy with them.

Our recommendations:

• Best camera around $2000: Canon EOS R6 II
• Best camera under $2000: Nikon Zf
• The compact, versatile option: Sony a7C II
• Best for stills and video: Panasonic Lumix DC-S5 II
• Best for vlogging: Sony ZV-E1
• A fixed-lens option: Fujifilm X100VI

Best camera around $2000: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

Buy now:

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

Read our full review of the Canon EOS R6 II

See the Canon EOS R6 II studio scene

Best camera under $2000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

The Nikon Zf is a retro-styled camera built around an image-stabilized 24MP full-frame BSI CMOS sensor.

Read our initial review of the Nikon Zf

The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

Read our full review of the Sony a7C II

Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is, in several ways, a better camera than the a7C II. It has a much nicer viewfinder and slightly better ergonomics. It also has a full mechanical shutter, which means there's no risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If compactness doesn't matter to you then it might be worth your while to pay a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.

What about other sensor sizes?

There are a couple of high-end APS-C cameras that fall in the realm of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.

Also worth mentioning is the OM System OM-1 II, released in early 2024, holding the torch as a flagship for Micro Four Thirds. At a price of $2,400, it's quite a bit more than $2,000 and really only makes sense for adventurers who demand high speed from the most compact possible kit.

Best for video and stills: Panasonic Lumix DC-S5 II

24MP BSI CMOS sensor | 6K/30p 10-bit video | 96MP high-resolution mode

Photo: Richard Butler

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The Panasonic Lumix DC-S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.

The S5 II can't quite keep up with the latest Sony and Canon bodies for AF reliability, but it's pretty close, and its video feature list is particularly strong. Features such as waveforms and a built-in fan for recording dependability make it the strongest option in its class if you plan to shoot both stills and video.

There's also an S5 IIX model which can record video directly to an external SSD, allowing higher quality capture in All-I and ProRes codecs. It's a better choice if you're serious about video.

Read our initial review of the Panasonic DC-S5 II

What's best for video?

If you're only interested in video, Sony's FX30 might be a better choice than the S5 II or S5 IIX. The Panasonics offer full-frame 4K up to 30p, which give a potential image quality benefit over the APS-C FX30, but the Sony will exhibit less rolling shutter distortion. The FX30 also has the benefit that its 60p footage isn't cropped-in, compared with its 24 and 30p capture, meaning you won't have to zoom or swap lenses if you change frame rates. It applies a heavy crop for its 4K/120p mode, but that's something the Panasonics can't offer at all.

The S5 II also offers a waveform display and control in terms of shutter angle, which the Sony lacks, but the Sony's gimbal or rig-friendly design and superior autofocus make it the better choice if video is your primary focus.

Best for vlogging: Sony ZV-E1

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

Photo: Richard Butler

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The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.

The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.

Read our initial review of the Sony ZV-E1

A fixed-lens option: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy. Photo: Richard Butler

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While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

If you're looking to make an investment in a camera with a ton of versatility, the X100VI can't quite go toe-to-toe with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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

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

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

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

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

These impressive results are also alarming.

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

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

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

What is real?

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

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

(At least until we start cloning wooly mammoths.)

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

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

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

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

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

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

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

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

Wild wild west

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

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

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

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

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

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

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

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

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

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

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

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

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

Weaponized disinformation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A value proposition

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

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

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

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

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

Photo: Richard Butler

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

April

Panasonic S5II: Review

Photo: Richard Butler

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

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

Read the review

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

Photo: Shaminder Dulai

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

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

See the sample gallery

March

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

Photo: Eric Limer

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

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

See the sample gallery

Buy now:

Leica SL3: Initial review

Photo: Richard Butler

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

Read the review

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

Photo: Dale Baskin

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

See the sample gallery

Panasonic Lumix DC-G9 II: Studio scene

Photo: Brendan Nystedt

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

See the studio scene

Sony a9 III: Sample gallery updated

Photo: Carey Rose

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

See the sample gallery

The Panasonic S5IIX goes to Japan: Sample gallery

Photo: Dale Baskin

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

See the sample gallery

Panasonic Lumix G9 II: Review

Photo: Brendan Nystedt

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

Read the review

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

Photo: Jeff Carlson

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

See the sample gallery

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

Photo: Dale Baskin

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

See the sample gallery

February

Hasselblad 907X / CFV 100C: Sample gallery

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

See the sample gallery

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

Photo: Dan Bracaglia

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

Read the review

Buy now:

Nikon Zf: Video reel update

Photo: Richard Butler

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

Read the review

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Panasonic Lumix DC-S5 II: Studio scene

Photo: Richard Butler

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

See the results

Buy now:

Fujifilm X100VI: Initial review

Photo: Richard Butler

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

Read the review

See the sample gallery

Buy now:

OM System OM-1 II: Sample gallery

Photo: Shaminder Dulai

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

See the sample gallery

Read the initial review

Buy now:

January

Sony a9 III: Initial review

Photo: Richard Butler

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

Read the review

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Lumix S 100mm F2.8 Macro: Sample gallery

Photo: Shaminder Dulai

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

See the sample gallery

Buy now:

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

Photo: Dan Bracaglia

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

See the sample gallery

Buy now:

iPhone 15 Pro Max: Sample gallery

Photo: Jeff L Carlson

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

See the sample gallery

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Canon EOS R100: Review

Photo: Shaminder Dulai

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

Read the review

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Fujifilm XF23mm F2 R WR: Review

Photo: Mike Tomkins

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.

Read the review

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Buy now:

$449 at Amazon

$449 at B&H

$449 at Adorama

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Sony ZV-1 Mark II: Review

Photo: Shaminder Dulai

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.

Read the review

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Buy now:

$898 at Amazon

$898 at B&H

$898 at Adorama

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Tenba Axis V2 18L backpack: Review

Photo: Tim Barribeau

The Tenba Axis V2 18L ($200) is a well-made, quietly competent but otherwise uninteresting backpack. Tenba has been in this industry long enough to know the basics of building a functional bag, but this simple black rectangle struggles to stand out against a field packed with more interesting, stylish, or specialized options like Peak Design's exceedingly versatile Everyday Bag or LowePro's hiking bag that happens to hold cameras well too.

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