The Pentax WG-1000 is an entry-level model designed for casual underwater photography to a depth of 49.2 feet (15 meters) for up to one hour of continuous operation. Lightweight yet rugged, the new camera is also well suited for a range of land-based activities – it is dustproof against dirt and stains and shockproof against a fall from a height of 6.5 feet (2 meters). It comes equipped with a carabiner strap for carrying convenience and a protective jacket to shield the camera body from scratches.
The Pentax WG-8 is the top-of-the-line model, developed to be the toughest of the PENTAX WG series. It’s waterproof to a depth of 65.6 feet (20 meters), shockproof against a fall from heights of 6.8 feet (2.1 meters), and able to operate in temperatures as low as 14°F (-10°C). Even in demanding conditions, it captures super-high-resolution still images of approximately 20 effective megapixels and high-quality 4K-resolution movie clips. Available in black or green, the WG-8 effectively replaces the current-model RICOH WG-6 camera as the premium offering in the product line.
Canon has announced the RF 35mm F1.4 L VCM lens, the first release in what the company says will become a full series of fixed-focal-length RF lenses with a hybrid design for stills and video, which are intended to work with both EOS photo and Cinema EOS cameras.
The RF 35mm F1.4 L VCM becomes the widest prime lens in Canon's L-series. Its optical formula consists of 14 elements in 11 groups, including two specialized aspherical lens elements and two ultra-low Dispersion glass elements.
The lens also benefits from Canon's Super Spectra Coating, Air Sphere Coating, and fluorine coating. It has 11 aperture blades. Autofocus is driven by a voice coil motor (VCM), a type of linear motor, for quick, precise focusing.
Size-wise, the lens is 99.3mm (3.9") long and has a diameter of 76.5mm (3.0"), making it both shorter and skinnier than Canon's EF 35mm F1.4L II USM, and it weighs in much lighter at 555g (20 oz) compared to 760g (27 oz) for the EF version.
Image: Canon
Like the RF 24-105mm F2.8 L IS USM Z announced last fall, Canon says it specifically designed the RF 35mm F1.4 L VCM to be a true hybrid stills/video lens in acknowledgment of the new multimedia production demands many professional creatives face today.
As such, the new 35mm prime also features a manual aperture ring, similar to the F 24-105mm F2.8 L, which allows for stepless control of the aperture/iris. Additionally, the lens is designed to minimize focus breathing. It's also compatible with Canon's newly announced, native RF-mouth EOS C400 cinema camera.
Pricing and availability
The Canon RF 35mm F1.4 L VCM is expected to be available in June at an estimated retail price of $1,499. It includes a case, lens cap, dust cap and lens hood.
Press release:
CANON ANNOUNCES FIRST LENS IN SERIES OF FIXED FOCAL LENGTH RF HYBRID LENSES - RF35MM F1.4L VCM
New Portable Speedlite with New Multi-Function Shoe Design Also Available
MELVILLE, N.Y., - June 5, 2024 — Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the RF35mm F1.4 L VCM lens and Speedlite EL-10 flash. The new RF35mm lens is the first in a series of fixed focal length RF lenses with hybrid video and still design, and the Speedlite EL-10 integrates with Canon’s new multi-function shoe design, for users of recent Canon EOS cameras.
Answering the needs of many professional high-level photographers, the new RF35m F1.4 L VCM lens can be looked upon as a standard lens for video and still users — for example, those who use the EOS R5 and EOS C70 cameras. This lens is the beginning of a new hybrid lens series and with its fixed focal length, fills a gap as there is not a fixed focal length lens wider than 50mm in the L-series — until now. Ideal for low-light, the RF35mm F1.4 L VCM lens features a manual iris (aperture) ring which helps provide better control when shooting movies.
The lens allows very little focus “breathing” as focus is moved, and it’s highlighted by two Aspherical lens elements and two ultra-low Dispersion glass elements. Overall, this lens has the outstanding L-series optical design many professionals have grown accustomed to. In addition, the lens can be used with the newly announced Canon EOS C400 cinema camera, further reinforcing Canon’s full support of the video market.
“The new RF35mm F1.4 L VCM lens is the answer for high-level video in the mirrorless market – while also providing still-imaging storytellers the durability and optical performance that is synonymous with Canon lenses,” said Brian Mahar, senior vice president & general manager, Canon U.S.A., Inc.
The Speedlite EL-10 flash is designed for the amateur photographer who is stepping into the mirrorless world, and the veteran user who is looking to get reacquainted with flash photography.
The multi-function shoe helps the still imagery storyteller by providing immediate access to the flash control menu, and either an on-camera EL-10 or the optional super-compact Speedlite Transmitter ST-E10 assists with triggering from one through up to fifteen off-camera flashes2.
The Speedlite EL-10 is a radio-based wireless flash with 2nd-curtain sync capabilities, and leverages four AA batteries instead of a separate battery that requires charging — making operation more streamlined for some users. In addition, it features a Custom Flash Mode function, allowing the end-user to register and store up to three sets of flash settings, and is approximately the same size and weight as its predecessor the Speedlite 430EX-III RT — while also pushing out the same amount of power. Automatic balanced fill flash is a key benefit to using flash photography, whether during daytime or low-light with slow shutter speed, and the Speedlite EL-10 is an excellent gear bag addition to achieve that creative look in one’s photos.
“Flash photography is a simple yet versatile way to add drama to one’s photos and with Canon’s steadfast commitment to reliability, the Speedlite EL-10 provides a full-circle Canon shooting experience,” continued Brian Mahar, senior vice president & general manager, Canon U.S.A., Inc.
Price & Availability
RF35mm F1.4 L VCM lens is expected to be available in June for an estimated retail piece of $1,499.00 and the Speedlite EL-10 is also expected to be available in June for an estimated retail price of $249.99*.
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The Pentax WG-8 "Adventure Proof" compact
Image: Ricoh
Ricoh has announced two new Pentax WG waterproof compacts: the range-topping WG-8 and the entry-level WG-1000.
The WG-8 replaces the Pentax WG-6 (and the Ricoh-branded WG-6 that came before it) at the top of the lineup. It's a 20MP camera with a Type 1/2.3 sensor (6.2x4.6mm) that's waterproof to a depth of 20m (65.6ft) for two hours: the deepest yet offered by the range. Ricoh says this is equivalent to an IPX8 or JIS Class 8 rating.
It's also shockproof from 2.1m (6.5ft), able to withstand 100kg force (220lb of force) and can withstand temperatures as low as -10°C (14°F). It has a 3.0" 1.04M dot (720 x 480px) rear LCD.
The WG-8 has a 28-140mm equivalent zoom lens with an F3.5-5.5 maximum aperture and a six LED ringlight around the lens. It can shoot up to 4K/30 video and can act as a webcam. It includes GPS and compass.
Pentax WG-1000
Image: Ricoh
The less expensive WG-1000 has a 16MP sensor and a 27-108mm equiv zoom. This has a maximum aperture of F3.0-6.6. It makes do with a 2.7" 230k dot (320 x 240px) rear display. It can only shoot video up to 1080/30.
Its durability specs are also lower, with waterproofing rated to 15m (49.2ft), shockproof from 2m (6.5ft). It also lacks its more expensive sibling's GPS and compass features. Neither model can cature Raw data.
The WG-8 will be available in late July at a recommended price of $399.95. The WG-1000 will arrive in mid July, costing around $229.95.
Press Release:
Ricoh expands its lineup of waterproof digital compact cameras with the PENTAX WG-1000 and the PENTAX WG-8
New cameras offer consumers entry-level and top-of-the-line options in all-weather adventure cameras from Ricoh
PARSIPPANY, New Jersey, June 5, 2024 — Ricoh Imaging Americas Corporation today announced it has expanded its lineup of waterproof, digital compact cameras with two new models: the entry-level PENTAX WG-1000 and top-of-the-line PENTAX WG-8. The newest additions to the WG series of all-weather adventure cameras both feature a rugged chassis, plus the waterproof, dustproof and shock-resistant features the series is known for.
| The PENTAX WG-1000 |
The WG-1000 is designed for casual underwater photography to a depth of 49.2 feet (15 meters) for up to one hour of continuous operation. Lightweight yet rugged, the new camera is also well suited for a range of land-based activities – it is dustproof against dirt and stains and shockproof against a fall from a height of 6.5 feet (2 meters). It comes equipped with a carabiner strap for carrying convenience and a protective jacket to shield the camera body from scratches.
The WG-1000 features a four-times optical zoom lens with a focal-length coverage from 4.9 mm to 19.6mm (equivalent to approximately 27mm to 108mm in the 35mm format). When coupled with its Digital Zoom function, the camera’s zoom range can be extended by approximately 24 times for high-magnification zoom photography. Its back-illuminated, 16.35-megapixel CMOS image sensor delivers sharp, clear, high-resolution images, even at a super-high sensitivity of ISO 3200.
Available in gray or olive, the WG-1000 offers seven image capture modes and a variety of color modes, enabling users to enhance their images based on their shooting environment and add their own personal aesthetic to the finished photos. The color modes include conventional Black and White and Sepia modes, as well as more creative options like Japan Style, which enhances bluish hues; Italian Style, which enhances greenish hues; and French Style, which enhances reddish hues.
|The PENTAX WG-8 |
Developed to be the toughest of the PENTAX WG series, the WG-8 boasts outstanding waterproof, shockproof and cold-resistant performance. This top-of-the-line model is waterproof to a depth of 65.6 feet (20 meters), shockproof against a fall from heights of 6.8 feet (2.1 meters), and able to operate in temperatures as low as 14°F (-10°C). Even in demanding conditions, it captures super-high-resolution still images of approximately 20 effective megapixels and high- quality 4K-resolution movie clips.
The WG-8 features a five-times optical zoom lens with focal-length coverage from 5mm to 25mm (equivalent to approximately 28mm to 140mm in the 35mm format). The lens’s minimum focusing distance of one centimeter allows the user to capture a wide range of images, from eye-catching close-ups to sweeping landscapes. Its Intelligent Zoom function extends the zoom range by approximately 40.5 times without compromising image quality.
The WG-8 has a host of advanced features and user-friendly functions, including a multi- application ring light, ideal for close-up macro photography, and web camera capability when connected to a computer for live-streaming of high-quality, high-resolution images. Its heavy-duty construction ensures that the WG-8 performs superbly and dependably in harsh, demanding outdoor conditions and on worksites.
Available in black or green, the WG-8 effectively replaces the current-model RICOH WG-6 camera as the premium offering in the product line
| Pricing and Availability |
The WG-1000 will be available mid-July at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $229.95
The WG-8 will be available late July at www.us.ricoh-imaging.com as well as at Ricoh Imaging- authorized retail outlets nationwide for a manufacturer’s suggested retail price of $399.95
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The Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, 32-bit float audio, and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.
Key specifications
25.2MP BSI CMOS sensor with parallel readouts
Phase hybrid autofocus
ProRes RAW and ProRes RAW HQ internal recording
32-bit Float audio capture
UHD or DCI 4K in 10-bit 4:2:2 at up to 60p
Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
5.7K full-width capture at up to 60p
5.8K Full-sensor 'open gate'/anamorphic capture at up to 30p
60 fps burst shooting with AF and pre-capture
External SSD recording
Real-time LUT support for photos and video
Lumix Lab app integration
1 x CFexpress Type B, 1 x UHS-II SD slot
Tilting/fully-articulating rear screen
Built-in fan for unlimited recording
The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022. It is expected to ship in July 2024.
The GH7 is built around a different sensor than the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.
The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to hold focus on a relatively static subject.
The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.
29.97, 25, 24, 23.98p
59.94, 50p
119,88, 100p
5.8K (Full sensor height)
20.5 ms
—
—
5.7K (1.9:1)
13.1 ms
13.1 ms
—
DCI 4K (1.9:1)
13.2 ms
13.2 ms
7.0 ms
UHD 4K (16:9)
14.1 ms
14.1 ms
7.4 ms
The other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.
On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.
However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is 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. It's interesting to note that when you exceed 60fps (where the Dual Output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.
32-bit float audio
The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input, and three dials to control the gain of each input. It can power mics that accept 48V phantom power.
While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.
32-bit Float audio doesn't encode its data directly as numerical values but instead captures them as scientific notation, with most of the bits encoding the value but the last few describing the magnitude (i.e: how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.
To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.
This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback, during the edit.
When recording 4-channel audio, this display allows you to view all four channels' input levels at once, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.
With the DMW-XLR2 you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.
There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.
Video
The GH7's headline video feature is support for internal ProRes RAW recording, including both ProRes RAW and ProRes RAW HQ, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.
ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.
Raw Codec
Resolution
Frame Rate
Crop
Destination
ProRes RAW
or
ProRes RAW HQ
5.7K (5728 x 3024)
29.97
25
24
23.98
Full width
CFexpress card or external SSD*
DCI 4K (4096 x 2160)
59.94
50
29.97
25
24
23.98
1.41x
*Supports SSDs up to 2TB capacity
The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.
The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.
In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.
Subject recognition AF
In addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.
Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.
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. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.
Subject recognition works in both still and video modes.
Photography features
While initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.
Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.
The GH7 also gets Panasonic's real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.
This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.
Image stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting. New to the camera is Panasonic's Active I.S., a more aggressive stabilization mode that's intended to provide stabilization for situations like running with the camera.
Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud functionality, which automatically uploads video proxy files or images to Adobe's Frame.io service.
How it compares
The GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented of their own.
Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30, Fujifilm X-H2S, and another member of the Lumix family, the G9 II.
Panasonic GH7
Panasonic GH6
Sony FX30
Fujifilm X-H2S
Panasonic G9 II
MSRP at launch
$2199
$2199
$1799
$2499
$1899
Sensor size/type
Four Thirds BSI CMOS
Four Thirds BSI CMOS
APS-C BSI CMOS
APS-C Stacked CMOS
Four Thirds BSI CMOS
Cooling
Built-in fan
Built-in fan
Built-in fan
Optional screw-on fan
None
High res modes
5.8K (4:3) 5.7K (1.9:1)
5.8K (4:3) 5.7K (1.9:1)
None
6.2K (3:2)
5.8K (4:3) 5.7K (1.9:1)
High speed modes
4K/120p (full width) FHD/300p
4K/120p (full width) FHD/300p
4K/60p (1.04x crop) 4K/120p (1.56x crop) FHD/240p
4K/60p (full width) 4K/120p (1.29x crop) FHD/240p
4K/120p (full width) FHD/300p
Codec options
ProRes RAW ProRes RAW HQ ProRes 422 HQ ProRes 422 H.265 (All-I / Long GOP) H.264 (All-I / Long GOP)
ProRes 422 HQ ProRes 422 H.265 (All-I / Long GOP) H.264 (All-I / Long GOP)
X-AVC HS (H.265 Long GOP) X-AVC I (H.264 All-I) X-AVC S (H.264 Long GOP)
ProRes 422 HQ ProRes 422 ProRes LT H.265 (All-I / Long GOP) H.264 (All-I / Long GOP)
ProRes 422 HQ ProRes 422 H.265 (All-I / Long GOP) H.264 (All-I / Long GOP)
Up to 4ch with optional XLR2 unit, 32-bit float audio
Up to 4ch with optional XLR1 unit
Up to 4ch with optional XLR handle
Up to 4ch with optional Tascam XLR unit
Up to 4ch with optional XLR1 unit
Battery life (CIPA) LCD
380
360
570
580
390
Weight (loaded)
805g (28.4 oz)
823g (29.0 oz)
646g (22.8oz)
660g (23.3oz)
658g (23.2oz)
From a specs standpoint, the GH7's main advantages are ProRes RAW and 32-bit Float audio, both significant features. However, the X-H2S pulls ahead in the rolling shutter race, thanks to its stacked sensor. Fortunately, all of these cameras have relatively fast sensors, so you're unlikely to see much rolling shutter except in extreme situations.
Other than those callouts, the cameras are well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect, designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort that's primarily focused on video and might not be a good choice as a hybrid camera.
The G9 II is an interesting comparison as it shares most of the GH7's video features. If you like Panasonic cameras and don't need the GH7's most advanced video features, it could be a viable choice, particularly if you plan to use it mainly for photos or prefer its body style.
Body and controls
The GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.
There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.
EVF and rear screen
Remember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.
The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.
Audio button and 32-bit Float audio
The GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.
As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit float recording.
All four audio channels are output over HDMI.
Fan
The GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.
Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, in some of the more demanding modes, opening the Thermal Management menu and changing the setting from standard to high may be necessary.
"The GH7 can provide unlimited recording at all resolutions and frame rates"
The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.
Battery
The GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.
The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.
To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.
Initial impressions
By Dale Baskin
As someone who has used GH cameras since the GH1, I'm always excited to see a new model released – not just because I work at DPReview, but because I'm genuinely curious to see how Panasonic continues to evolve the product line.
And it's been a rather interesting evolution over the years. If you're curious, check out this article Richard and I wrote a few years back that looks back at every model from the GH1 through the GH6 and the new features that arrived with each. (Quiz: How many GH models have there been, including the GH7? If you guessed seven, you would be wrong. Better read that article!)
To me, the real innovation on the GH7 is the addition of 32-bit Float audio, not only because it's the first mirrorless camera to include it but because it's so helpful for the type of shooters who often use a camera like the GH7: small teams or individuals working on a budget.
Much of my own video work falls into that category, and I know from experience how easy it is to screw up audio. When you're shooting solo, you're wearing a lot of hats. It's easy to miss a detail here or there, but when that detail is related to audio, the impact can be disastrous.
32-bit Float audio could be a very helpful tool for individual or small teams who do a lot of multitasking while shooting.
Of course, 32-bit Float audio only solves some audio problems: it won't eliminate the sound of a jacket rubbing against a poorly positioned mic or the rumble of a plane flying overhead. But it does give you one less thing to worry about and one less mistake to make.
The addition of internal ProRes RAW recording is a logical one, though it's not the first mirrorless camera to get internal ProRes RAW (The Nikon Z8 and Z9 already support it). There was a time when you could count on the GH series to be first across the line with new features like this, but the rest of the market is catching up.
And that's OK. I don't think the GH series needs to be first to market with every new video feature to be successful. There was a time when that mattered more, but mirrorless cameras have become so good at video in recent years that new features often count more as refinements than game changers. It's a sign of a maturing market and a maturing GH line.
I'm also glad to see the GH7 receive expanded access to Panasonic's real-time LUT system and integration with the Lumix Lab app. As a camera reviewer, I don't think I fully appreciated the value of real-time LUTs until I started using them on the Lumix S9, where they're a core part of the camera's experience.
"I don't think the GH series needs to be first to market with every new video feature to be successful."
Once I started using them for photography, I really enjoyed the experience. It's a bit like using film simulations on a Fujifilm camera, except that I can create my own simulations, and the Lumix Lab app makes it ridiculously easy to do so. While I've mostly focused on using LUTs for photos, there's a lot of value in them for videography, too, especially the ability to apply LUTs to proxy files as they're generated.
As I alluded to a moment ago, the GH series has matured a lot over the years, with improvements counting as refinements rather than revolutionary updates, and that may be the most important thing to recognize. To me, the real sign that the GH series has reached a new level of maturity is that, in many ways, the GH7 is relatively unchanged from its predecessor. Sure, there's some meaningful new technology under the hood, but at this point, it's a matter of making a really good product even better and creating a consistent platform for users to work from, and that consistency of form factor and user experience makes the move from the GH6 to the GH7 about as seamless as possible.
A mid-range portable flash unit that replaces the popular Speedlite 430EX-III RT.
A great flash for photographers wanting to expand their creative abilities, or to step-up from a basic flash unit.
Utilizes Canon Multi-function Shoe connection and is compatible with the EOS R3, EOS R6 Mark II, EOS R7, EOS R8, EOS R10, and EOS R50 Mirrorless Digital Cameras.
Guide Number is about 82.7, in feet — in other words, at ISO 100 and at f/4, it can illuminate a subject about 20 feet away.
E-TTL automatic flash with any compatible R-series mirrorless camera, full Manual flash control, and Flash Exposure Memory.
Powered by 4 readily available AA batteries
Utilize the free Canon Connect smartphone app to change settings like flash intensity, flash
Control up to 15 additional Speedlite flashes wirelessly via radio.
The latest L-Series hybrid lens featuring an iris ring for manual iris control during video capture.
A Nano USM is used for floating focus and a Voice Coil Motor (VCM) for rear focus which allows for quiet independent or synchronized actuation at high speed, great for video.
Improved durability and weather-resistant construction for use in harsh environments helps ensure reliability and dependability.
Incredibly minimal focus breathing.
Air Sphere Coating (ASC) helps significantly reduce lens ghosting and flare.
This lens features 2 UD elements to minimize chromatic aberration, and 2 aspheric lenses for incredible quality from edge-to-edge.
CIPA (Camera & Imaging Products Association in Japan) published their latest camera production data (orange: 2024, black: 2023, blue: 2022):
April 2024 CIPA numbers by ZoetMB
April was another solid month for the industry. Compared to last April (just for that one month), mirrorless units were up 5.2% and lens shipments were up 7.7%. Year-do-date unit and shipped value numbers are up far more.
CIPA has predicted 5.89m ILCs, 1.52m compacts and 9.57m lenses for calendar 2024. Based on 2023 shipping patterns, ILC’s could conceivably come in at 6.7-7.1m units. Lenses might hit 10 million for the first time since 2019.
That compares to:*
2023: 6.001 million bodies (+1.25%), 9.639 million lenses (-0.92%).
2022: 5.927 million bodies (+10.8%), 9.7 million lenses (+1.6%).
2021: 5.348 million bodies (+0.75%), 9.55 million lenses (+6.1%)
2020: 5.308 million bodies (-37.3%), 9 million lenses (-36.6%)
2019: 8.462 million bodies (-21.4%), 14.2 million lenses (-21.1%)
2018: 10.76 million bodies (-7.9%), 18 million lenses (-6.4%)
2017: 11.68 million bodies (+0.6%) 19.22 million lenses (+0.156%)
2016: 11.61 million bodies (-11.1%), 19.19 million lenses (-11.6%)
2015: 13.06 million bodies (-5.6%), 21.7 million lenses (-5.2%)
2014: 13.84 million bodies (-19.2%), 22.9 million lenses (-14.2%)
2013: 17.13 million bodies (-15%), 26.7 million lenses (-12.2%) 2012: 20.16 million bodies (+28.5%), 30.4 million lenses (+16.9%)
2011: 15.69 million bodies (+21.7%), 26.0 million lenses (+19.9%)
2010: 12.89 million bodies (+30%), 21.69 million lenses (+34.7%)
2009: 9.91 million bodies (+2.2%), 16.1 million lenses (+2.5%)
2008: 9.7 million bodies (+17.4%), 15.7 million lenses (+25.6%)
2007: 8.26 million bodies, 12.5 million lenses
*Bodies = ILC bodies
April 2024: Cumulative Units & Shipped Value:
(All comparisons to YTD 2023)
The ratio of lenses shipped to bodies shipped is 1.69 for YTD 2024. (was 1.70 for YTD 2023).
Full-year 2024 Geographic Share: (Asia doesn’t include China or Japan)
DSLR: Units: China 09.8%, Asia 07.3%, Japan 4.2%, Europe 36.6%, Americas 40.4%, Other 1.6% Shipped Value: China 16.7%, Asia 09.3%, Japan 4.9%, Europe 30.1%, Americas 37.7%, Other 1.3%
Mirrorless: Units: China 28.7%, Asia 16.2%, Japan 09.9%, Europe 19.2%, Americas 22.5%, Other 3.4% Shipped Value: China 31.1%, Asia 16.1%, Japan 08.3%, Europe 18.1%, Americas 22.2%, Other 4.2%
Compacts: Units: China 09.9%, Asia 11.9%, Japan 23.3%, Europe 21.7%, Americas 28.5%, Other 4.8% Shipped Value: China 13.6%, Asia 14.5%, Japan 14.4%, Europe 23.3%, Americas 28.8%, Other 5.4%
Lenses: Units: China 22.3%, Asia 14.4%, Japan 11.8%, Europe 22.8%, Americas 25.3%, Other 3.5% Shipped Value: China 26.6%, Asia 15.2%, Japan 11.1%, Europe 20.7%, Americas 21.8%, Other 4.6%
Approximate shipped value per unit (at ¥156=$1): DSLR: $314 Mirrorless: $769 Compact: $335 Lenses: $341
A list of participating CIPA companies can be found here.
As an all-in-one zoom, Samyang’s latest L-Mount lens combines a large f2-f2.8 maximum aperture with premium optics and a versatile 35-150mm focal range to deliver outstanding resolution in any shooting scenario. Perfect for everything from candid street portraits to night-time cityscapes and beyond, this lens is a valuable investment for photographers needing to adapt quickly to get ‘the shot’.
The First L-Mount Samyang Lens, The Fast All-Rounder Zoom
The newly released AF 35-150mm F2-2.8 L is the fast all-rounder zoom lens many L-mount camera users eagerly await. This lens features a versatile zoom range, fast F2-2.8 aperture, premium and solid design, outstanding resolution, fast and accurate AF performance, and convenient functionality. Thanks to its versatility, L-mount camera users can now unleash their limitless creativity. With its unparalleled versatility and performance, the AF 35-150mm F2-2.8 L is a must-have lens for L-mount camera users. Experience the ultimate creativity and convenience with this essential addition to your photography kit.
Versatile Zoom Range from 35mm to 150mm
The AF 35-150mm F2-2.8 L stands out with its maximum aperture of F2 at its widest and F2.8 at the telephoto end, covering the five main focal lengths (35/50/85/135/150). Its wide zoom range makes it a versatile tool, designed to excel in various shooting scenarios, from portraits to travel photography.
Gorgeous Bokeh with a Fast F2-2.8 Aperture
A large aperture starting from F2 presents an attractive background blur to the image's out-of-focus areas. The lens effectively separates the subject from the background, using a shallow depth of field to capture a unique image in which the background is compressed. The clear and natural bokeh created by the 9 diaphragm blades makes capturing beautiful day and night cityscapes possible.
Short Minimum Focusing Distance of 0.32m (1.05ft)
The AF 35-150mm F2-2.8 L offers excellent close-up performance for an all-rounder zoom. With a MOD (Minimum Focusing Distance) of 0.32m(1.05ft) at 35mm and 0.85m(2.79ft) at 150mm, you can easily get close-ups with sharp details. Combined with the fast aperture of the lens, the background is beautifully blurred when close to the subject, making the lens even more versatile.
Premium and Solid Design
The 'Hidden Red Ring', which upgraded Samyang's premium design to the next level, makes the lens even more attractive. As it is the L-mount lens, it adopts the red dot lens mount index. In addition, by applying a metal barrel, the build quality was improved and the lens was made more robust. A zoom lock switch helps users keep the lens set at its shortest 35mm position, making it more convenient and safe to carry.
Outstanding Resolution
With the latest optical design using special lenses for 12 of the 21 total elements (in 18 groups), this lens demonstrates excellent optical performance throughout the zoom ranges from wide-angle to telephoto on the L-mount cameras. In addition, 'UMC (Ultra Multi-Coating)' technology is applied to minimize flare and ghosting, helping to produce natural and clear images.
Fast and Accurate AF Performance
The Linear Stepping Motor provides high responsiveness and accuracy when shooting photos and videos and is excellent for tracking fast-moving subjects.
Convenient Functionality
If you set the custom switch to MODE 2 in the AF mode, the focusing ring operates with the aperture adjustment function. Switching to MODE 3 enables a unique video feature called 'Dolly Shot' in MF mode. Two Focus Hold Buttons are equipped on the side, which can be used as focus hold buttons in AF mode and as focus save buttons in MF mode.
Optimized Features for Video Shooting
The AF 35-150mm F2-2.8 L is also optimized for videography, helping you shoot more professional and creative content.
1) Dolly Shot (Mode 3, MF): A professional dolly can be expensive and challenging to operate, however, this lens allows you to easily recreate the dolly shot effects - identical subject scale but variable background scales - of using one by rotating the zoom ring while tracking the subject.
2) Digital Par-Focal (Mode 1&2, MF): After focusing on the subject in MF mode, the focus doesn’t require adjusting again, even when zoomed in or out. This allows filmmakers to reduce shooting time and enable accurate and stable shooting.
Weather-sealed Design
Considering the users’ shooting environment, the lens is weather-sealed to prevent damage or contamination from dust, light rain, and snow.
Shortly after the GH6 was listed as discontinued in Japan, Panasonic published a new teaser on social media for a new Micro Four Thirds camera that will be officially announced this week on June 5th during the Cine Gear Expo in LA:
Connexion
