I found it interesting to see Leica launch a new D-Lux camera last week, as I'd been thinking about a previous model (or, at least, about its Panasonic sister model) just recently.
Panasonic's LX series taught me two important lessons about cameras and how to review them. The first, which I've written about before, was how much difference a larger sensor and a brighter lens can make. The other was that the value of a feature can be greatly enhanced by making it easy to access. And there's no easier way to change a setting than with a dedicated, marked control point.
The main line of LX cameras and their Leica variants have dedicated switches on the top of their lenses, which not only make it easy to switch between the different framing modes but also serve as a constant reminder that the feature is available.
This makes sense: from the LX3 onwards, the cameras have had multi-aspect sensors, i.e. sensors that are larger than the lens' coverage. This means the different crops push all the way out to the limit of the imaging circle projected by the lens so that they maintain the same diagonal angle of view. This is a big difference from most cameras, which simply crop in further and further from their sensor's native shape, meaning 16:9 isn't really as wide as you might hope.
The Panasonic LX3 was the first Panasonic model to include an aspect ratio switch on top of the lens. It not only made it easy to switch between modes, but served as a constant reminder that this feature was available.
It's a stand-out feature (albeit one where you never get to use the full sensor size you've paid for), and it makes sense to literally put it front and center on the camera. That prominent, dedicated switch reminds you to play with image format every time you look down at the camera, meaning you're more likely to take advantage of the multi-aspect design.
This experience was front-of-mind when I unpacked the Fujifilm X-T50 and saw its dedicated Film Simulation dial. I think it's a very smart move on Fujifilm's part. Film Simulations, along with a broad selection of lenses designed for APS-C, are one of the distinctive benefits of its X-series cameras. It makes sense to draw attention to it and encourage its use.
"That prominent, dedicated switch reminds you to play with image format every time you look down at the camera"
It also sends out a strong signal about who the camera is for. The double-digit X-T models have always been aimed at people getting into photography, not existing enthusiasts. These are often people who buy a camera for an event or because they want to try their hand at photography and are perhaps most at risk of falling back to the ease of use and sharability of smartphone images, leaving their cameras to accumulate dust. Providing a constant reminder and easy access to one of the key features that sets the camera apart could be a really powerful way to maintain their engagement.
The Fujifilm X-T50 includes a dedicated dial for switching between film simulations.
On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial. Which control will the target user want to change most often? To me, it seems self-evident that Film Simulation is a setting you might wish to change literally every other shot, whereas drive mode is something to change each time you go out to shoot a different subject type. And every camera has drive modes: it makes sense for Fujifilm to pull its differentiating feature to the fore.
I agree with the commenters who point out that it would be better if the custom positions on the dial could be modified to have parameters such as highlights, shadows and color chrome effect baked in as recipes, and I'd love to see this in future firmware.
"On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial."
But to those people objecting to the change, saying, "Without the mode dial, I'd be better off buying an X-T5," I'd suggest this isn't the criticism they might think it is. The X-T50 isn't supposed to be a smaller, less expensive X-T5; it's meant to be tailored to a different type of user, not enthusiasts on a tighter budget.
So, to my eye, the Film Simulation dial isn't a dumbing-down but an astute move to encourage the target user to discover and use one of its most compelling features. Other than the Film Sim dial, a lot else has changed between the X-T30 II and X-T50, including the addition of image stabilization, a higher resolution sensor and an eye-watering 55% price hike. But in terms of the Film Simulation control, I think the series has taken a turn for the better.
June is packed with multiple days celebrating Mother Nature. Get out there and touch grass; we want to see your best nature photos.
Image credit: Shaminder Dulai
June is packed with multiple days devoted to celebrating nature. We kick it off on June 5 with World Environment Day, continue on June 8 with World Oceans Day and June 22 brings us World Rainforest Day. So let's get outside. We want to see your best nature images! Take part in the official DPReview Editor's Challenges for your chance to have your work featured on our homepage, in articles and galleries. We may even reach out to interview you about your work!
You don't need to take your pictures on the world recognition days. Anytime starting today is okay. Just be sure to submit your best work by June 13.
DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and celebrate your work with our peers.
Submissions are now open; you have until Thursday, June 13, 2024, to submit. User voting will begin thereafter and will help inform DPReview Editors' Picks, but will not select them. They are one factor in our evaluation of submissions.
I found it interesting to see Leica launch a new D-Lux camera last week, as I'd been thinking about a previous model (or, at least, about its Panasonic sister model) just recently.
Panasonic's LX series taught me two important lessons about cameras and how to review them. The first, which I've written about before, was how much difference a larger sensor and a brighter lens can make. The other was that the value of a feature can be greatly enhanced by making it easy to access. And there's no easier way to change a setting than with a dedicated, marked control point.
The main line of LX cameras and their Leica variants have dedicated switches on the top of their lenses, which not only make it easy to switch between the different framing modes but also serve as a constant reminder that the feature is available.
This makes sense: from the LX3 onwards, the cameras have had multi-aspect sensors, i.e. sensors that are larger than the lens' coverage. This means the different crops push all the way out to the limit of the imaging circle projected by the lens so that they maintain the same diagonal angle of view. This is a big difference from most cameras, which simply crop in further and further from their sensor's native shape, meaning 16:9 isn't really as wide as you might hope.
The Panasonic LX3 was the first Panasonic model to include a multi aspect sensor and the dedicated switch made the most of this. It not only made it easy to switch between modes, but served as a constant reminder that this feature was available.
It's a stand-out feature (albeit one where you never get to use the full sensor size you've paid for), and it makes sense to literally put it front and center on the camera. That prominent, dedicated switch reminds you to play with image format every time you look down at the camera, meaning you're more likely to take advantage of the multi-aspect design.
This experience was front-of-mind when I unpacked the Fujifilm X-T50 and saw its dedicated Film Simulation dial. I think it's a very smart move on Fujifilm's part. Film Simulations, along with a broad selection of lenses designed for APS-C, are one of the distinctive benefits of its X-series cameras. It makes sense to draw attention to it and encourage its use.
"That prominent, dedicated switch reminds you to play with image format every time you look down at the camera"
It also sends out a strong signal about who the camera is for. The double-digit X-T models have always been aimed at people getting into photography, not existing enthusiasts. These are often people who buy a camera for an event or because they want to try their hand at photography and are perhaps most at risk of falling back to the ease of use and sharability of smartphone images, leaving their cameras to accumulate dust. Providing a constant reminder and easy access to one of the key features that sets the camera apart could be a really powerful way to maintain their engagement.
The Fujifilm X-T50 includes a dedicated dial for switching between film simulations.
On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial. Which control will the target user want to change most often? To me, it seems self-evident that Film Simulation is a setting you might wish to change literally every other shot, whereas drive mode is something to change each time you go out to shoot a different subject type. And every camera has drive modes: it makes sense for Fujifilm to pull its differentiating feature to the fore.
I agree with the commenters who point out that it would be better if the custom positions on the dial could be modified to have parameters such as highlights, shadows and color chrome effect baked in as recipes, and I'd love to see this in future firmware.
"On such a small camera, each control comes at the expense of another, and to me, it makes a lot of sense to privilege Film Sims over the drive mode dial."
But to those people objecting to the change, saying, "Without the mode dial, I'd be better off buying an X-T5," I'd suggest this isn't the criticism they might think it is. The X-T50 isn't supposed to be a smaller, less expensive X-T5; it's meant to be tailored to a different type of user, not enthusiasts on a tighter budget.
So, to my eye, the Film Simulation dial isn't a dumbing-down but an astute move to encourage the target user to discover and use one of its most compelling features. Other than the Film Sim dial, a lot else has changed between the X-T30 II and X-T50, including the addition of image stabilization, a higher resolution sensor and an eye-watering 55% price hike. But in terms of the Film Simulation control, I think the series has taken a turn for the better.
June is packed with multiple days celebrating Mother Nature. Get out there and touch grass; we want to see your best nature photos.
Image credit: Shaminder Dulai
June is packed with multiple days devoted to celebrating nature. We kick it off on June 5 with World Environment Day, continue on June 8 with World Oceans Day and June 22 brings us World Rainforest Day. So let's get outside. We want to see your best nature images! Take part in the official DPReview Editor's Challenges for your chance to have your work featured on our homepage, in articles and galleries. We may even reach out to interview you about your work!
You don't need to take your pictures on the world recognition days. Anytime starting today is okay. Just be sure to submit your best work by June 13.
DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and celebrate your work with our peers.
Submissions are now open; you have until Thursday, June 13, 2024, to submit. User voting will begin thereafter and will help inform DPReview Editors' Picks, but will not select them. They are one factor in our evaluation of submissions.
Lux, the team behind the Apple Design Award-winning photography app Halide, has announced Kino, an app that it claims will bring pro-level video tools to iPhone users.
The developers state that Kino is intended to give users complete control in both automatic and manual shooting modes based on some clever built-in logic. The app includes a feature called AutoMotion, which automatically sets a 180º shutter angle in order to create cinematic motion blur. An 'Auto' label turns green when the settings are just right, letting you know you're good to go. If the camera can't achieve a 180º shutter, such as when shooting outdoors in bright light, you may need to add an ND filter to allow the shutter to lock onto the correct angle.
Another headline feature is Instant Grade, which takes advantage of Apple Log, available on the newest iPhone 15 Pro models. Apple's camera app records Log footage in ProRes format, which creates large files and requires editing to finalize color; Instant Grade will allow users to apply color presets directly to Apple Log footage as it's being captured and saves the recordings in the more efficient HEVC format, allowing for cinematic video straight out of camera. The app includes color presets from pro colorists, but users can import their own LUTs into the app as well.
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Kino includes color presets created by professional colorists.
The app also includes advanced features, such as the ability to save files into either Apple's Photos app or to a specific file location, composition guides, audio levels, USB-C storage compatibility, RGB waveform, manual focus with peaking, WB/AE lock, exposure compensation and a lockable user interface.
For beginners who may not be as familiar with a video-first workflow, the app will include free lessons on the basics of shooting video.
Kino is available beginning today at a promotional price of $9.99, though the company indicated that the price will increase to $19.99 "a few days after launch."
"All camera and lens manufacturers have to be innovative," says Sigma CEO Kazuto Yamaki, but "technology competition among manufacturers may not always be beneficial to customers... Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important."
In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.
State of the market
"Last year was not so bad," he says, when asked about the state of the market: "It looks like the trend of the shrinking market has hit the bottom." But he suggests this may not continue: "For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years."
"One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable."
"I’m afraid that not so many customers can afford such high-priced cameras and lenses"
"Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch."
Yamaki also expresses concern about some of the tech trends he's seeing: "Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers."
"We've seen some cameras with very technically impressive specifications, but I worry that they're not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important."
The challenges of innovation
Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it's designed, as the most challenging subject.
Image: Sigma
He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements," he explains: "Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight."
But this approach isn't simple, he says: "It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”
"In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it."
"This trust is really, really important," he explains: "Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”
A question of trust
"That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it."
This commitment to pushing the use of new glass types reflects Yamaki's wider vision of the company's role. This can be seen in the ambitious lenses it's recently introduced aimed at astrophotography, he says.
"First of all, I believe it’s one of Sigma's missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group."
"Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma's technology."
The future of APS-C
Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn't sound like there are plans for I-series-style versions of the DC lenses.
Image: Sigma
With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.
"I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags."
Despite this, it doesn't sound like there are any plans to refresh the DC DNs with more i-Series-like designs: "Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses," he says.
But, while we won't expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki's comments about his commitment to APS-C bode well, given the announcement that it'll make lenses for both Nikon's Z mount and Canon's RF system:
"Our plan is to have a relatively complete range of lenses for APS-C sized sensors."
This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.
Every week, we ask newsletter subscribers a question about gear, creativity or life. We recently asked readers: If you could go back to your 20-year-old self, what camera-related advice would you give yourself?
Subsequently, the DPReview editors also got in on the act:
1. Shaminder Dulai
Start organizing your photo and video archive and making it searchable. Make sure to save local versions of client work; websites will disappear and take your work with them. A good archival system makes it possible to earn a passive income from these photos and videos in the future and curate your work for grant applications and shows.
Don't get caught up in the gear; there will always be something better that comes along. Make things. Whatever you can get your hands on, just use it and make stuff. The more you practice and embrace the failures, the more you'll learn and improve.
There will be people who will try to discourage you; they'll tell you you don't have the right gear, the right skills, or the right name, and some will even steal your ideas and pass them off as their own. These will be hard lessons, and you'll need to learn to put yourself before others. It won't be easy.
Also, buy as much Apple stock as you can afford and spend more time with your parents. Ask them the questions you always were too afraid to ask.
2. Dale Baskin
I'd probably give the same advice I would give a 20-year-old today: Don’t obsess about having fancy gear or the newest camera. Buy something used in good condition and save some money, then spend the money you save on fun experiences that allow you to focus on learning the art of photography.
3. Richard Butler
I'd tell myself to think more carefully about lenses. To try to work out which are the focal lengths I'd actually use. I'd recommend going back through the photos I'd taken to see what you're trying to capture (and would have found I was typically trying to shoot wider, not longer than my kit zoom would go). I'd advise myself to consider whether the discipline (and compactness) of a prime would be better in the long-run than the seemingly obvious F2.8 zoom. With this advice I'd have avoided a fair few dead-ends, avoided the cost of some under-use lenses and probably have learned more about how to shoot, sooner.
What's your take? Let us know in the comments.
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We had a chance to shoot with the Fujifilm X-T50 for quite a while, so we put together a first-look video, outlining what it can offer, as well as shooting a sample gallery using a variety of Film Simulations.
As always, all the Raw files are available to download if you wish to see how your preferred software handles them.
Sample gallery
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Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
There's nothing like unwrapping a new camera for the first time.
Having a brand new camera is an exciting time for a photographer. But before you head for the hills, the studio or a far-flung destination, it’s a smart idea to adjust a few important camera settings first. A few tweaks and adjustments up front can mean the difference between fluid work and frustration.
How you set up your menu and customize your buttons and dials is a very personal matter. It depends on what you shoot, which features you use and how you like to work. No matter what you’re focused on, there are a few common settings that all photographers need to get set right straight out of the box.
The Great Menu Expansion
Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system. As an example of this growth consider Canon’s first mainstream DSLR, the Canon D30 from the year 2000, whose menu featured a total of 31 items on one long scrolling list. Canon’s recent pro-level R3, on the other hand, offers 433 menu items organized into 8 categories or tabs.
Canon and other manufacturers have done a reasonable job (some better than others) at organizing all these features into relatively logical categories like: Image quality, Playback, AF, and Wireless. However, they give you no clue as to which items you should adjust straight out of the box – which ones are better to turn off or keep on most of the time.
Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system.
For this reason, many photographers tweak a few items as they need them and leave the rest of the menu for a time when they have nothing better to do than read a camera instruction manual – which is likely never. They then wind up living with discomfort in their shooting experience that would be easy to fix.
This article provides a short list of must-change items for all photographers. The out-of-the-box factory settings (or worse, the previous owner’s settings) may not have these settings adjusted for your needs. While I could go on all day about this, let’s start with a few hot items you’ll want to adjust on your new camera.
Diopter
Yes, the topic of this article is on menu settings and the first item isn’t in the menu. Point noted, now let's move on. The diopter is the focus adjustment for your camera's viewfinder. Somewhere near the eyepiece is a small knurled knob, possibly with plus and minus labels. Turning this knob will adjust lens elements in the viewfinder to adapt the clarity of the view for people with different vision needs.
You'll see clearly once your diopter is correctly adjusted.
When the diopter is adjusted properly, you'll have a way better time seeing both your subject and the information displayed in the electronic viewfinder of a mirrorless camera or the focusing screen of a DSLR. If the diopter is slightly off you’ll likely still see a sharp image but your eyes will need to strain to keep everything in focus. A properly adjusted diopter will make viewing comfortable and strain-free.
These little knobs can easily be adjusted by accident and it's not uncommon to look through your viewfinder and be suddenly shocked at how bad your eyesight has gotten. While some knobs have better locks than others, almost every camera I’ve used has needed this adjusted at the start, and again at various intervals. This is a rather unglamorous way to start the personalization of your camera, but without it the whole world could be a blur to you.
File Format
There is perhaps no setting as important as the file type. We’ll sidestep the whole Raw vs JPEG debate here, and we’ll simply state that whatever you decide is right for you is something you need to set up on your camera right away.
A Raw file, for the newbies out there, contains all the original capture information in an image, far more than the efficient subset contained in a JPEG. It allows you greater leeway in post-processing to recover details from shadows or highlights and to change fundamental aspects like white balance or color. The downside is that the file size is a bit on the big side (compared to JPEG) and requires special software to view and work on the image. While your camera manufacturer provides free software to do so, many people prefer to use popular photo-editing software from companies like Adobe or Capture One.
Whether you value the flexibility of Raw files, or the convenience of JPEG, make sure you've picked a file format before heading out the door.
The JPEG file is a small convenient file that can be opened and viewed by pretty much any computer or viewing device made in the last 25 years. The downside to the JPEG is that the file is processed and compressed. While convenient for sharing online and fine for printing unaltered, it lacks the information depth of color and tones that a skilled photo editor would appreciate when working in the digital darkroom.
Thankfully, most camera manufacturers know that file type is an important setting, and it’s usually located at or near the top of the menu. You'll also often find a shortcut to this feature in the Quick or Function menu or Control grid screen.
You can shoot Raw and JPEG at the same time, but this should only be done if you truly need it. If you have a Raw file you can make a JPEG anytime you want, in any quantity, with any adjustment you like, so long as you have a computer, the right software and the time to do it. The best time to simultaneously shoot both Raw and JPEG is when you have an immediate need for the JPEG and a long-term desire for the Raw.
Thankfully, most manufacturers know that file type is important and it’s usually located at or near the top of most menus.
Get this set right first, and if you change your photography workflow from time to time be sure to come back and revisit it. The current file type status is often displayed in the viewfinder or on the rear screen for easy monitoring.
Card Format
Photos from your camera will likely be stored on a removable memory card, and like any storage area (digital or real) it should be cleared of unnecessary clutter before use. Each camera manufacturer has a slightly different way of communicating with the card and storing images on it. To create a clean, reliable line of communication between camera and card it is highly recommended that you 'format' a new card inside the camera before heading out to capture photos.
Formatting your digital storage medium with a new camera ensures they'll become fast friends.
Be advised that formatting a card will delete all the photos on it, along with any folders, seen or unseen, and will set up a new storage structure and path. Formatting is also recommended when heading out on a new shoot, so long as the photos from the last shoot have been downloaded and backed up first. There’s nothing like starting with a clean slate.
Date and Time
Mundane and trivial to some, the capture date and time of every image is stored in its metadata (extra information that can be viewed by software) and having it correct may potentially save headaches in the future. Many cameras now have simple adjustments for traveling to different time zones and adjusting for daylight saving time so that you don’t need to fiddle with the actual time setting. I’ve found that cameras are not particularly accurate in their timekeeping over the long haul, so if you're fussy about having exactly the right time stamp on your photos you may need to revisit this feature every few months or so.
Having the correct date and time set on your camera can help you remember when you captured photos.
Copyright Info
Another item in the image metadata that may be beneficial at some point in the future is setting your name and any other pertinent personal info. Be advised that this data can be overwritten by anyone with access to your digital file. This setting is for information that may be helpful to you or others, but it is not in the realm of lock-tight security options.
Adding your name in the copyright field provides a very low level of security; think of it simply as a note that it is you who took the photo, or at the very least an image that came from your camera. This can be convenient if your images have been casually mixed with others and you need to identify the owner or creator.
Embedding copyright information can help identify your photos or even recover your camera.
You can also use this setting to put in specific copyright information like 'All Rights Reserved,' to let anyone else with access to the file know what your intentions are. Once again, though, be advised that this can easily be overwritten by the laziest of hackers. A potential use for this area is your contact information, usually in email form. Should your camera be lost or stolen it could provide a link back to you. True, the bad guy won’t care about this, but the honest one who does want to do the right thing will have information on how to contact you.
Set up and head out
None of these settings will help you create great photos, but they can make the experience of shooting with your new camera a bit easier. Paging through the labyrinth of the menu system isn’t the first choice of activity for a photographer, but trust me, there’s a lot of useful stuff in there. Getting your camera set up specifically for your needs is like getting a custom tailored suit – it will prepare you for whatever may come and give you confidence when you head out into the world.
What settings and adjustment do you make straight out of the box? Tell us in the comments.
John Greengo specializes in photographic education through online training, books and international photo tours. His photographic teachings have been viewed by millions around the globe.
His website offers a growing collection of highly visual photography courses. Classes cover a wide range of photographic topics including landscape, travel and gear-specific tutorials. His impressive collection of camera guides provides viewers with detailed instruction on every aspect of the camera's operation.
Lux, the team behind the Apple Design Award-winning photography app Halide, has announced Kino, an app that it claims will bring pro-level video tools to iPhone users.
The developers state that Kino is intended to give users complete control in both automatic and manual shooting modes based on some clever built-in logic. The app includes a feature called AutoMotion, which automatically sets a 180º shutter angle in order to create cinematic motion blur. An 'Auto' label turns green when the settings are just right, letting you know you're good to go. If the camera can't achieve a 180º shutter, such as when shooting outdoors in bright light, you may need to add an ND filter to allow the shutter to lock onto the correct angle.
Another headline feature is Instant Grade, which takes advantage of Apple Log, available on the newest iPhone 15 Pro models. Apple's camera app records Log footage in ProRes format, which creates large files and requires editing to finalize color; Instant Grade will allow users to apply color presets directly to Apple Log footage as it's being captured and saves the recordings in the more efficient HEVC format, allowing for cinematic video straight out of camera. The app includes color presets from pro colorists, but users can import their own LUTs into the app as well.
Image Comparison Slider
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Kino includes color presets created by professional colorists.
The app also includes advanced features, such as the ability to save files into either Apple's Photos app or to a specific file location, composition guides, audio levels, USB-C storage compatibility, RGB waveform, manual focus with peaking, WB/AE lock, exposure compensation and a lockable user interface.
For beginners who may not be as familiar with a video-first workflow, the app will include free lessons on the basics of shooting video.
Kino is available beginning today at a promotional price of $9.99, though the company indicated that the price will increase to $19.99 "a few days after launch."
"All camera and lens manufacturers have to be innovative," says Sigma CEO Kazuto Yamaki, but "technology competition among manufacturers may not always be beneficial to customers... Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important."
In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.
State of the market
"Last year was not so bad," he says, when asked about the state of the market: "It looks like the trend of the shrinking market has hit the bottom." But he suggests this may not continue: "For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years."
"One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable."
"I’m afraid that not so many customers can afford such high-priced cameras and lenses"
"Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch."
Yamaki also expresses concern about some of the tech trends he's seeing: "Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers."
"We've seen some cameras with very technically impressive specifications, but I worry that they're not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important."
The challenges of innovation
Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it's designed, as the most challenging subject.
Image: Sigma
He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements," he explains: "Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight."
But this approach isn't simple, he says: "It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”
"In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it."
"This trust is really, really important," he explains: "Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”
A question of trust
"That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it."
This commitment to pushing the use of new glass types reflects Yamaki's wider vision of the company's role. This can be seen in the ambitious lenses it's recently introduced aimed at astrophotography, he says.
"First of all, I believe it’s one of Sigma's missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group."
"Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma's technology."
The future of APS-C
Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn't sound like there are plans for I-series-style versions of the DC lenses.
Image: Sigma
With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.
"I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags."
Despite this, it doesn't sound like there are any plans to refresh the DC DNs with more i-Series-like designs: "Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses," he says.
But, while we won't expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki's comments about his commitment to APS-C bode well, given the announcement that it'll make lenses for both Nikon's Z mount and Canon's RF system:
"Our plan is to have a relatively complete range of lenses for APS-C sized sensors."
This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.
Every week, we ask newsletter subscribers a question about gear, creativity or life. We recently asked readers: If you could go back to your 20-year-old self, what camera-related advice would you give yourself?
Subsequently, the DPReview editors also got in on the act:
1. Shaminder Dulai
Start organizing your photo and video archive and making it searchable. Make sure to save local versions of client work; websites will disappear and take your work with them. A good archival system makes it possible to earn a passive income from these photos and videos in the future and curate your work for grant applications and shows.
Don't get caught up in the gear; there will always be something better that comes along. Make things. Whatever you can get your hands on, just use it and make stuff. The more you practice and embrace the failures, the more you'll learn and improve.
There will be people who will try to discourage you; they'll tell you you don't have the right gear, the right skills, or the right name, and some will even steal your ideas and pass them off as their own. These will be hard lessons, and you'll need to learn to put yourself before others. It won't be easy.
Also, buy as much Apple stock as you can afford and spend more time with your parents. Ask them the questions you always were too afraid to ask.
2. Dale Baskin
I'd probably give the same advice I would give a 20-year-old today: Don’t obsess about having fancy gear or the newest camera. Buy something used in good condition and save some money, then spend the money you save on fun experiences that allow you to focus on learning the art of photography.
3. Richard Butler
I'd tell myself to think more carefully about lenses. To try to work out which are the focal lengths I'd actually use. I'd recommend going back through the photos I'd taken to see what you're trying to capture (and would have found I was typically trying to shoot wider, not longer than my kit zoom would go). I'd advise myself to consider whether the discipline (and compactness) of a prime would be better in the long-run than the seemingly obvious F2.8 zoom. With this advice I'd have avoided a fair few dead-ends, avoided the cost of some under-use lenses and probably have learned more about how to shoot, sooner.
What's your take? Let us know in the comments.
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We had a chance to shoot with the Fujifilm X-T50 for quite a while, so we put together a first-look video, outlining what it can offer, as well as shooting a sample gallery using a variety of Film Simulations.
As always, all the Raw files are available to download if you wish to see how your preferred software handles them.
Sample gallery
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Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
There's nothing like unwrapping a new camera for the first time.
Having a brand new camera is an exciting time for a photographer. But before you head for the hills, the studio or a far-flung destination, it’s a smart idea to adjust a few important camera settings first. A few tweaks and adjustments up front can mean the difference between fluid work and frustration.
How you set up your menu and customize your buttons and dials is a very personal matter. It depends on what you shoot, which features you use and how you like to work. No matter what you’re focused on, there are a few common settings that all photographers need to get set right straight out of the box.
The Great Menu Expansion
Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system. As an example of this growth consider Canon’s first mainstream DSLR, the Canon D30 from the year 2000, whose menu featured a total of 31 items on one long scrolling list. Canon’s recent pro-level R3, on the other hand, offers 433 menu items organized into 8 categories or tabs.
Canon and other manufacturers have done a reasonable job (some better than others) at organizing all these features into relatively logical categories like: Image quality, Playback, AF, and Wireless. However, they give you no clue as to which items you should adjust straight out of the box – which ones are better to turn off or keep on most of the time.
Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system.
For this reason, many photographers tweak a few items as they need them and leave the rest of the menu for a time when they have nothing better to do than read a camera instruction manual – which is likely never. They then wind up living with discomfort in their shooting experience that would be easy to fix.
This article provides a short list of must-change items for all photographers. The out-of-the-box factory settings (or worse, the previous owner’s settings) may not have these settings adjusted for your needs. While I could go on all day about this, let’s start with a few hot items you’ll want to adjust on your new camera.
Diopter
Yes, the topic of this article is on menu settings and the first item isn’t in the menu. Point noted, now let's move on. The diopter is the focus adjustment for your camera's viewfinder. Somewhere near the eyepiece is a small knurled knob, possibly with plus and minus labels. Turning this knob will adjust lens elements in the viewfinder to adapt the clarity of the view for people with different vision needs.
You'll see clearly once your diopter is correctly adjusted.
When the diopter is adjusted properly, you'll have a way better time seeing both your subject and the information displayed in the electronic viewfinder of a mirrorless camera or the focusing screen of a DSLR. If the diopter is slightly off you’ll likely still see a sharp image but your eyes will need to strain to keep everything in focus. A properly adjusted diopter will make viewing comfortable and strain-free.
These little knobs can easily be adjusted by accident and it's not uncommon to look through your viewfinder and be suddenly shocked at how bad your eyesight has gotten. While some knobs have better locks than others, almost every camera I’ve used has needed this adjusted at the start, and again at various intervals. This is a rather unglamorous way to start the personalization of your camera, but without it the whole world could be a blur to you.
File Format
There is perhaps no setting as important as the file type. We’ll sidestep the whole Raw vs JPEG debate here, and we’ll simply state that whatever you decide is right for you is something you need to set up on your camera right away.
A Raw file, for the newbies out there, contains all the original capture information in an image, far more than the efficient subset contained in a JPEG. It allows you greater leeway in post-processing to recover details from shadows or highlights and to change fundamental aspects like white balance or color. The downside is that the file size is a bit on the big side (compared to JPEG) and requires special software to view and work on the image. While your camera manufacturer provides free software to do so, many people prefer to use popular photo-editing software from companies like Adobe or Capture One.
Whether you value the flexibility of Raw files, or the convenience of JPEG, make sure you've picked a file format before heading out the door.
The JPEG file is a small convenient file that can be opened and viewed by pretty much any computer or viewing device made in the last 25 years. The downside to the JPEG is that the file is processed and compressed. While convenient for sharing online and fine for printing unaltered, it lacks the information depth of color and tones that a skilled photo editor would appreciate when working in the digital darkroom.
Thankfully, most camera manufacturers know that file type is an important setting, and it’s usually located at or near the top of the menu. You'll also often find a shortcut to this feature in the Quick or Function menu or Control grid screen.
You can shoot Raw and JPEG at the same time, but this should only be done if you truly need it. If you have a Raw file you can make a JPEG anytime you want, in any quantity, with any adjustment you like, so long as you have a computer, the right software and the time to do it. The best time to simultaneously shoot both Raw and JPEG is when you have an immediate need for the JPEG and a long-term desire for the Raw.
Thankfully, most manufacturers know that file type is important and it’s usually located at or near the top of most menus.
Get this set right first, and if you change your photography workflow from time to time be sure to come back and revisit it. The current file type status is often displayed in the viewfinder or on the rear screen for easy monitoring.
Card Format
Photos from your camera will likely be stored on a removable memory card, and like any storage area (digital or real) it should be cleared of unnecessary clutter before use. Each camera manufacturer has a slightly different way of communicating with the card and storing images on it. To create a clean, reliable line of communication between camera and card it is highly recommended that you 'format' a new card inside the camera before heading out to capture photos.
Formatting your digital storage medium with a new camera ensures they'll become fast friends.
Be advised that formatting a card will delete all the photos on it, along with any folders, seen or unseen, and will set up a new storage structure and path. Formatting is also recommended when heading out on a new shoot, so long as the photos from the last shoot have been downloaded and backed up first. There’s nothing like starting with a clean slate.
Date and Time
Mundane and trivial to some, the capture date and time of every image is stored in its metadata (extra information that can be viewed by software) and having it correct may potentially save headaches in the future. Many cameras now have simple adjustments for traveling to different time zones and adjusting for daylight saving time so that you don’t need to fiddle with the actual time setting. I’ve found that cameras are not particularly accurate in their timekeeping over the long haul, so if you're fussy about having exactly the right time stamp on your photos you may need to revisit this feature every few months or so.
Having the correct date and time set on your camera can help you remember when you captured photos.
Copyright Info
Another item in the image metadata that may be beneficial at some point in the future is setting your name and any other pertinent personal info. Be advised that this data can be overwritten by anyone with access to your digital file. This setting is for information that may be helpful to you or others, but it is not in the realm of lock-tight security options.
Adding your name in the copyright field provides a very low level of security; think of it simply as a note that it is you who took the photo, or at the very least an image that came from your camera. This can be convenient if your images have been casually mixed with others and you need to identify the owner or creator.
Embedding copyright information can help identify your photos or even recover your camera.
You can also use this setting to put in specific copyright information like 'All Rights Reserved,' to let anyone else with access to the file know what your intentions are. Once again, though, be advised that this can easily be overwritten by the laziest of hackers. A potential use for this area is your contact information, usually in email form. Should your camera be lost or stolen it could provide a link back to you. True, the bad guy won’t care about this, but the honest one who does want to do the right thing will have information on how to contact you.
Set up and head out
None of these settings will help you create great photos, but they can make the experience of shooting with your new camera a bit easier. Paging through the labyrinth of the menu system isn’t the first choice of activity for a photographer, but trust me, there’s a lot of useful stuff in there. Getting your camera set up specifically for your needs is like getting a custom tailored suit – it will prepare you for whatever may come and give you confidence when you head out into the world.
What settings and adjustment do you make straight out of the box? Tell us in the comments.
John Greengo specializes in photographic education through online training, books and international photo tours. His photographic teachings have been viewed by millions around the globe.
His website offers a growing collection of highly visual photography courses. Classes cover a wide range of photographic topics including landscape, travel and gear-specific tutorials. His impressive collection of camera guides provides viewers with detailed instruction on every aspect of the camera's operation.
Leica has announced that it will introduce the D-Lux8 premium compact camera on July 2nd, showing a continued commitment to compacts.
The company hasn't issued full specs yet, but the D-Lux8 appears to be an updated D-Lux7 with both physical styling cues and an updated menu system that more closely resemble the Q3 fixed-lens full frame model.
Like its predecessors, the D-Lux8 shares most of its specifications with Panasonic's LX series of cameras, but it's notable that there isn't (yet) an LX100 III to correspond to the new Leica model. Until we have full specs we won't know how much has changed, compared with the D-Lux7 and LX100 II.
Leica says the D-Lux8 will be its first D-Lux model to shoot DNG Raws and that it will come bundled with a flash.
4:3
3:2
16:9
1:1
The multi-aspect concept uses concentric crops of the sensor to maintain the diagonal angle of view even when you change aspect ratios. This means it never uses the entire sensor area.
The camera is still based around a 10.9-34mm (24-75mm equiv) F1.7-2.8 zoom and offers a series of crops from a four-thirds type (17.3 x 13mm) sensor. The lens doesn't cover the entire sensor, so you can only get up to 17MP images from the 21MP chip, but the 3:2, 4:3 and 16:9 crops are designed to maintain the same diagonal angle-of-view, so they all maintain a true 24-75mm equivalent view. As before a switch on top of the lens encourages experimentation with these crops.
The camera gains a higher resolution 1.84M dot (960 x 640px) rear screen and an updated viewfinder. The D-Lux8 uses a 2.36M dot (1024 x 768px) viewfinder, which may sound like a downgrade compared with the 2.76M dot figure of the D-Lux7, but will be an improvement for many people. Read the spec of the old model closely and you'll find it says the finder was 2.76M dot "equivalent," indicating the use of a field-sequential finder that updated red, then green, then blue information one after the other. The move to a conventional OLED finder with a red, green and blue 'dot' at each pixel location will avoid the unpleasant 'tearing' effect if you moved the camera quickly or blinked between color refreshes.
The new camera will also feature a USB-C socket over which it can be charged.
The D-Lux8 will be available from July 2nd with a list price of $1595.
Image: Leica
Press Release:
Leica announces the continuation of compact digital cameras with the upcoming launch of the Leica D-Lux 8 on 2nd July 2024
Teaneck, NJ, May 23rd 2024. Leica Camera AG will launch the new Leica D-Lux 8 on July 2nd 2024. In 2003, the German premium manufacturer introduced the first D-Lux. Eight generations and numerous special editions later, the D-Lux has solidified its position in the top-quality segment of Leica’s digital compact cameras.
The new D-Lux 8 brings the quintessential Leica experience into a more compact and accessible form. The overall user experience and iconic design are a testament to the excellence of the legendary Leica brand, recognized globally as a leader in the field. For enhanced user comfort, the controls have been simplified and ergonomically repositioned, while the user interface, inspired by the popular Leica Q-Cameras, has become even more user friendly. The D-Lux 8 features a 4/3” CMOS sensor offering 21MP (effective 17 MP), the fast Leica DC Vario-Summilux 10.9–34 mm f/1.7–2.8 ASPH. lens (35mm equivalent to 24-75 mm), intuitive design and seamless connectivity with the Leica FOTOS app. The flash included with the camera further expands the versatility of the D-Lux 8.
In addition to the camera, a new range of accessories will be introduced. These include a hand grip, carrying straps, wrist straps, and leather protectors available in multiple colors. Additional accessories such as an automatic lens cap, soft release buttons, and a selection of bags, including a hip bag, crossbody bag, and equipment bag, expand the camera’s portfolio.
The Leica D-Lux 8 will be available globally on July 2, 2024 at all Leica Stores, the Leica Online Store, and through authorized dealers. The US retail price will be $1,595.
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We had the opportunity to use the new Panasonic S9 for several days at Panasonic's Lumix Summit in Osaka, Japan. In this short video, we take a closer look at the camera, who it's designed for, and the philosophy behind its LUT-based workflow.
If you're curious about how the camera performs for photography, check out our pre-production sample gallery from Japan. As always, all the Raw files are available to download if you wish to see how your preferred software handles them.
Sample gallery
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Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
A few weeks ago, we issued a challenge to the DPReview community to show us your best bird photos in honor of World Migratory Bird Day. Over 270 of you submitted images of birds in flight, at home, hunting for dinner and more.
We love seeing your work! Thanks to everyone who submitted. We couldn't call out every image we liked and tried to restrain ourselves to our favorite baker's dozen (in no particular order).
If you don't see your work here today, please don't call fowl on the play. We encourage you to submit for our next challenge.
Also, a quick reminder to keep comments constructive and civil. To be blunt, it's one thing for editors to receive harsh comments, but it's another threshold to be rude to people not on our staff who want to make some images and share their work. Rule #1: Be nice. That's it, there is no rule #2.
Male Snowy Egrets displaying at dawn in the marsh
By: kipsneddon
Caption: Taken just after dawn on 05/15/2024 in the Scarborough Marsh in Scarborough, Maine USA. Image is of two male Snowy Egrets displaying to decide who is dominant.
Nikon Z9 | Nikon Nikkor Z 800mm F6.3 VR S | 1/800 sec | F6.3 | ISO 1000
Thank you to everyone who participated. Seriously, how amazing is it to see our fellow DPReview reader's work? To see all the entries for yourself and vote for your favorites, head over to the challenge now. The complete shooting specs and gear used for each photo in the challenge platform can also be found in the challenges gallery.
If you couldn't participate in this editors' challenge, keep an eye out for our next one. We'll be doing more during the year as we celebrate 25 years of DPReview. Speaking of which, do you have a suggestion for an Editors' challenge? In the comments, let us know what to do for our next one.
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Sample gallery
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Product images by Dale Baskin/Mitchell Clark
The Panasonic Lumix S9 is the newest addition to Panasonic's line of full-frame mirrorless cameras, though it differs considerably from previous models. It's the first in the series to diverge from the traditional DSLR form factor. More significantly, it's the first full-frame Lumix camera aimed squarely at social media content creators.
The basic premise of the S9 is that it's designed to simplify and speed-up the social media workflow. The goal is to allow content creators to generate photos or videos ready to publish straight out of the camera without additional editing in other applications.
Key specifications
24MP BSI CMOS sensor with on-sensor phase detection
4K 3:2 open-gate video in 25 or 30p (4:2:0 10-bit) with new 'MP4 (Lite)' codec
6K 3:2 open-gate video at up to 30p (4:2:0 10-bit)
6K or DCI/UHD 4K from full sensor width up to 30p
DCI/UHD 4K up to 60p (with APS-C crop)
Dedicated LUT button to apply LUTs in real time (photos and video)
Tight integration with the new LumixLab smartphone app
Dual conversion gain sensor with explicit 'Dual Native ISO' gain selection
UHS-II card slot
1.84M dot fully-articulating LCD
The Lumix S9 will be available from the end of May 2024 at a suggested retail price of $1499. Four color options are available: night blue, dark olive, crimson red and jet black.
Alongside the S9, Panasonic also announced a new L-mount lens designed to pair with the camera. The Lumix S 26mm F8 is a fixed-aperture, manual focus 'pancake' style lens with a suggested retail price of $199.
Under the hood, the Panasonic S9 is largely the same camera as the Panasonic S5II. However, by necessity, it omits some of that camera's hardware features in the interest of size, including an EVF, a second main command dial, a joystick, a second card slot and an integrated fan. And while the two cameras share a common technology platform, the S9 is not intended to be a more compact version of the S5II: the cameras have very different design philosophies and are aimed at different types of users.
Social media-focused workflow
The S9 is specifically designed with a social media workflow in mind. This means providing social media creators with the tools necessary to generate a unique, signature look to their photos and videos straight out of the camera without requiring any editing skills. Panasonic describes this as the ability to "Shoot, edit and share in 30 seconds." While 30 seconds may be a bit optimistic, it's important to understand that this social media workflow underpins the camera's features and design choices.
In essence, the S9 is intended to provide social media creators with a camera-to-social-media workflow that can be executed quickly and easily, wherever they may be, without relying on a computer or any third-party software. Although the camera can support an enthusiast photographer's workflow, it's not optimized around that use case in the same way as a camera like the S5II and lacks features that dedicated photographers are likely to value, such as a dedicated viewfinder, a second command dial and direct controls for features such as AF mode and area.
Expanded use of 'Real Time' LUTs
A core feature of the S9's social media workflow is Panasonic's 'Real Time' LUT system, first introduced on the S5II. This does more or less what it sounds like: it lets you instantly apply a look-up table (LUT) color transformation to a photo or video as they're captured to provide a custom look that would otherwise require additional editing to achieve.
LUTs have been a standard method of applying color transformations in the video world for years, but Panasonic has expanded their use to broadly apply to both stills and video. It promises that this LUT-based workflow will let you skip the editing step entirely because you can use LUTs to achieve whatever look you want straight out of the camera.
LUTs are such an essential part of the S9's identity that it has a dedicated LUT button next to the AF-On button on the back of the camera. Tapping this button allows you to quickly cycle through all the LUTs loaded into the camera to select the look you want to achieve.
The S9's Real Time LUT feature allows you to generate custom looks straight out of the camera.
In addition to a dedicated LUT button, the camera improves upon the system found on the S5II in several ways. The S9 can store up to 39 LUTs in memory, up from ten on the S5II, and LUTs can now be applied to any of the camera's photo styles; previously, LUTs could only be applied to the V-Log style. Users now have the ability to control LUT opacity, ranging from 10-100%, and it's even possible to apply two LUTs at once by creating a 'My Photo Style', which lets you choose a base photo style and apply one or two LUTs on top of it.
The result is a virtually limitless combination of looks that can be created and stored in-camera for quick access at the touch of a button.
New LUTs can be added to the camera quickly and easily using a companion smartphone app, though it's also possible to add a LUT in .cube or .vlt format from an SD card if desired.
LumixLab app
Alongside the S9, Panasonic is launching a new smartphone app called LumixLab, specifically intended to support the S9's social media workflow. Unlike most smartphone apps for cameras, which serve as an optional tool, LumixLab is fundamental to the S9 user experience, to the point that the camera's headline feature of using real time LUTs depends on it.
The LumixLab app allows to create and manage LUTs on your camera.
LumixLab allows you to apply LUTs to photos and to manage the LUTs installed on your camera. However, the real power of LumixLab is the ability to quickly and easily create your own custom looks and generate custom LUTs based on those looks. The app includes various editing tools, including exposure, color, HSL, tone curve, split toning, sharpening, noise reduction, sharpness, and even simulated film grain. If you edit an image or video clip and get a look that you want to reproduce in the future, you can instantly save a custom LUT based on your edits and load it into one of the camera's 39 memory banks.
The idea is to allow you to create a signature look that you can automatically apply to any media you capture in the future simply by selecting your custom LUT using the camera's LUT button.
LumixLab also includes a library of ready-to-use LUTs, including LUTs created by Panasonic and LUTs shared by other social media content creators. This means you have many creative options to choose from, even without having to make LUTs yourself.
It's worth noting that LumixLab doesn't replicate all of the features of Panasonic's existing Image App, such as the ability to control your camera remotely. Panasonic tells us the two apps will coexist for a while but that it eventually plans to merge them. LumixLab will be available for download from the Apple App Store and Google Play Store on May 29.
4K open-gate recording and MP4 (Lite) codec
The S9's default video mode is 4K open-gate video, downsampled from 6K, using the entire area of the camera's sensor rather than a 16:9 region, as most cameras do. This makes it easier to generate horizontal and vertical video from the same master clip but with smaller file sizes that transfer more quickly to a smartphone than full-resolution 6K open-gate video. Interestingly, this default mode supports 25p and 30p recording but not 24p.
This default video mode uses a new codec, which Panasonic calls 'MP4 (Lite)', which records at 50 Mbps. This may seem low compared to the higher bit rates we've become accustomed to in recent years, but it significantly speeds up transfers between the camera and smartphone and is probably sufficient for most social media, where video is heavily compressed for streaming.
Aspect ratios
Frame rates
Bit-depth
Chroma
Max bitrate
6K Open gate 3:2, full width
3:2
29.97, 25, 24, 23.98
10-bit
4:2:0
200
4K Open gate 3:2, full width*
25, 30
50
6K full-width
16:9, 1.89:1
29.97, 25, 24, 23.98
200
4K full-width
4:2:2
150
4K APS-C
59.94, 50, 29.97, 25, 24, 23.98 (48, 47.95)
200
*Open gate 4K recording is the default video mode for camera
The default video mode even gets its own slot on the camera's Q menu, separate from all other video settings. You still have access to most of Panasonic's other video settings, right up to 6K open-gate video, but you'll need to switch out of the default video mode to use them.
Similarly, you get access to Panasonic's excellent video features like waveform monitor, shutter angle, zebras, Log view assist, record frame indicator, and the other usual suspects. However, the camera does have a 15-minute recording limit.
How it compares
Panasonic's pitching this camera squarely at creators who are still mainly shooting with their phones. If it wants the S9 to woo them, it has to do two things: be almost as convenient to carry around and shoot with as a phone, while producing much higher-quality images. The camera's compact size, along with the revamped app, are plays at making it convenient, while its full-frame sensor should provide enough raw photo and video quality to stand out in a crowd of smartphone images.
Of course, the S9 isn't the only choice for creators looking to step up to a dedicated camera. Sony's ZV-E1 is a direct rival that's focused on meeting the needs of creators. We've also included the Panasonic DC-S5II, the company's more photographer-friendly model underpinned by similar hardware.
Finally, the Sigma fp is admittedly a slightly left-field comparison but its lack of viewfinder, reliance on electronic shutter and use of the same sensor makes it an interesting point of comparison.
Panasonic S9
Sony ZV-E1
Panasonic S5II
Sigma fp
MSRP
$1499
$2200
$1999
$1899
Pixel count
24MP
12MP
24MP
25MP
Viewfinder (Res/Mag)
N/A
N/A
3.69M dot OLED, 0.76x
Optional
Rear Screen
3.0" 1.84M dots, fully articulating
3.0" 1.04M dots, fully-articulating,
3.0" 1.62M dot, fully-articulating
3.2″ 2.1M dot, fixed
Image stabilization
Body: 5EV
w/lens: 6.5EV
Body: 5EV
Body: 8EV
w/lens: 8EV
N/A
Cont. shooting rate
30fps e-shutter
10fps e-shutter
30fps e-shutter 7fps mech (AF-C)
18fps e-shutter
Mechanical shutter
No
No
Yes
No
Video resolution
6K 3:2 <30p
6K/5.9K <30p
4K 60p (APS-C)
4K <30p (full width)
4K <60p
1080 <120p
(4K <120p, 1080 <240p via f/w*)
6K 3:2 <30p
6K/5.9K <30p
DCI/UHD <30p
DCI/UHD <60p (1.5x crop)
4K <30p
1080P <120p
Video bit-depth
10 bit with HLG and Log
10 bit with HLG and Log
10 bit with HLG and Log
12 bit Cinema DNG
Mic/Headphone sockets
Yes / No
Yes / Yes
Yes / Yes
Yes / Yes
Card slots
1x UHS-II
1x UHS-II
2x UHS-II
1x UHS-II
Battery life (CIPA) LCD / EVF
470
570
370 / 370
280
Weight
486g (17.1 oz)
483g (17oz)
740g (26.1oz)
422 g (14.89 oz)
Dimensions
126 x 74 x 47 mm
121 x 72 x 54mm
134 x 102 x 90mm
113 x 70 x 45 mm
*A free firmware upgrade is required to access 4K/120 shooting on the ZV-E1
For its price and size, the S9 has a pretty impressive spec sheet for a mid-level camera, largely owing to its high-res, full-frame sensor, and its ample video features. The company's stabilization tech and autofocus are also competitive, though Sony still holds the crown in the later category.
Which makes the comparison with the Sony ZV-E1 interesting. It too aims to make creators' lives easier, but through different means. The S9's forte is making it easy to find or create a look for your images, while the ZV-E1 is tuned to make filming yourself easier. Its "Auto Framing" feature will automatically crop your video so that it follows your subject and it includes a "product showcase" mode that'll specifically focus on items that you're holding up to the camera, both making it suited to single-person operation. Its sensor is also better matched for video, so it can record 4K at 60fps without any crop or 120p with a slight crop.
That sensor's lower megapixel count puts the ZV-E1 at a disadvantage when it comes to shooting photos, though, and while it does have its own custom LUT feature, it's mostly focused on video instead of photos. The MSRP is also substantially higher than the S9's.
The S9's focus on creators means there are plenty of features that could push enthusiast and more photo-focused buyers towards more expensive cameras like the S5II. The S9's bigger cousin has a second SD card slot and, of course, an EVF. It's also better-equipped for video, with a full-size HDMI port versus a fragile micro one and a dedicated headphone socket (with the ability to record to an SSD on the more expensive S5II X model). The S5II's extra features come at a cost though, both figurative and literal; it's over 50% heavier and its MSRP is $500 higher than the S9's, both factors that could be dealbreakers for on-the-go content creators or people who are just starting out.
Body and handling
The S9 has a very sleek design, reminiscent of old rangefinder film cameras. Its face is a mostly flat surface, a leatherette cover that comes in four colors. (Real ones too; it's nice that Panasonic hasn't skimped on saturation like many gadget-makers are these days.) Unlike Panasonic's higher-end offerings, the S9 doesn't have any programmable buttons up front.
The camera is relatively compact for housing a full-frame sensor; it's smaller and lighter than Panasonic's four thirds-equipped G9II. However, the S9 is still not a small object, and we felt its thickness, rounded edges, and lack of ergonomic affordances made it difficult to confidently shoot it one-handed, like you can with cameras like the S5II or GH5II. Its surface finishes are relatively slick, and it doesn't have any front grip to speak of. (There is a leatherette-covered thumbrest, but it can only do so much.)
At the top of the camera is the mode dial, along with a programmable command dial that runs around the shutter button. There's also a programmable red button that, by default, will start recording video even if you're in a photo mode, though in a limited set of resolutions and framerates. (It'll start recording in MP4 Lite, standard MP4, or MOV, but you'll have to switch to video mode to shoot above 4K.) Finally, there's a cold shoe mount, which could be useful for accessories like vlogging microphones or on-camera lights as long as they can provide their own power.
Moving to the back of the camera, there's the flip-out touchscreen, which is the S9's only display. Unlike most other cameras in the current Lumix S or G lineup, there's no EVF to be found. The display is also the main way to select your focus points, as there's no joystick or directional pad. It's responsive, crisp and clear at 3.0" and 1.84 million dots (960 x 640px), but it's susceptible to glare even on relatively overcast days.
Above the display, you'll find the LUT and AF On buttons, both of which are programmable and easy to reach while shooting. Down to the right is the control wheel, along with the rest of the camera's buttons. We found the dial to be quite sensitive, which limited our choices while choosing its function; it's no fun looking down at your camera and discovering that you accidentally changed to a black and white photo style, or adjusted your white balance.
That sensitivity does help you zip around menus, but it doesn't make it any easier to use the wheel when you're one-handing the camera. It's placed such that you'll have to remove your thumb from the thumbrest to make adjustments, something that will almost certainly unbalance the camera unless you're supporting it with a second hand.
Photographers that spend most of their time in manual mode, or who ever want to control their primary parameter while also having access to exposure compensation, will probably wish for an extra command dial, and those who hate diving into menus will likely want an extra programmable button or two. However, it's definitely possible to get by with the controls included on the S9, especially if you take the time to customize the Q menu and "My Menu" systems. The main menus of the camera are also reasonably easy to navigate, and you can control them with either dial, or using the touchscreen.
Battery
The S9 uses Panasonic's 16 Wh DMW-BLK22 battery, the same one found in the S5II, G9II, and GH5II. It's rated to give you around 470 shots per charge, though as always that number is likely well below what you'll get during real-world use. That's quite a good showing, especially for a camera of this size; that's enough power that most photographers could head out for a weekend of shooting without worrying about bringing a second battery, unless you plan on shooting a lot of video.
The S9 doesn't come with a power adapter or battery charger, but it has a USB-C port that you can use with standard charging bricks. According to Panasonic, you should be able to keep it topped up with a battery bank, provided it and your USB cable support outputting at 9V at 3A.
Initial impressions
By Dale Baskin
The Lumix S9 is a significant departure from Panasonic’s previous full-frame mirrorless cameras, not only in terms of its physical design but also the entire design philosophy behind the camera. After using it for a week, I feel like I’ve developed a pretty good sense of not only what the camera is but also what it isn’t. And that’s an important distinction.
If you learned photography on a dedicated camera, chances are the S9 wasn’t designed for you... if you learned photography on a camera that could also make phone calls, it’s entirely possible it was
It’s tempting to look at the S9 and see a more compact version of the S5II. (Or, possibly even a supersized version of the Lumix GM1, a tiny Micro Four Thirds camera from a decade ago.) It’s a stylish camera, and the technology underpinning both models is essentially the same. But don’t let the rangefinder-esque styling and slightly retro looks fool you: the S9 is a very different camera than the S5II, designed for people with different priorities.
In fact, if you learned photography on a dedicated camera – possibly even one with a passing resemblance to the S9 – chances are pretty good that the S9 wasn’t designed for you. You might wish it were, but it’s probably not. On the other hand, if you learned photography on a camera shaped like a flat slab of glass that could also make phone calls, it’s entirely possible this camera was made for you.
I found the S9's LUT-based workflow worked pretty well, and it was generally quick and easy to use. It only took about five minutes to create my first LUT and install it in one of the camera's memory banks for quick access.
Panasonic says it expects people to use it for photos as much as they will for video. However, if you’re looking for a traditional photo shooting experience, you’ll likely find the camera’s design frustrating.
There’s no EVF, which purist photographers will surely miss, and it can be a real challenge to use the LCD outdoors in bright light. It lacks a second command dial and has few custom buttons, so you’ll go menu-diving to change settings, and the lack of a mechanical shutter limits its ability to use flash and could introduce rolling shutter artifacts. As attractive as the camera is, carrying it around like a stills camera for long periods is fatiguing. It’s telling that at the launch event in Osaka, Panasonic provided members of the media with an accessory grip made by SmallRig that screws into the camera’s tripod socket.
As much as it looks like it might be designed for enthusiast photographers, its superpowers lie elsewhere.
The story is different as a tool for social media creation. We’ve seen plenty of cameras that claim to be made for social media users, including from Panasonic itself, but it’s often not entirely clear what value those cameras have added to a content creator’s workflow.
What I appreciate about Panasonic’s approach with the S9 is that it didn’t simply create a new camera with a selfie screen and declare it to be the perfect social media camera, mostly “Because we said so.” Instead, Panasonic seems to have made a pretty good attempt at understanding a real workflow issue that makes it challenging for social media creators to adopt a dedicated camera for their work.
I captured this photo using the S9's Standard color style, made some adjustments in LumixLab to create a slightly nostalgic look, and exported my settings as a LUT to the camera. Once I had done that, I was able to capture additional images with the same look simply be selecting my custom LUT in the camera.
Most social media content creators aren’t worried about the same things as enthusiast or professional photographers. They’re less concerned about resolution and dynamic range than they are about being able to create something with a unique look straight out of the camera and getting it online quickly, no matter where they are. Providing a workflow that allows them to do that, without having to do any additional editing, goes a long way to solving that problem.
The S9 costs $1499, about $500 less than the S5II, and while they're very similar from a technology perspective, the choice between them isn’t as much about price as it is about the problem you’re trying to solve. If you’re a purist photographer looking for a traditional camera experience and workflow, the S5II has you covered. But if you’re the type of person whose priorities include an efficient workflow for social media with as little post-production as possible, the S9 could be a good fit.
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Image: Panasonic
Alongside the S9 social media camera, Panasonic has announced the 26mm F8, a manual focus, fixed aperture lens for the L-mount system. It's also said it will release a compact 18-40mm F4.5-6.3 zoom lens for L-mount "soon."
The company refers to the 18mm-deep (0.71") lens as a "pancake" lens, but its stripped-back feature set reminds us more of Olympus's 15mm F8 "body cap" lens for the Micro Four Thirds system.
This impression is reinforced by the lens not accepting lens caps or filters and instead having a protective element across the front, which is not part of its design's optical formula, suggesting it's designed to withstand being left on the camera.
The Panasonic design is a little wider than the Olympus and has significantly shallower depth-of-field than the F16-equiv behavior of the 15mm on Micro Four Thirds. As a result it has to have a short-throw focus ring, rather than the close-focus/1.5m–infinity switch on the older lens.
Image: Panasonic
The Lumix S 26mm F8 weighs just 58g (2.0oz) and will retail for a recommended price of $199. We also expect it to be bundled with the S9 without adding significantly to the cost of the kit.
Panasonic also said it will be launching an 18-40mm F4.5-6.3 compact zoom lens soon. The only detail given about the ultra-wide to fractionally-wide-of-normal zoom is that it will focus down as close as 0.15m (5.9").
Its short range and relatively modest aperture range will presumably see it act as a low-cost alternative to the $1500 Lumix S 16-35mm F4, rather than a rival to the $600 20-60mm F3.5-5.6.
Press Release:
Panasonic Introduces LUMIX S Series Fixed Focal Length Pancake Lens: LUMIX S 26mm F8 (S-R26)
Newark, N.J. (May 22, 2024) – Panasonic is pleased to announce the new LUMIX S 26mm F8 (S-R26), an incredibly compact and lightweight lens designed to be the perfect match to the new LUMIX S9 camera body. Despite its slim profile, the 26mm features the superior design, high resolution, and outstanding image quality for which LUMIX has become known for.
With a focal length of 26mm, a fixed F-stop of F8, and manual focus only, this new pancake lens is designed for the simple enjoyment of manual shooting with creative composition and exposure. Perfect for spontaneously capturing fleeting moments, the 26mm delivers unique results compared to the existing line-up of LUMIX S Series wide-angle, fixed focal length lenses.
Main Features
The fixed focal length pancake lens in the LUMIX S Series
Manual focus allows creators to take full control of their own personal style of content creation
The lens has a wide angle of 26mm and a fixed F-stop of F8
Enjoy unlimited creative possibilities from pan-focusing to bokeh effects.
Compact, lightweight lens perfect for everyday
Ultimate portability with a thin and lightweight body that fits into your pocket
Easy to carry around and start shooting at a moment’s notice, making it ideal for spontaneous snapshots
Overall length of approximately 18.1mm and a weight of approximately 58g/0.13lb.
Designed to match the compact body of LUMIX S9.
･ This lens is for manual focus only, fixed at F8. The camera's AF setting and some MF assist functions cannot be used. ･ External filters cannot be attached.
The new LUMIX S 26mm F8 (S-R26) will be available for purchase in late June 2024 at valued channel partners for $199.99.
Coming soon: A new compact versatile zoom lens: LUMIX S 18-40mm F4.5-6.3
A new LUMIX S 18-40mm F4.5-6.3 lens is coming to the full frame LUMIX S Series lens line-up soon. A compact and versatile zoom lens ideal for daily use, the upcoming 18-40mm has a minimum shooting distance of 0.15m/0.49ft. This everyday lens is designed to match the LUMIX S9 and covers focal lengths from an ultra-wide angle of 18mm to a semi-standard 40mm.
Connexion
