1839 Awards announces winners of its 2024 Photographers of the Year contest
The winners of the 1839 Awards have been announced. The awards crown an International Photographer of the Year and Discovery of the Year. Beyond the overall winners, the contest celebrates the work of Photographers of the Year in 15 categories at the professional level and Discovery of the Year in 14 categories at the non-professional level. You can see all of the winners online at the 1839 Awards Photographer of the Year Contest Winner's Gallery.
The 1839 Awards are "named after one of the most formative years in the history of photography." While the first photograph taken by a camera was created in 1826 by Joseph Nicéphore Niépce, 1839 was the year of the formal announcement of the daguerreotype process at the French Academy of Sciences. That year marked the turning point when the medium was first made widely available to the public.
The 2024 Photographer of the Year Contest received entries from 60 countries covering a vast array of subject matter and styles. An international panel of 11 judges, comprised of world-renowned photographers, curators, directors and industry professionals, selected this year's winners.
International Photographer of the Year: Overall professional winner
Artist: Logan White IG handle: N/A Entry title: Hearts Content Road, Gianna Entry description: Hearts Content Road refers to a series of surreal and allegorical portraits taken in Upstate New York, exploring the dual nature of fantasy—a realm that provides both escape and excitement, yet harbors its own shadows of uncertainty.
International Discovery of the Year: Overall non-professional winner
Artist: Matthew Portch IG handle:@matt_portch Entry title: Buried Car, CA Entry description: From an ongoing series, Lost America examines a quiet stillness in a forgotten landscape that is, in a sense, ‘on pause’. Places appear frozen in time, their inhabitants absent or long since departed. Ardently stagnant in appearance, the spaces yearn to instill a melancholic feeling of familiarity.
Professional category winner: Abstract
Artist: Jay Tang IG handle:@visualcreature Entry title: Everyday Landscapes Entry description: Everyday Landscapes is a series of abstract photographs, created using the shadows of everyday material, like paper and tissues, to form a new perceived reality of painting-like landscapes.
Professional category winner: Event
Artist: Christiaan Van Heijst IG handle: @jpcvanheijst Entry title: An Office with a View Entry description: Long exposure, wide-angle shots taken from the flightdeck of the Boeing 747, cruising along the upper atmosphere.
Professional category winner: Architecture
Artist: Jan-Tore Oevrevik IG handle: @JPJ_FOTO Entry title: Balones and Stairs Entry description: The "Balloons and Stairs" is a multi exposure photography, aims to establish a captivating dialogue between light, space, and unexpected elements, represented by floating balloons that bring movement and freely navigate fascinating environments.
Professional category winner: Culture
Artist: Katelin Kinney IG handle: N/A Entry title: Desert Drag Entry description: This project is a collaboration with local Drag Queens & Kings in Arizona. I wanted to bring attention to drag as an art form and celebrate that it has stretched far and wide even to the edges of the southwest desert.
Professional category winner: Travel
Artist: Andrew Newey IG handle: @andrewnewey Entry title: Honey Hunters of Nepal Entry description: High in the Himalayan foothills of Nepal Gurung honey hunters gather twice a year, risking their lives to harvest the honey from the world’s largest honeybee. For hundreds of years, the skills required to practise this ancient and sacred tradition have been passed down through the generations.
Professional category winner: Conceptual
Artist: William Josephs Radford IG handle: @josephsradford Entry title: White Knight Entry description: This series is a visual exploration of love, life, and death, following my father’s passing from a brain tumor. Using a vaseline-coated lens and other experimental techniques, I blur the lines of reality to reflect the transition between this realm and the afterlife.
Non-professional category winner: Wildlife
Artist: Reed Fowler IG handle: @reedfowlerphoto Entry title: Dinner is Served Entry description: This photo was taken at Brooks Falls in Alaska. The salmon were not jumping much that day, but I managed to capture the perfect shot when one did. From the color of the salmon to the way the bear is lunging with its mouth wide open, there is nothing I would change about my dream shot.
Non-professional category winner: Film/analog
Artist: Mykola Myronov IG handle: N/A Entry title: By the Ocean Entry description: It doesn't matter how rich you are, what car you drive and how many friends you have in your life. We are all naked and alone by the ocean. Going to the coast, we become naked and find ourselves one on one with the ocean. Only in such moments we can stop and see who we really are.
Non-professional category winner: Landscape
Artist: Ross Steensland IG handle: @rsteensland Entry title: Tunnel View Entry description: When planning a trip across the Western United States, I based my route and timelines on my astrophotography bucketlist. And the top of that list was Yosemite. Planning showed that the Cygnus region with all of its red Hydrogen Alpha nebula and the Great Rift would line up right above Tunnel view.
Non-professional category winner: Storytelling
Artist: Evan Murphy IG handle: @evan.murphy Entry title: I.D. Entry description: "I.D." emphasizes on queer youth; displaying stories of modern day romantic connections, societal impacts, and self liberation. Through a series of subjects, each frame narrates the journey of an LGBTQ individual navigating the intricate landscape of self and society.
Non-professional category winner: Street
Artist: Turid Martinsen IG handle: N/A Entry title: Pimp Nails in Havana Entry description: If you walk the streets of Havana, you might discover small nail-shops. They are often located at the bottom floor. In a society where private business are not exactly encouraged, small enterprises are example of female initiative. It is cheap, customers are local, often the neighbour next door.
Non-professional category winner: Still life
Artist: Astrid Reischwitz IG handle: @astridreischwitz Entry title: The Taste of Memory Entry description: The series explores personal and collective family narratives woven through still life compositions, intertwining threads of home, heritage, and identity. Embroidered fragments from old dish towels from my village in Germany now speak of loss and the gradual disappearance of cultural rites.
We are excited to announce that, to celebrate this special occasion, we will begin researching, developing, and producing photographic and cinematic films.
Our initial research has yielded promising results. Our first emulsion test indicates that our black-and-white T-Grain silver halide structure research has succeeded. We conducted a test shot using our Seagull Upgrade Project TLR Camera. However, the antihalation layer was not applied to the film during this testing phase. A new antihalation layer will be utilized for future films.
Our goals for this project include researching, developing, and producing films through the following development processes:
Black and White film with T-Grain Structure, with speeds ranging from 100 to 1600
C-41
E-6
Instant Peel-Apart Film
ECN-2 for cinematography
And more in the future
We also aim to produce films in various photographic or cinematographic formats; please stay tuned for future releases.
The Film Project will utilize our newly developed proprietary machine and emulsion process, allowing us to be self-sufficient in our production.
This film project will be marketed under a different brand name, so please stay tuned for future updates!
Yashica officially released the previously reported City 100 compact camera - it features a 3x optical zoom and 4x digital zoom, with both auto and manual focus options and a flip LCD screen. Yashica cameras are sold at Amazon. Here are the technical specifications:
Sensor: CMOS sensor
Aperture and focal length: F./1.6~ 2.8 f:3.45mm~10.5mm
Display: 2.8" screen and 4:3 display
Zoom: 3X optical zoom 4X digital zoom
Shooting distance:Wide：0.5m~INF Tele：1m~INF
File format:Photo: JPEG
Video: MP4
Video resolution:5K：5120*2880（30fps）/ 4K :3840*2160（60fps）( 30fps) / 2.7K：2688*1512（60fps) ( 30fps) / FHD 1080P : 1920*1080 （120fps/60fps/30fps) / HD 720P : 1280*720（120fps/60fps/30fps)
Photo resolution:72M/64M/48M/36M/24M/13M/8M/5M
Storage media: External Micro SD/TF card (supports up to 256GB, U3, Class10 or above
Microphone :Built-in
Speaker :Built-in
I/O interface: MIC/USB
Wi-Fi :Support
Hot Sho e:support
Computer system compatible:Windows 7/8/10/11, Mac OSX10.5 or higher
Power input:DC5V/2A Type-C USB
Volume:Length 106 x thickness 65.5 (with lens cover 4.5) x height 61.3MM
The Nikon Z50II is the company's latest entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. As with the original Z50, it's expressly aimed at stills and video creators looking for a small camera that makes it easy to upload.
It brings updated burst modes and AF functions to its predecessor, but most of the advancements are on the video side of the camera.
Key specifications
20.9MP APS-C sensor
Twin control dials
Full-width 4K video up to 30p (60p with crop)
3D-tracking autofocus and subject recognition for nine subject types
Up to 11fps mechanical, with up to 1 second pre-release capture
Fully articulated 3.2" touchscreen
Single UHS-II SD card slot in battery compartment
2.36M dot EVF with brightness up to 1000nits
The Z50II retails for a recommended price of $909 body-only and $1,049 as a kit with Nikon's DX 16-50 F3.5-6.3 lens.
The Z50II is, as the name suggests, an updated version of the company's original APS-C Z-mount camera. Much of what it gains comes from the use of a newer, more powerful Expeed 7 processor, but there are some subtle yet potentially significant additions beyond that.
Flexible Color Picture Control and Picture Control Button
The new Picture Control button is right above the rear control dial.
It's a change unrelated to processing power that helps signpost what the Z50II is and who it's intended for: the addition of a dedicated 'Picture Control' button to let you select the camera's color mode.
The changes go deeper than the labeling of a button, though. The Z50II becomes the first model to offer 'flexible' Picture Control profiles that let you adjust or download additional profiles. The camera comes with 31 but you can add more, and limit which ones appear when you hit the Picture Control button, so that it doesn't become overwhelming.
Nikon has, at least as far back as 2008, been one of the few brands to offer software to let you edit its in-camera profiles. The company's NX Studio software lets you adjust the existing Picture Controls, applying your own custom tone curve or changing the sharpening and saturation of the profile. However, you only get limited control over the color response, with a global hue adjustment, rather than the ability to re-map colors that a LUT would give.
It's the ability to download Creator Recipe profiles from Nikon's Imaging Cloud that we suspect most users will experiment with.
Brighter viewfinder
The Z50II also gains a brighter viewfinder, now capable of displaying up to 1000 nits, double the maximum brightness of the one in the existing model. The display isn't bright enough to fully preview HLG high dynamic range capture though, and is still the same 2.36M dot resolution.
Subject recognition / 3D Tracking
One of the most significant improvements that does come from the new processor is the Z50II's autofocus system. It gains the subject recognition modes from other recent Nikon cameras, boosting the number of recognized subjects from three to nine.
Nikon Z50II
Nikon Z50 / Zfc
Subjects recognized
Humans (Eye, Face, Upper Body)
Birds
Cats
Dogs
Cars
Motorcycles
Bicycles
Trains
Airplanes
Humans (Eye, Face, Upper Body)
Cats
Dogs
It also adds the 3D Tracking AF mode, that makes it quicker to track subjects, regardless of whether the camera has been specifically trained to recognize them.
C30 and pre-burst
Another Expeed 7 feature to arrive on the Z50II is its ability to shoot at high speeds in e-shutter mode, with the option to start buffering images when the shutter is half-pressed and saving images captured up to one second before the shutter button is fully depressed.
The Z50II's C30 and C15 modes can shoot with autofocus at up to 30fps or 15fps, respectively, though they only record JPEGs.
Nikon Imaging Cloud
The Z50II is also compatible with Nikon's Imaging Cloud service, which debuted with the Z6III. That means that, when connected to a Wi-Fi network, it can automatically upload your photos to Nikon's servers, which shuffle them off to your choice of third-party cloud storage services, such as Dropbox, Google Drive, or Lightroom. You can also have your camera automatically download firmware updates, and have it sync Picture Control presets that you've selected on your computer or phone. While many cameras have similar features, they have to be paired with a smartphone or camera to use them – the Z50II can do it on its own connected to your router.
What's new for video:
Despite using the same sensor as the Z50, Nikon has managed to squeeze significantly better video out of it. The Z50II can now encode video in 10-bit precision, allowing internal N-Log capture to maximize color and tone grading potential, or HLG high dynamic range capture for playback on HDR displays and TVs.
The Z50II also gains the ability to capture 4K/60 footage from a cropped region of the sensor.
On top of this, Nikon says the electronic image stabilization (eVR) in video mode is improved. The Z50II also gets a "Product review" autofocus mode, that knows to override its face detection AF if an object is held up in front of the camera: a feature that can be useful for vloggers discussing a specific product they want to show.
How it compares
The Z50II arrives into what was previously a competitive point in the market but one that fewer and fewer manufacturers seem to be catering to. Fujifilm offers the similarly beginner-friendly X-M5 for around $200 less, but with no viewfinder, or the high-resolution, image stabilized X-T50 for a whopping $400 more. Meanwhile, Sony offers the now rather elderly a6400 at a comparable price. It makes fewer accommodations to people new to ILCs and its age means its video spec lags way behind.
It's only really Canon, with its EOS R10 that offers an approximately like-for-like competitor to the Z50II. The other camera we feel it makes sense to compare it to is Nikon's own Zfc. It has near identical specs to the original Z50, other than its fully articulated rear screen. By including another Nikon entry-level camera, we can see what's changed over the past five years.
Nikon Z50II
Canon EOS R10
Sony a6400
Nikon Zfc
MSRP (With kit zoom)
$909 ($1049 w/ 16-50 F3.5-6.3)
$979
$900
$960
Pixel count
20MP
24MP
24MP
20MP
Image stabilization
No
No
No
No
Max frame rate
11fps (mech)
30fps (e-shutter, JPEG)
15fps (mech)
23fps (e-shutter)
11fps (mech)
8fps (e-shutter)
11 fps (12-bit Raw)
9 fps (14-bit)
Viewfinder res. / mag.
2.36M dot 0.68x
2.36M dot 0.59x
2.36M dot 0.71x
2.36M-dot 0.68x
Rear screen res. / type
3.2" / 1.04M dot fully-articulated
3.0" / 1.04M dot fully-articulated
3.0" / 921k dot tilting touchscreen
3.0" / 1.04M-dot fully-articulating
AF selection
Touchscreen / D-pad
Touchscreen / joystick
Touchscreen / D-pad
Touchscreen / D-pad
Video
UHD 30p full-width
UHD 60p with 1.5x crop
UHD 30p full-width
UHD 60p from 1.56x crop
UHD 24p full width
30p with 1.22x crop
UHD 30p/24p full-width
10-bit options
N-Log, HLG
HDR PQ
No
No
Mic / headphone sockets?
Yes / Yes
Yes / No
Yes / No
Yes / No
CIPA Battery rating (LCD/EVF)
230 / 220
350 / 210
410 / 360
360 / 310
Weight
520g (18.3 oz)
426g (15oz)
403 g (14.2oz)
445g (15.7oz)
Dimensions
127 x 97 x 67mm (5.0 x 3.8 x 2.6")
126 x 88 x 83 mm (5.0 x 3.5 x 3.3")
120 x 67 x 60 mm (4.7 x 2.6 x 2.4")
135 x 94 x 44 mm (5.3 x 3.7 x 1.7")
As well as advances in technology, another change since we reviewed the Z50 is that both Nikon and Canon have allowed some third-party lenses into their respective APS-C systems. In the case of Nikon, that includes three of Sigma's DC DN prime lenses, which add relatively affordable ways to boost the camera's capabilities. Canon, meanwhile, has allowed Sigma to offer its two DC DN zooms, with four prime lenses to follow.
This still leaves both systems well short of the variety of APS-C focused lenses offered for Fujifilm's X mount, or of the selection available for Sony, but means you're not solely dependent on the camera maker's development priorities for either camera anymore.
Body and handling
The body of the Z50II is very much like that of its predecessor, which is to say it's like a slightly shrunk-down version of Nikon's original Z-series full-frame models. Despite the size reduction, the Z50II retains a fairly substantial hand grip.
The body is primarily made from fiber-reinforced plastic, which gives it a fairly solid feel without becoming overly heavy. There's a textured coating around the handgrip and the back corner of the camera that gives a comfortable and reassuring amount of grip on the camera. The front and rear command dials are well positioned for forefinger and thumb operation without any need to shift your hand position on the camera.
It gains four extra buttons along the back of the camera, compared with its predecessor, which means its controls much more closely mimic those of the full-frame Z models, with dedicated +/– zoom buttons, a drive mode button and a 'DISP' button being added. There's an additional button on the top of the camera, too: just behind the existing [REC], ISO and Exposure Comp buttons is a dedicated 'Picture Control' button.
It doesn't gain the joystick that the full-frame models have, though, and the Stills/Movie switch they feature around their DISP buttons is instead on the Z50II's top plate. The Play and Drive Mode buttons are transposed relative to the full-frame models, but we doubt enough people will be trying to shoot both side-by-side for this difference to matter).
The Z50II also moves from a tilt up/down screen to a fully articulated one, as featured on the Zfc and Z30. Nikon has described all four of its APS-C Z-mount models as being for 'creators,' so this change is no real surprise.
Viewfinder & screen
The Z50II's viewfinder can now go as bright as 1000 nits, twice as bright as the one in the older model, which should mean there's less need for your eye to adapt when you're using the camera in bright sunshine. It's not bright enough to fully preview HLG images, though.
It remains a relatively low-resolution 2.36M dot display, in keeping with the Z50II's lowly position in the lineup. It offers 0.68x magnification, in equivalent terms, which is pretty large for a camera at this price.
Ports & slots
The Z50II's specs tell the story of how far we've come in the five years since the launch of the original model. Its SD card slot can now make full use of the faster UHS-II cards, while its USB socket has been upgraded to the Type C standard and 5Gbit/s transfer rates. It's also been made compatible with the UVC/UAC USB video and audio standards, so it can be used as a webcam without the need for any specialist drivers or software.
The camera also gains a headphone socket to allow audio monitoring, something that really boosts its usefulness as a video camera.
Battery
The Z50II uses a new EN-EL25a battery, which sees the capacity increase from 8.5Wh to 9.4Wh. Despite this 10% increase, the CIPA battery ratings for the Z50II are 250 shots per charge using the rear screen and 230 using the viewfinder. These are around 20% lower than on its predecessor, presumably as a consequence of the more powerful processor.
CIPA figures tend to assume extensive use of flash and rather more looking at image review than most people actually do, so we wouldn't be at all surprised to get twice as many shots as this in our own usage, more if we were shooting bursts. You can also gain around 9 percent more shots if you engage power-saving mode, but these aren't great figures for a camera you might want to use a lot.
As you'd expect, the camera can be charged over its USB-C socket, so there are ways to top the battery up fairly easily. However, it does not come with a battery charger in the box.
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, full even light and low directional light, to see the effect of different lighting conditions.
Image Comparison
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The Z50II's image quality it very similar to that of its predecessor and, for that matter, to its peers. Detail capture is very similar to its rivals and, other than it being a prone to moiré at very slightly lower frequencies, the images look essentially the same when compared at a common output size. Likewise, its noise levels are very similar to other modern APS-C cameras even at very high ISO settings.
The color response is pretty standard for Nikon, with very yellow yellows but rather pink pinks, which is perhaps the root of some people's preference for other brands' skin-tone response. We enjoyed the real-world photos we got, but it's inevitably a question of taste. The default sharpening prioritizes emphasis over trying to convey the very finest detail being captured, suggesting Nikon expects you to print or view the images at a sensible size, rather than analyzing at a pixel level.
Noise reduction errs on the side of smoothing, and doesn't maintain fine detail quite as well as the best of its rivals, but neither is it the most heavy-handed. In practice the JPEGs are very usable.
Some rolling shutter can become apparent in the e-shutter based C30 mode, but it's only likely to be an issue for subjects moving quickly across the frame.
The Z50II's core video specs are pretty standard for its class: 4K capture at up to 30p from the full-width of the sensor or 4K/60 from a native, 1.44x cropped region. Cropping has a number of disadvantages: using a smaller area of the sensor means noisier results (compounded by the shorter exposures typically used for faster frame rates), and can make it difficult to find a lens that gives a wide-angle view, once cropped.
However, as you dig deeper, there are details that help the Z50II stand out. It can capture 10-bit Hybrid Log Gamma (HLG) footage to give true HDR video when played back on high dynamic range displays. Alternatively, you can shoot Log footage: a means of preserving editing flexibility of tone and color for if you plan to significantly adjust the look of your footage when you edit (though shooting to capture extra highlights comes with a noise cost, so Log should only be used when necessary). You can also shoot standard color modes in 10-bit precision if you wish, but it's rarely worth doing.
Crop
Rolling shutter rate
4K/30p
1.0 (full-width)
21ms
4K/30p with eVR
1.25x
17ms
4K/60p
1.44x
14.7ms
On top of this, the Z50II is the least expensive camera to offer a waveform display: helping you judge exposure by showing how light or dark different areas of the frame are. Collectively, these are capabilities that only used to appear on more video-focused high-end cameras.
And, above all these, the Z50II is one of the only cameras in its class to offer a headphone socket to allow audio monitoring. This is a big distinction, as bad audio will undermine a video more than slight difference in detail capture or rolling shutter, and good audio is difficult to maintain without some way of checking your recording levels and monitoring for interference or distracting background noises.
Image Comparison
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Something that counts against all the cameras in this class is the lack of in-body stabilization. The Z50II's kit zoom is stabilized and there's an electronic stabilization option that constantly adjusts the position of a crop of the video to counteract any camera movement, but both these options tend to be less effective than being able to move the sensor.
In use, autofocus is one of the more dependable systems we've encountered, especially if you're shooting a subject type that it knows how to recognize. Limited battery life is a significant downside, though. Despite these shortcomings, it's one of the strongest video options amongst its immediate peers, with only the more vlogging-focused (and less stills adept) Sony ZV-E10 II offering serious competition.
Autofocus
The Z50II has the same AF user interface as the rest of Nikon's newest cameras: you can choose everything from a single small AF point up to the whole image area or use the '3D Tracking' option to specify an AF point that should then follow your subject.
Its subject recognition modes are well-integrated, with the camera recognizing and tracking your choice of subject if it's suitably near the selected AF area or zone. This means you can easily select between subjects to track if there's more than one in a scene. Human detection is positioned within the subject recognition modes (and is part of the 'Auto' subject recognition mode), which makes it quick and easy to enable and disable subject recognition of all types.
The Z50II has the same user and headline AF specifications as Nikon's pro-level Z8 and Z9 cameras, but that doesn't guarantee the same levels of performance. And, both our testing and general usage shows this isn't the case.
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In practice we primarily used the human/face recognition aspect of the camera's 'Auto' subject detection mode and found it worked pretty well. It doesn't seem quite as decisive at finding and maintaining a subject as Nikon's other models, with fewer shots using a focus point on subjects' eyes, as a result.
Similarly, the '3D' tracking system generally does a good job of sticking to subjects the camera hasn't been trained to recognize, but it's not quite as dependable as we've become used to. But, underpinning it all, the camera seems to be very good at judging and anticipating subject distance.
In our standard tests, 3D Tracking consistently lost track of the subject at the second turn. Human detection and Auto Subject detection did much better, with Auto only losing the subject on one of our three test runs and then re-finding it before the end of the run. Human detection (shown above), did a very good job of keeping the subject in focus even in the maximum, 30fps mode.
It's not a bad performance, by any means, and represents a significant step up from the results we got from the Z50 (with the improvement being even greater in video mode), but it means we'd probably expect Canon's latest models to be a bit more dependable in stills mode.
In use
The Z50II's controls are all really well-placed, with the arguable exception of the Picture Control button, which we kept forgetting about. Given Nikon finds room for an AF joystick on its similiarly-sized Z5 model, it's a shame not to see one here.
In general use the Z50II behaves much like any other Nikon, which is to say very well. Its dials and buttons are well placed and its 'Easy Exposure Compensation' option makes it easy to assign Exposure Comp to one of the camera's main dials to put all your key shooting parameters at your fingertips.
Most of the key day-to-day features you might need are in the 'i ' quick menu and this can be customized if the shooting you do requires access to something else. This is probably for the best, as Nikon's menus, while well arranged, have become quite long and complex. The Customs Settings section is split into color-coded sections with logical names, so is easy to navigate, but the Photo and Video sections are now continuous, undifferentiated lists running to more than five screens-worth of scrolling, each.
Nikon's Auto ISO implementation retains all its perverse quirks: it's weirdly easy to set a minimum ISO that the camera will use, yet oddly difficult to set a minimum shutter speed for it to maintain, which is typically what you actually want to do. The camera's handling would also benefit from the AF joystick that the company's similarly-sized Z5 model offers.
The retractable kit zoom isn't optically great but it increases the likelihood of you having the camera with you at times you might otherwise not.
Nikkor 16-50mm F3.5-6.3 @ 37mm | F5.3 | 1/250 sec | ISO 8000 Photo: Richard Butler
We didn't find ourselves using the Picture Control button on the top of the camera: it's probably the hardest button to reach while you're shooting and isn't visually prominent enough to remind you of its existence.
Overall, though, the Z50II sits nicely in the hand and with the unexciting but usefully small kit zoom, makes a handily compact traveling companion. Its seemingly robust SnapBridge app makes it pretty easy to pull pictures off the camera to a smartphone, including a useful ∼8MP option (3240 x 2160px) that's more than sufficient for social media. A relatively sophisticated in-camera Raw reprocessing option lets you optimize your shots before you do.
Generally, it's a well-featured camera compared with its ∼$1000 peers. But some omissions, such as the lack of % change and battery life indication, feel like unnecessary cut-backs. It's difficult to imagine that it significantly adds to the price of the battery.
Conclusion
Pros
Cons
Excellent image quality
Well-designed ergonomics
Good AF performance with easy-to-use interface
Snapbridge app is one of the most reliable we've encountered
Excellent video spec (incl. 10-bit capture, waveforms and headphone socket)
Pre-capture mode helps you catch the action
Decent choice of color modes with good in-camera Raw re-processing option
Limited battery life
No in-body stabilization for video shooters
Autofocus performance good, rather than excellent
Lens range remains somewhat limited
Menu sections can have >5 pages of options in an unbroken list.
The Nikon Z50II is a really solid camera: delivering the spec, features and performance you might expect for a camera at this price and doing a wide range of things well. And, just as importantly, we found it to be engaging and enjoyable to use.
It's not the enthusiast-focused model with in-body stabilization and D500-like build or capabilities that some photographers are hoping for, but it does what it's supposed to do well.
What it doesn't do, though, is excel in any particular respect, at least for photography. Although its AF interface is a match for the Z6III, Z8 and Z9, its performance isn't. And while it's a very solid performer, it's not the best in its class. It's well-priced but competent, rather than compelling. The pre-capture mode could make it stand out for some types of photography, but there are few affordable lens options for activities such birding or sports that would benefit most from it.
Where it does stand out most is video. Its basic specs are pretty standard but the provision of 10-bit capture, a headphone socket and waveform display will help you get good results. This is backed up by an AF system that's dependable enough to use for anything that you could re-shoot if you needed to. Only the lack of in-body stabilization and the limited battery life hold it back.
Nikon's SnapBridge app has grown to be one of the more reliable and easy-to-use apps for transferring images to a smartphone.
The Z50II's sensor has been around for a while, but it still delivers very good image quality and its relatively low pixel count helps it deliver very decent 4K video. Its JPEGs are attractive, its Raws contain plenty of dynamic range and its resolution isn't meaningfully behind its 24MP peers.
Two main things stand in the way of the Z50II gaining our Gold award. The first is that, while companies such as Sigma and Viltrox sell some interesting prime lenses for Z-mount, Nikon hasn't granted licenses for the likes of Sigma's F2.8 zooms, which means there's less room to grow than with most rival APS-C mirrorless systems. You may find the choice of primes to provide all the expansion you need, so the more pertinent issue is its failure to stand apart from its peers. It's a really good camera but there's no regard in which we can say "it's better for this," which is required for our top award.
Its kit zoom very much prioritizes size over image quality but it still helps make the Z50II a more satisfying travel camera than just using a smartphone.
Nikkor 16-50mm F3.5-6.3VR @ 16mm | F6.3 | 1/60sec | ISO 100 Photo: Richard Butler
Except, perhaps, video. If you're someone for whom video is as important as stills, and your budget won't stretch to a more expensive, stabilized camera, you should perhaps imagine the silver award glinting in the last rays of evening sunshine, or with a warming, golden LUT applied to its Log footage. Battery life concerns aside, it's as a hybrid that the Z50II looks strongest.
Overall, we liked the Z50II a lot and think it's very much worth considering if you're looking for a relatively compact all-rounder. Depending on your tastes, of course; things might get even more interesting if Nikon updates its retro-looking Zfc with similar capabilities.
Scoring
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Nikon Z50II
Category: Entry Level Interchangeable Lens Camera / DSLR
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Optics
Performance
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The Nikon Z50II is a very competent all-rounder for both stills and video. Its limited battery life dents its otherwise strong performance for video but overall it's an enjoyable camera to shoot with.
Good for
A wide range of photo and video pursuits
Not so good for
Being the 'everything camera' you build a system around.
88%
Overall score
Compared to its peers
There's not a lot to choose between the Nikon and Canon's EOS R10 in terms of performance: we found Canon's AF a little more reliable in stills but a little less so video mode. If video is your primary focus, the Nikon's waveforms and headphone socket make it easier to exploit to its full potential. Neither offers great battery life, so we'd really make the decision based on which sits more comfortably in your hand and, more critically, which has the lenses you want: the option to use Sigma's F2.8 APS-C zooms is a distinct benefit for the Canon.
The Sony a6400 is a significantly older camera, and while its stills AF is likely to be more reliable in many situations, its interface is rather more clunky and its subject detection is limited primarily to people. Its video now looks significantly off-the-pace, with appreciable rolling shutter and no 10-bit capability. The Sony E-mount has many more options than the Nikon, from Sony's own 16-55mm F2.8 to a host of third-party choices. For video the ZV-E10 II vlogging camera is a stronger competitor or the stabilized a6700 if your budget will stretch to it. In general, though, we'd go for the nicer-to-use Nikon over the a6400 at this point.
The OM System OM-5 again has a higher list price but offers significantly smaller lens/camera combinations with a much wider choice of lenses. You also gain both excellent image stabilization and weather sealing. However, image quality from that smaller sensor is generally lower, which becomes increasingly noticeable at higher ISOs. And, while single AF is fast, its AF tracking performance falls a long way short of the Nikon. The Z50II's lack of stabilization is a disadvantage but in every other regard it's a much stronger video camera.
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Sigma is expected to launch new products during the 2025 CP+ show in Japan. There is a Sigma event scheduled for March 1st that includes "talk about the appeal of SIGMA's new products" (Goole translation):
Sigma already confirmed that they are working on a new and unique telephoto lens “that has never existed before”:
One of the big attractions of Fujifilm cameras is the company's Film Simulations that purport to mimic various film stocks. For many, these simulations are part of the core value proposition of a Fujifilm camera.
Many Fujifilm shooters are happy using out-of-camera JPEG images. If you also capture Raw files, you retain the option to reprocess those images in-camera. However, to process Raw files on a computer, or batch-process Raw photos, most users turn to third-party software like Adobe Camera Raw or Capture One, which include color profiles meant to mimic the original Fujifilm look.
Mimic is the key word here: those programs do reasonably well at approximating Fujifilm colors. However, even if the colors are close, there may still be differences in tone curves, noise reduction, or even simulated film grain. Additionally, they're not as well optimized for Fujifilm's non-standard demosaicing, nor do they always understand how to interpret the camera's DR modes correctly.
The image above is the original out-of-camera image using the Provia film simulation.
Photo: Dale Baskin
This is the same image reprocessed using X Raw Studio. I switched to the Astia film simulation and adjusted other parameters, including the color chrome effect (blue), shadow tone, and push/pull processing. At each step, I was able to preview the impact of any changes. The entire process took about 30 seconds.
Photo: Dale Baskin
Fortunately, there is a computer-based software solution that gets the Fujifilm look exactly right, and I’m always amazed by how few Fujifilm users even know it exists: Fujifilm’s own X Raw Studio software. And it’s available for free.
What is X Raw Studio?
A few weeks ago, I chatted with an enthusiast photographer who loves the images from his Fujifilm camera. His one frustration, he told me, was having to reprocess Raw photos in-camera one at a time if he wanted to make adjustments.
Converted from Fujifilm Raw file in X Raw Studio.
Photo: Dale Baskin
This is exactly where X Raw Studio comes in, and it solves this problem.
Instead of using your computer’s hardware and third-party software to mimic Fujifilm's processing, X Raw Studio uses the image processor inside your camera to process Raw files. This means you can reprocess Raw images using Fujifilm’s own film simulations and processing algorithms rather than another vendor’s approximations.
"X Raw Studio uses the image processor inside your camera to process Raw files."
The one catch? Since the camera performs the processing, you must connect the camera to your computer via USB to use X Raw Studio.
Using X Raw Studio
X Raw Studio is easy to use and can be downloaded from Fujifilm. All Fujifilm cameras from recent years should be compatible, but you can find a complete list of supported models on Fujifilm's website. You'll need to set the PC Connection Mode on your camera to 'USB Raw Conversion'.
Once you've done that, simply launch X Raw Studio on your computer, turn on your camera, connect it using a USB cable, and you're ready to go.
It's important to understand what X Raw Studio is and what it is not.
X Raw Studio is basically a desktop interface for the in-camera Raw conversion function on your camera. It allows you to convert Raw files saved on your computer using a tethered camera. It's not a full-featured image editor like Photoshop, Lightroom, or Capture One. You won't find extra tools like layers, masks or local adjustments.
The X Raw Studio interface should feel pretty familiar if you've used any other photo processing software. Note the Raw processing parameters in the right-side panel.
The X Raw Studio interface should feel familiar if you've used any other photo processing software: a left panel with file browser and image info, a right panel with processing parameters and a strip of thumbnail images across the bottom. The currently selected image appears in the center.
If you look closely at the processing parameters, you'll notice that they are exactly the same Raw conversion parameters available in-camera. One advantage of using X Raw Studio to adjust these parameters is that it updates the image preview in real time as settings are changed, giving you instant feedback. You'll know exactly what your image will look like with each change.
The 'Convert' button at the bottom of the right pane will process your image using whatever settings you've selected and save the processed image as either JPEG or TIFF format. Remember, however, that all processing takes place in the camera, not on the computer, so the TIFF option is only available if your Fujifilm camera model supports it.
These are the Raw conversion parameters I see when using X Raw Studio to convert Raw images from my Fujifilm X100V. They're the same parameters I can change when processing Raw files in-camera.
There are a couple of handy features. First, custom settings saved on the camera are available in X Raw Studio. So, if you've saved custom settings based on your own preferences or entered settings to create alternative 'film recipes' published by other Fujifilm users, they will be available to convert images singly or in batches. If you find a collection of settings that you like, you can also save them back to the custom settings menu on your camera to make them accessible when shooting.
Additionally, you can save groups of settings you've created in X Raw Studio as User Profiles. They're essentially the same as a group of custom settings, but they live in X Raw Studio rather than being saved to the camera.
Limitations and use
X Raw Studio isn't without limitations. Primarily, it's camera dependent: you must have your camera with you and connected to your computer to use it.
Since X Raw Studio uses your camera to process Raw files, you'll see this message until your camera is connected.
Also, it's only possible to reprocess images using the same camera model used to capture the original photo. If you have multiple Fujifilm cameras, you'll need the right one on hand in order to process images from each.
Who's it for?
X Raw Studio will be most helpful to photographers who want to adjust and convert more than a handful of photos to JPEG files. However, it's also an excellent tool for the film recipe crowd as it allows you to quickly apply custom settings to a group of images.
You could also use X Raw Studio to generate files for downstream editing if you have a Fujifilm camera that supports 16-bit TIFF output, like the X-Pro3.
However, its biggest advantage, true in-camera processing, is its biggest drawback. The camera needs to be with you when using the software.
If you mainly want to adjust and reprocess images from a Fujifilm camera using genuine Fujifilm processing, X Raw Studio may be the only software you ever need. However, it's not a one-stop solution for all editing needs. Fortunately, great third-party options exist for more complex processing and editing tasks.
The beginning of the year, as you plan new creative projects, might be the best time to upgrade your kit. That's why we've teamed up with MPB, the leading platform for buying, selling, and trading camera equipment, to give away a $1,000 gift card.
Because MPB has everything from lenses and bodies to bags and tripods, one lucky winner will be able to customize their ultimate shopping spree to precisely their needs. Enter below before February 14 for a chance to win.
Terms: No purchase necessary. Enter from January 27, 2025-Februrary 14, 2025 for your chance to win. Sweepstakes is open to residents of the United States and the District of Columbia who are lawful U.S. residents, and are 18 years of age or older, as of the start date of the sweepstakes. Void where prohibited by law. Sponsor: Gear Patrol. See official rules for details and Sponsor’s privacy policy.
If you consume portrait and fashion photographs, there's a good chance you've seen the work of Sarah Oliphant. She's the artist behind the prolific Olphiant Studio photo backdrops, which have been used by some of the biggest names in the photography industry. Browsing through the client list on her website shows just how significant her work is, with her backdrops showing up in imagery for Marc Jacobs, Ralph Lauren, Hermès, The New York Times, GQ, Victoria's Secret and so much more. Photographers like Annie Leibovitz, Martin Schoeller, David LaChapelle, Richard Avedon and Anne Geddes have all used Oliphant backdrops.
A recently released film directed by award-winning documentary photographer Anna Andersen on Fujifilm USA's YouTube channel highlights Oliphant's work. The film discusses the complexity of legacy and family relationships, as Oliphant's daughter talks about navigating the experience of being the daughter of someone so successful.
More than that, the short film served as a reminder and affirmation of how important details are in photographs. Backdrops are mostly intended to fade into the background. They aren't the focus of the image. Yet these hand-painted and, at times, custom-made Oliphant backdrops stand out from other backdrops because of the care that goes into them. There's a reason they are used by such important names in the photography and fashion worlds. They set the mood, add texture and depth, convey stories and guide focus. It's a good reminder to pay attention to the details even when working out in the world without backdrops.
We've made it to another weekend, which means another edition of our accessory roundup. Today, we'll be looking at a few lights, some Leica gear, and some rugged accessories, but first, as always, let's check out what's on sale.
Sony Sales
Photo: Richard Butler
The Sony a7R V, a camera with a whopping 61MP sensor that makes it great for landscape or product photography, is currently on sale for $400 off its MSRP.
If you don't need that much resolution, the a7 IV is also on sale for $300 off its MSRP. It's an older model that doesn't include some of Sony's latest tech and refinements, but it's still a capable stills camera.
Pelican is well known for its ultra-rugged hard cases, but the company has recently started making soft goods as well. The Trvl Aegis collection includes several types of bags, including backpacks, slings, duffel bags and rolling bags; some of them feature a "hybrid" construction, which Pelican says provides the "quality construction and protection of a hard case with the versatility of a soft case."
The hybrid packs come in various shapes and sizes, so you've got options no matter how light or heavy you pack. If you want a bit more protection, the company has also introduced a new line of hard-sided luggage cases, which it calls Trvl ATX. They don't seem quite as burly as the company's classic Air cases but feature creature comforts such as 360-degree spinner wheels, compression straps, and dividing pockets.
The ATX series sits between the Aegis hybrid bags and the standard Pelican Air cases when it comes to durability.
The company has also introduced a variety of accessory "Modpaks" that let you add organization to your Trvl bags in the form of toiletry bags, extra pouches, and packing cubes.
Leica's birthday
The $625, limited edition teddy bears appear to have sold out, but there's plenty more Leica 100 gear available.
Image: Leica
Leica is celebrating its 100th year of business this year, and part of the "100 Years of Leica" event is selling a variety of products meant to mark the occasion. Perhaps the most notable are the teddy bears – there were two limited-edition models that have already sold out, designed to look like important members of the Leitz family, as well as a more standard bear holding a plush Leica.
The bear, as well as a variety of other Leica 100 products such as a leather bracelet, magnifier, "100"-emblazoned hotshoe cover and even cufflinks, won't be available until May. However, there are a few knickknacks currently listed for sale in Leica's online store: a set of color pencils that comes with a cut-out paper M camera that you can color however you want, a pin, and a 3D wood puzzle. The latter two are sold out but aren't listed as limited edition, so there's a possibility there'll be a restock.
A colorful spotlight
Image: Nanlite
Nanlite's new COB light acts as an upgrade to its bi-color FC-120B spotlight. The FC-120C has many of the same features, such as the ability to accept USB-C power, Bluetooth app control, and dimming, but it swaps out the LEDs for ones capable of putting out full RGB color.
While this does come with a brightness penalty – the bi-color version can put out 17,450 lux when paired with the included 45° reflector, while the RGB version can only do 12,850 lux – it obviously gives you more options when it comes to what color you want to light a scene with.
The FC-120C uses a proprietary FM mount for light modifiers but comes with an adapter that lets you use accessories made for the industry-standard Bowens mount.
LaCie, a Seagate-owned brand known for its rugged portable drives, has released a new rubber-coated SSD that's meant to withstand drops, dust, water, and even, according to the company, "pressure from a 2-ton vehicle." Appropriately named the Rugged SSD Pro5, it has an IP68 rating and comes in 2 and 4TB variations.
While the Pro5 is undeniably tough, it doesn't come at the cost of performance. The company says you can expect read speeds of up to 6700 MBps and write speeds of up to 5300 MBps and that you should have no issues editing 8K footage stored on the drive. Part of that is thanks to its Thunderbolt 5 interface, which allows for speeds up to 10,000 MBps. If you don't have one of the few computers with Thunderbolt 5 ports, it can be used with USB and Thunderbolt 4, though even the latter won't be capable of hitting those peak speeds.
We've covered quite a few SmallRig video lights in the accessory roundup, but none as small and portable as the RF 10C. It's a 10W light that's around the size of a flashlight, that the company pitches as being perfect for "backlighting and background light for smartphone video shooting." It can cast light in four colors, depending on what your scene calls for: "sunset orange," blue, white and red.
The RF 10C has a built-in battery, rechargeable by USB-C, and comes with 20 gobos that let you cast light in the shape of a heart, window, semi-circle, and more. The light has two standard 1/4"-20 mounting threads, and the extending barrel gives you the option of having a diffuse or narrow beam.
We've been thrilled with the response to our DPReview pop-up store, which opened before the holidays and features limited edition items from our 25th Anniversary collection of DPReview swag. If you've been planning to place an order but haven't done so yet, act soon: the pop-up store will disappear on January 31.
What’s in the store? You'll find the DPReview logo on apparel like t-shirts, sweatshirts and baseball caps. Of course, to honor DPReview’s early history, many items are designed in dark mode with a black background.
If you’re a camera nerd, head over and take a look.
If you’re not feeling nerdy enough to want DPReview-branded swag, we've also designed products with photo-friendly slogans like ‘Say Cheese’, ‘Photo Department’, and ‘I ♥ Bokeh’.
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Products from our 25th Anniversary pop-up store.
Why a pop-up store?
Readers have been asking us about DPReview merchandise for years, so we decided to do something about it. So, if you’re one of those who’s emailed or messaged us asking where to find things like DPReview shirts, now is your chance.
Of course, when you buy our gear, you support DPReview and our mission to bring you the best online information and reviews about digital cameras.
Additional details
All items in the DPReview pop-up store include free worldwide shipping.
If you have specific questions about products or ordering, you can contact store@gearpatrol.com for help.
Here are the top 10 best-selling mirrorless cameras in Japan for 2024 (BCN collects sales data from approximately 2/3 of all Japanese retail retialers):
"Sales, including instax devices, film, and accessories, reached a record high of 150 billion yen in fiscal 2023. Sales of new products are also doing very well, and we are confident that sales in fiscal 2024 will also reach a new record high."
In the 1860s, two brothers, Nelson and Roswell Moore, photographers from Connecticut, got the idea to use the then-nascent technology of photography to preserve images of the last veterans of the American Revolution.
Photos: Nelson and Roswell Moore
As a photographer with a strong interest in history, I often find myself captivated when the two worlds collide. Looking at pictures of historical events, even seemingly mundane ones, sparks my imagination and transports me back in time.
More than the historical events themselves, I’m drawn to the people in these photos. I try to envision their lives, their experiences and the world they inhabited. I remind myself that they aren’t just historical figures frozen in time but real people who led lives as complex as you or me, and I often wonder about their experiences and the eras that shaped them.
Perhaps this is because old photographs serve as a reminder of our own mortality. Historical photos whisper to us that our time on Earth is finite and that one day, we, too, will become subjects of historical curiosity.
Photo: Nelson and Roswell Moore
This fascination with the past, coupled with my interest in photography, is probably why a recent video by the BBC caught my attention, telling the story behind portraits taken of some of the last survivors of the American Revolutionary War.
The Revolutionary War was fought between Great Britain and her American colonies from 1775 to 1783 over Americans' desire for independence. Ultimately, the colonial forces prevailed, and, as we all know today, the United States became an independent nation.
"Historical photos whisper to us that our time on Earth is finite and that one day, we, too, will become subjects of historical curiosity."
Fast forward about eight decades, and the US found itself embroiled in yet another conflict: the American Civil War. It was around this time that two brothers, Nelson and Roswell Moore, photographers from Connecticut, got the idea to use the then-nascent technology of photography to preserve images of the last surviving veterans of the American Revolution.
According to the BBC, newspapers at the time would publish details of the United States federal budget. This included lists of Revolutionary War veterans who were still receiving government pensions. Don Hagist, author of The Revolution's Last Men: The Soldiers Behind the Photographs and editor of the Journal of the American Revolution, told the BBC that by the 1860s, it was becoming apparent that very few Revolutionary War veterans remained. This realization spurred the Moore brothers to track down what they believed to be the last six living veterans to capture their portraits.
Photo: Nelson and Roswell Moore
The Moore brothers' portraits were unveiled in 1864 and subsequently published that same year in the book The Last Men of the American Revolution by Reverend E.B. Hillard. The book also included biographies of each veteran, based on interviews conducted by Hillard, although, according to Hagist, Hillard likely employed some creative license in his biographical accounts.
Fortunately, these invaluable photographs are not confined to the BBC's archives. They’re preserved and freely available for download from the Library of Congress, an exceptional resource for historical imagery of all kinds.
As it turned out, the six men photographed by the Moore brothers weren't the only remaining Revolutionary War veterans. Following the publication of their photos and Hillard's book, other veterans came forward. However, the images captured by the Moore brothers remain invaluable historical artifacts, preserving the likenesses of men who fought for America's independence. Gazing into their eyes, I’m struck by the realization that these men could have met George Washington in person.
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Photos: Nelson and Roswell Moore
One of photography's enduring truths is that we often can’t predict which images will hold significance for future generations. History will ultimately be the judge. However, as photographers, we possess the ability to capture and preserve these visual records, even if their immediate importance is not readily apparent.
Next time you see an old historical photo, pause for a moment to think about the person or people in that photo. Who were they? What were their lives like? And reflect on the fact that, someday, far in the future, someone may be looking at a picture of you, wondering the same thing.
Have you had the opportunity to capture photos of historical significance or photograph something important before it disappeared forever? If so, I'd love to hear about it in the comments.
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