We recently published our review of the Fujifilm X-M5, and a sample gallery taken with a production unit alongside it. In case you missed it, we're giving the sample gallery its own article, as we've added a few more examples to it to help show some of the differences between Fujifilm's Film Simulation color modes.

We were able to shoot this gallery with a wider array of lenses than our pre-production one, which should help illustrate the camera's capabilities when paired with a lens that has better optics than the XC 15-45mm f/3.5-5.6 kit lens.

Click here to see the gallery

Pedestrians with umbrellas wander down a rainy alley in Yokohama's Chinatown. Panasonic S5IIX + Panasonic S 28-200mm F4-7.1 | F7 | 1/125 sec | ISO 1600 Photo: Dale Baskin

Japan is one of my favorite places to travel. I'm captivated by its culture, cuisine, and the warmth of its people. It's also a photographer's paradise, offering endless possibilities, from serene temples and bustling markets to breathtaking landscapes.

My favorite type of photography when traveling in Japan is street photography, especially at night. I never tire of exploring the vibrant cityscapes, from the iconic Shibuya Crossing in Tokyo to the atmospheric alleys of Yokohama's Chinatown.

However, there's a twist: I seek out rainy conditions. While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical. The umbrellas emerge, the city lights reflect off the wet pavement, and colors take on a vibrant intensity.

I was fortunate to visit Japan twice this year, and it rained both times. What some might consider lousy weather, I welcome as luck. Both my camera and I were thoroughly drenched during several nights of shooting, underscoring the value of weather-sealed equipment. (For the record, despite being so wet they were dripping with water, neither camera nor lens ever missed a beat.)

"While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical."

Unsurprisingly, some of my most memorable photos of 2024 were captured during these rain-soaked adventures. It's challenging to select just one favorite because, as many of you will surely understand, how we remember the value of an image is often intertwined with the experience of capturing it.

The photo at the top of this page is one of my favorites from these trips, captured in Yokohama's Chinatown. Off the main street, the area is full of narrow alleys, many decorated with traditional lanterns, creating small, intimate spaces. I spied these two pedestrians with similar coats and umbrellas turn into one of these alleys and instantly knew there was a potential photo around the corner.

I managed to fire off two shots before the scene lost its magic, but that's all I needed. I love that you can't see the main subjects' faces. They remain anonymous, allowing the viewer to focus on the place rather than the person.

Image: Godox

Godox has announced the V100, a 100Ws version of its round-headed V1 on/off camera flashgun. The V100 can deliver up to 100 Watt Seconds of power in manual mode and can shoot over 70 consecutive bursts of light at full power. Recycle times of under 1 sec are possible when used with an external power source (1.7 sec with the internal battery).

Like the existing V1 and V1Pro, the V100 is available in versions compatible with the proprietary TTL flash metering systems of Canon, Nikon, Sony, Fujifilm or Olympus/OM System, each of which comes with a small secondary flash that can be used to provide a little 'fill.' It also has a 2W LED modeling lamp, to help you understand how its light is going to fall.

Godox says it's able to sync with the global shutter of Sony's a9 III, up to shutter speeds of 1/80,000, though the company also says the V100's minimum flash duration is 1/20,000, so presumably 1/80,000 sec shutter speeds would only experience a fraction of that output.

Image: Godox

The V100 is powered by a rechargeable Li-Ion battery that can be charged directly using a USB-C cable or in an optional multi-battery charger if you need to prepare multiple batteries before a shoot.

It's compatible with the company's 2.4Ghz radio frequency off-camera communication protocol either as a transmitter or receiver.

Buy now:

No details have been given about price or availability but it's listed as "Coming Soon" on B&H Photo's website with a price of $349. B&H is also listing a Pentax-compatible version, not listed on Godox's website.

When Fujifilm announced that it was releasing a firmware update to help improve the X-H2 and GFX 100 II's autofocus performance in October, the community's response was near-unanimous: what about the X-T5? The camera's autofocus performance has been a sore spot in recent months, with some users complaining that their cameras were noticeably less accurate after a previous firmware update.

This week, Fujifilm answered. It's released firmware updates for its flagship APS-C camera, as well as the GFX 100S II, X-T50, X-S20 and X100VI, promising that its "AF algorithm has been partially revised to improve focusing accuracy and subject tracking performance." According to the release notes, the updates, which you can download using the links above, are solely dedicated to the autofocus improvements.

This is far from the first X-T5 update that promises to improve its autofocusing capabilities, so we'll likely have to wait for owners to chime in on whether it brings the performance up to a level that they're happy with. For now, though, it appears that Fujifilm has at least heard the complaints, and is working on addressing them.

Beyer-Garratt 143 passes through Nantmor halt, southbound on the Welsh Highland Railway Fujifilm 16-55mm F2.8 LM WR II @ 19.3mm | F6.4 | 1/1000 sec | ISO 5000 Photo: Richard Butler

After a frankly overwhelming 2023, this year has been one that's helped me re-connect with my love of photography.

A couple of trips back to the UK have certainly helped with this. Despite nominally being on vacation, it's always tempting to use trips home as a means of building up 'real-world' time on a camera, or take the literal change of scenery as a way to add variety to our sample galleries. It was still something of a surprise to notice that none of the images I narrowed my choice down to were taken in Seattle.

My final choice was as much about the experience of shooting it as the image itself. It was taken during a five-day hike across North Wales, because that seemed like a sensible thing to do in late October.

"It was taken on day three of a five-day hike across North Wales"

Day three of the trip had included the first serious downpour and our spirits were a little overcast as we stopped for lunch. Our break was interrupted by the distant sound of a steam train's whistle, and suddenly I made the connection to the stream of smoke we'd seen trailing across the Glaslyn valley, from a high vantage point earlier in the day.

Another hour's walk and our route finally crossed the hilariously narrow-gauge tracks of the Welsh Highland Railway, at Nantmor halt. A search of the station showed no sign of a timetable, and roaming data wasn't in any hurry to convey the information but eventually we found that a southbound train was due at the station just north of us in about ten minutes' time.

This gave my companion a chance to rest his legs and me enough time to set up the camera for the train's arrival. Could I possibly take both a video and a photo of a train that wasn't necessarily going to stop? I'd need to change the camera settings pretty rapidly to achieve both.

Thankfully I knew that 'Movie Optimized Control' mode on the X-T5 would ensure that none of the exposure settings would carry across from video mode to stills, so that I didn't try to capture a photo of a moving train at 1/48 seconds or shoot video at 1/1000th.

Fleeting patches of sunshine meant five minutes of anxiously adjusting the vari ND on the front of the lens, but also meant there was a decent level of contrast when the train finally appeared.

I captured some 22 seconds of video of the train's arrival before hitting stop and frantically unscrewing the ND filter from the front of the lens. I then managed about three backward steps and to quickly zoom the lens out before hitting the shutter.

The result is a surprisingly decent shot of the Manchester-built, ex South African Railways 2-6-2+2-6-2T Garratt loco. Or a train that "looks like a sad one-eyed monster" as a friend described it.

Richard's also-rans

I always find it hard to judge my own photos. Here are the others that didn't quite make the cut, with descriptions of why I picked them:

Nikon Comedy Wildlife Award winners for 2024

The Nikon Comedy Wildlife Photography Awards has announced the winners of its annual competition. For 2024, the contest received more than 9,000 entries from photographers worldwide, which judges whittled down to 10 category winners and 10 highly commended winners. Top winners received prizes ranging from a Kenyan safari to Nikon gear, including cameras and lenses.

Overall winner and mammals category winner

Photographer: Milko Marchetti (Italy)

Title: Stuck Squirrel

Location: Parco Podere Pantaleone, Italy

Caption: The photo was taken in the “Podere Pantaleone” park in Bagnacavallo, Ravenna, Italy. It is a park open to the public and schools, but from October to March, it is closed to visitors, and I am allowed (in exchange for photographs for educational and promotional purposes) to use a fixed photographic hide to photograph passerines, woodpeckers, hawks, and even 3-4 squirrels that come to visit the photographic set consisting of a small lake, and the surrounding vegetation. Generally, in Italy, especially in the area where I live, in the Po Delta Regional Park, it is very difficult to see and photograph squirrels (they are very rare), but here in the park, they are quite confident.

A few meters from the hide, an old cut tree has a hole (an old woodpecker's nest), and here, the squirrels (two years ago, there were four specimens) sometimes come out of curiosity to check out the old hollow tree. I have taken several photos of squirrels in many situations, but the shot I chose to participate in the Nikon Comedy Wildlife immediately struck me for the strange position assumed by the squirrel that seems to be stuck halfway in the hole in the tree, but in reality, it is the moment in which it is detaching the support on its hind legs and enters the hole.

This photo had an effect on me and made me smile a lot in the moment that I clicked the button, and during my evenings of slideshows and nature videos that I often hold at photography clubs and theaters, the audience always explodes in energetic laughter when I show this photo. I knew I had to enter it into the competition.

© Milko Marchetti / Nikon Comedy Wildlife

Insect category winner

Photographer: Jose Miguel Gallego Molina (Spain)

Title: Mantis Flamenca

Location: Onda, Spain

Caption: On my way back from my photo walk in a swamp near my town (Pantano el Sitjar), I suddenly stopped my car on the road when I saw someone ordering me to stop. This was when I saw my friend, the Flemish Mantis, for the first time. You can imagine the faces of the other cars passing by, seeing a car with the indicators on and the door open, stopped on the roadside, and a madman lying on the ground with his camera in his hand.

© Jose Miguel Gallego Molina / Nikon Comedy Wildlife

Reptile category winner

Photographer: Eberhard Ehmke (Germany)

Title: Frog in a Balloon

Location: Bergwinkel, Germany

Caption: During a photo shoot at the pond, I discovered this frog with its head in a bubble. This resembles a tree bell.

© Eberhard Ehmke / Nikon Comedy Wildlife

Bird category winner

Photographer: Damyan Petkov (Bulgaria)

Title: Whiskered Tern crash on landing

Location: Svishtov, Bulgaria

Caption: Whiskered tern head hit the rock when trying to land

© Damyan Petkov / Nikon Comedy Wildlife

Fish and other aquatic animals category winner

Photographer: Przemyslaw Jakubczyk (Poland)

Title: Unexpected Role Swap

Location: Szczecin Lagoon, Poland

Caption: Every annoyed and overtired fish needs to de-stress by hunting for a bald eagle

© Przemyslaw Jakubczyk / Nikon Comedy Wildlife

Nikon junior category winner (16 years and under)

Photographer: Sarthak Ranganadhan (India)

Title: Smooching owlets

Location: Gurgaon, India

Caption: Our parents always find a way to embarrass us; I guess that's also true in the case of spotted owlets. It was truly a funny sight to see two owlets trying to get some privacy as their little offspring stood next to them with a grin and shut eyes.

© Sarthak Ranganadhan / Nikon Comedy Wildlife

Nikon young photographer category winner (25 years and younger)

Photographer: Kingston Tam (Hong Kong)

Title: Awkward Smiley Frog

Location: Queensland, Australia

Caption: In 2022, I moved to Australia from Hong Kong to study wildlife science, and my friends got me into ‘herping’ (looking for reptiles and amphibians in the wild) and through that, I met a bunch of amazing photographers who specialize in taking photos of these critters, and I started doing it as well. And that’s how I ended up photographing critters.

My goal for my images is to bring attention to our scaly or moist friends, showing that not only fluffy animals can be cute and beautiful. Ultimately, I wish my work could bring more conservation awareness to these amazing reptiles and amphibians, and that’s been my motivation to keep doing what I’m doing.

© Kingston Tam / Nikon Comedy Wildlife

People's Choice category winner

Photographer: Tapani Linnanmäki (Finland)

Title: Shake Ruffle Rattle and Roll

Location: Kustavi Finland

Caption: In the picture, a white-tailed eagle is ruffling its feathers. The picture was taken with the Nikon Z9's auto-capture feature. The camera is placed on top of the sea ice on top of a bag of nuts at the level of the ice. I couldn't believe my eyes when I saw this picture. There were more than ten funny poses and expressions in the photo series.

© Tapani Linnanmäki / Nikon Comedy Wildlife

Portfolio category winner

The portfolio category was presented to a photographer for a set of images. The photo above comes from a series of photos of a squirrel in a variety of comedic poses.

Photographer: Flynn Thaitanunde-Lobb (British, aged 10)

Title: Rock guitar

Location: Southampton, UK

Caption: I first heard of the Comedy Wildlife Photography Award when my mum showed me last year's winner of a kangaroo playing air guitar. I thought it was quite funny. I got into photography when my mum gave me her Nikon D3000 camera when I was 5 years old. I have been using a Nikon camera ever since.

I love taking photos of all kinds of animals: birds, foxes, spiders, butterflies, squirrels. Anything that catches my eyes. Anything that is beautiful. I won my first ever award, coming third place in the Bird Photography Of The Year (BPOTY) competition for the Under Eight category when I was 6 years old with my Perching Seagull. I went on to win the RSPCA Mobile Phone under 12 category in 2023 with my Weaving Spider.

© Flynn Thaitanunde-Lobb / Nikon Comedy Wildlife

Highly commended winner

Photographer: Artur Stankiewicz (Poland)

Title: I'm too sexy for my love

Location: Mana Pools National Park, Zimbabwe

Caption: On one of the 'lazy' mornings, we decided to stop by the pool with hippos while in Mana Pools NP. My idea was to try and catch fighting hippos, yet they all were quite peaceful. I positioned on the bank, safely away from the potential charge and waited. Some of them raised their heads in curiosity or when proximity to the other individuals was too close. Then I got this idea to catch the portrait with water plants decorating his head; It looked like the guy just got out of the hairdresser with a big smile on his face :)

© Artur Stankiewicz / Nikon Comedy Wildlife

Highly commended winner

Photographer: Randy Herman (USA)

Title: You're not my mother

Location: Cuyahoga Valley National Park, Ohio, USA

Caption: This female Red-bellied Woodpecker had been investigating this Screech Owl nest for a couple of days; perhaps it was her nest last year? This little owlet was definitely startled and didn't seem to know what to make of this intruder. The woodpecker moved on, and the owlet fledged with its two siblings about an hour later.

© Randy Herman / Nikon Comedy Wildlife

Highly commended winner

Photographer: Ralph Robinson (British)

Title: Gang of Four

Location: Pebble Island, Falkland Islands

Caption: On the penguin highway, these rockhoppers are moving into town, and this town ain't big enough for all of them! I set up my camera a good distance from this ridge, where rockhopper penguins were returning from feeding in the southern Atlantic Ocean in the Falkland Islands. The long lens pulled them into the frame without disturbing their return to nests on the hill. I love photographing penguins after they've been in the water, as they are cleaner! These birds look like they are ready to kick some penguin ass!

© Ralph Robinson / Nikon Comedy Wildlife

Highly commended winner

Photographer: Takashi Kubo (Japan)

Title: Mafia Boss

Location: Hokkaido Japan

Caption: It looked like he was sucking a cigar, and he looked like a mafia boss.

© Takashi Kubo / Nikon Comedy Wildlife

Highly commended winner

Photographer: Leslie McLeod (Canada)

Title: Hide and seek

Location: Mara North Conservancy, Kenya

Caption: We were on safari in Kenya and happened upon this beautiful female who was looking for a mate. A group of topi were also keeping a pretty close eye on her as she left messages for a potential partner on various trees. This shot makes me think that the cheetah is just about to shout out, "Ready or not, here I come!"

© Leslie McLeod / Nikon Comedy Wildlife

Highly commended winner

Photographer: Arvind Mohandas (Germany)

Title: The Contemplative Chimpanzee

Location: Uganda

Caption: Shot in the jungles of Uganda, following a group of around 50 chimpanzees. This one was obviously contemplating an important issue on a day of realization and reaffirmation of how close chimpanzees are to humans!

© Arvind Mohandas / Nikon Comedy Wildlife

Highly commended winner

Photographer: Jan Piecha (Germany)

Title: I'll tell you a secret

Location: Germany

Caption: A tiny raccoon is telling a secret to its mum while whispering in her ear.

©Jan Piecha / Nikon Comedy Wildlife

Highly commended winner

Photographer: Marti Phillips (USA)

Title: Are you kidding?

Location: Cape Cross Seal Reserve, Namibia

Caption: Two Cape Fur seals having a laugh

© Marti Phillips / Nikon Comedy Wildlife

Highly commended winner

Photographer: Sanjay Patil (India)

Title: The Rock Star

Location: Maharashtra State, India

Caption: Fan-throated lizards are found only in the Indian subcontinent, where they have evolved under the influence of changing climates. These lizards are colorful and belong to the category of reptiles. Female Lizards do not display fans as they do not have [them]. Male lizards inflate their attractive neck pouch to attract females in the hot summer season. Here is the female lizard standing upright to escape the summer heat.

© Sanjay Patil / Nikon Comedy Wildlife

Highly commended winner

Photographer: Andy Rouse (British)

Title: Alright, mate, back off – this is my bird

Location: South Georgia

Caption: This image was taken in South Georgia; it really does show a male king penguin trying to make a move on a female who has already paired up with her male. The body position and wing posture make the message clear - "Back off!"

© Andy Rouse / Nikon Comedy Wildlife

84%

Overall score

Jump to conclusion

The Fujifilm X-M5 is the company's latest APS-C mirrorless camera and comes in as the lowest-end entry in its current lineup. It uses the company's last-generation 26MP X-Trans sensor, the same one found in cameras like the X-T4 and X-100V, but comes equipped with its latest processor, giving it access to Fujifilm's AI-powered subject detection autofocus.

Key features:

• 26MP X-Trans BSI CMOS sensor
• X-Processor 5 with AI-powered subject detection AF
• On-sensor phase detection
• Fully articulated 3", 1.04M-dot LCD
• 20 Film Simulation modes, including Reala ACE
• Continuous shooting up to 8fps (30fps with E-shutter and 1.25x crop)
• 6.2K 3:2 video up to 30p, 4K up to 60p with crop
• External mic and 3.5mm headphone socket
• Single UHS-I card slot
• Battery life rated up to 330 frames (440 frames in Eco) per charge

The X-M5 is available in silver at a body-only price of $799. A black version is coming in April 2025. Fujifilm is also selling a kit with the X-M5 and its XC15-45mmF3.5-5.6 OIS PZ lens for $899. Optically, it's not our favorite lens, but its size and price make it an obvious pairing with this camera.

Index:

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

What's new

The X-M5 is a return to a relatively old form factor, as the last time we saw a camera with the X-M label was the X-M1 from 2013, the third camera to feature the then-new X-mount, though the X-A series carried on until much more recently. It's broadly made up of parts we've seen before, put together with a few new tricks.

A tiny design

The X-M5 is very lightweight and compact – even with the power zoom kit lens attached, it comes in under 500g (17.6oz) and is small enough to fit in a small bag or jacket pockets. Anyone who buys one will be hard-pressed to come up with an excuse not to take it with them when they leave the house.

It also helps that, subjectively, it's a very good-looking camera; Fujifilm's retro aesthetic with modern functionality continues to serve it well. More on that later.

The camera also features the film simulation dial found on the X-T50, which lets users play around with Fujifilm's color profiles to get the look they want without requiring them to dive into the menu. It may seem like a small thing given that Film Simulations have long been one of Fujifilm's main selling points, but putting them front and center like this strongly encourages people to experiment with them, even if they're averse to spending too much time in the menus.

4K LP video

The Fujifilm X-M5 has 4K and 1080p 'Long Play' modes that crop in on the sensor, letting you record for longer before the camera overheats. The 4K LP mode has a 1.18x crop and is available in 23.98p, 24p, 25p, and 30p. The FHD LP mode, meanwhile, is only available in 50p and 60p and comes with a 1.29x crop. The company says you can record for over an hour at 4K when using the LP mode in temperatures of 25°C (77°F) and around 20 minutes at 40°C (104°F).

The X-M5 also has two new low-bitrate options, letting you capture footage at 25Mbps and 8Mbps. This lets you sacrifice image quality for small file sizes in scenarios when you want to get footage out quickly and will only be using it on social media, where it'll already be heavily compressed.

If you want to shoot with heavier codecs, the X-M5 is compatible with Fujifilm's optional cooling fan, which can help extend record times without using the LP modes and the cropping and loss of quality that come with them.

Three-microphone system

Fujifilm has added an extra microphone to the camera to help distinguish between the audio you're trying to capture and ambient noise. Its UI lets you select whether you want it to let everything in, focus on audio from in front of the camera, behind the camera, or both. The last option could be useful if you're filming someone and talking to them from behind the camera.

The company also says the camera has improved wind reduction and added a new "Steady-State noise reduction" mode meant to make constant noises like air conditioners less noticeable.

If you'd rather plug in an external microphone, the X-M5 has cleverly placed the 3.5mm mic jack on the back of the camera, so the plug and cable won't block the screen when you're vlogging with it. The jack's cover is connected to the camera's body, so you don't have to keep track of a tiny piece of rubber when you're on the go.

Updated vlogging UI

Vlog mode isn't entirely new to Fujifilm's lineup: it appeared on the X-S20 as well, but the company has updated it for the X-M5, making it even easier to control the most important settings via the touchscreen.

Vlog mode has its own UI separate from the standard video recording interface. When you've selected Vlog on the control dial, the camera puts relatively large buttons on the touchscreen that allow you to control focus, access playback mode and start and stop recording.

The vlog mode UI has a clean layout with easy-to-press buttons for the most important functions.

There's also a menu button that brings up controls for other settings, letting you control eye autofocus, electronic image stabilization, 'Portrait Enhancer' mode, background defocus mode, product priority mode, and more without flipping the camera around.

Pressing the Menu button gives you access to most of the options you'd need to control while vlogging. From left to right: Top: Shooting mode, focus mode, image stabilization mode, Face/Eye Detection setting, Portrait enhancer Bottom: Background defocus mode, Product priority mode, high-speed recording, self-timer, 9:16 short movie mode

While you'll still have to use the physical buttons on the back of the camera to change things like which codec, bitrate, or resolution you're recording in, vlog mode does a good job of putting most of the controls you'll need on the touchscreen without being overwhelming to newcomers.

9:16 short video mode

The camera also gains a 9:16 short video mode, which records vertical video by taking a 1080 x 1920 crop from the middle of the frame, rather than requiring you to physically turn the camera into portrait orientation. When you're shooting in this mode, the display will show you the full 16:9 image but darkens the frame outside what's being recorded. You can choose whether you want your clip to be 15, 30, or 60 seconds long.

9:16 short video mode shows you the entire preview, which could help if you want to move the camera while recording.

The resulting videos will be small and quick to transfer to your phone for posting; by default the camera records them at an 8Mbps bitrate, though you can bump this up to 25Mbps. These bitrates, new for the X-M5, are also available across the camera's other video modes as well. File sizes will vary depending on what you're filming, but you can expect 60 second second clips shot at 8Mbps to usually be under 100 megabytes, or under 250MB if you shoot at 25Mbps.

The 15, 30 and 60-second record limits are upper boundaries, but you can stop recording before you hit the time limit; it's easy to imagine a worse version of this mode locking up your camera until the timer hits zero. If you want to record for longer than 60 seconds, you'll have to dig into the menus to switch to the 9:16 resolution mode, which also gives you control over codec and bitrate.

USB-to-smartphone transfer

Fujiifilm also says you'll be able to use XApp transfer files from the X-M5 to your phone using a USB cable, which should be appreciably faster and more reliable than Wi-Fi. That's especially true given that the camera only supports an older Wi-Fi standard, not the faster 5Ghz standard.

In our tests, transferring a two-minute 4K video took around 28 seconds using a USB 4 cable and 11 minutes and 14 seconds using the camera's built-in Wi-Fi, so if you're someone who wants to capture something and post it right away, you'll definitely want to keep a cable within reach. That may be slightly annoying if you have an older iPhone, as you'll need a slightly more specialized USB-C to Lightning cable, but that should be less of a problem in the future as more and more people upgrade to phones with USB-C.

How it compares

The X-M5 is far from the first small interchangeable lens camera pitched as a hybrid vlogging and photography tool.

This time, Fujifilm is using size, price, and convenience to make its offering more appealing to people who are used to shooting on their phones. While it's certainly bigger than a modern smartphone, it costs about as much as buying the latest iPhone outright, even with the kit lens, and its litany of vlogging features should make it easier to get professional-looking video.

Fujifilm's also leaning on design; it's a safe bet that many creators know what its cameras look like now, ever since the X100V went viral. From its film simulation dial to the mic jack that's apparently inspired by the look of tiny viewfinders on vintage cameras, the X-M5's design screams, "this is a camera you want to be seen with."

The Sony ZV-E10 II is the most similar competitor to the X-M5. It, too, features a three-capsule microphone (though it comes with a handy wind cover for it), has background defocus and product showcase modes, and a microphone and headphone jack. It's arguably even more focused on video, with 10-bit internal recording and 4K/60p recording – though that focus comes at a cost for photography, as it lacks an EVF, just like the X-M5. Fujifilm's offering does at least include a mechanical shutter. Sony's autofocus tracking is also substantially stickier, especially in video.

Sony's a6100 can't quite match the X-M5's video specs, given its lack of a headphone port, 8-bit video, and crop in 4K/30p mode. However, its EVF will make it more enticing to people who want photography capabilities first and video second.

It's much the same story with the Fujifilm X-T30 II and the Canon EOS R50, though the latter distinguishes itself by being notably cheaper than the rest of the cameras in this lineup and by having the nicest display.

Body and handling

The X-M5 is a very compact camera; compared to the Sony ZV-E10 II, it feels smaller than the minor differences in its dimensions would suggest. Part of that can likely be chalked up to its much shallower grip, but what's there is confidence-inspiring, especially when using the relatively small lenses that most people will likely pair with this camera.

While the camera is almost entirely plastic, it doesn't feel especially cheap. There are no creaks or squeaks when you're using it, the buttons are satisfyingly clicky, and the dials and hinges are reassuringly stiff.

Another nice touch is the inclusion of two top-plate command dials, which let you easily adjust your exposure settings without having to change your grip on the camera or switch to using the touchscreen. Of course, the target audience of vloggers and beginners may not be in the habit of manually adjusting exposure parameters, but it offers those users some room to grow.

You need good aim to hit the Q button.

The Q button is less ideal. It's recessed and on the top of the camera rather than the back, which makes it a little difficult to access, especially when you're trying to change settings quickly. Also not helping matters are its small size and the fact that it's nestled between two large dials.

Given how many video features the camera has, it's also a bit disappointing that the slower UHS-I SD card slot is in the battery compartment on the bottom, which could make it difficult if you have a tripod plate installed. It's understandable why it isn't on the sides, which are mostly taken up by the headphone jack, USB-C port and micro-HDMI connecter, but it'll likely be a friction point for some users.

The camera doesn't have a D-pad. You can set focus with the touchscreen or joystick, and use swipes on the touchscreen to bring up menus of your choosing.

The camera also gives you plenty of room for customization via the four 'C' settings on the mode selector dial. For example, you could set C1 up to use eye detection, C2 to be another subject detection mode, and C3 to be standard autofocus, letting you easily switch between them without ever touching the menu. You can also choose whether each custom slot will be a photo or video mode.

On the opposite side of the spectrum is the Auto mode, which gives the camera almost full control, while letting you make a few modifications to its choices if you see fit. it's a good inclusion for beginners new to the world of dedicated cameras, and doesn't restrict you from shooting Raw, in case you want to also learn how to make substantial edits to your photos.

The camera also has a likely less useful 'Filter' mode, which engages the camera's selectable Instagram-style filters to change the colors and add various effects such as vignetting. Anyone wanting to play around with the look of their image should probably reach for the Film Simulation dial instead, as its adjustments to your image's color and tone are generally more subtle and pleasing.

The mode dial also lets you switch the camera into video mode and vlog mode, which are two separate beasts. We've already covered the vlog-specific UI, but it's also worth noting that vlog mode and movie mode have separate settings, letting you quickly switch between entirely different modes of shooting.

Battery

The X-M5 uses Fujifilm's 8.7 Wh NP-W126s battery, which has been around since the days of the original X-M1 and persists in modern cameras like the X-T50 – Fujifilm's higher-end, physically larger cameras have moved on to a new, higher-capacity model. It's rated to last around 330 shots or 440 if you're using eco mode. That'll likely be good for a day or so of shooting or a weekend of sporadic photography, though it's far from one of the best batteries in its class.

The camera has a USB-C port, which it can charge with even while in use.

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.

Looking at the Raws produced by the X-M5, it produces relatively detailed images, though most of its competitors capture slightly more detail despite having similar-resolution sensors. Some of that is likely because Adobe Camera Raw doesn't get the best from Fujifilm's proprietary 'X-Trans' color filter design, which helps prevent some of the false color that some of its competitors produce in areas of fine detail.

At higher ISOs, it tends to produce slightly less noise than its competitors, though by the top of the range, it has roughly the same level of noise.

As for its JPEG performance, the X-M5's sharpening at base ISO isn't quite as strong as Sony's or Canon's when it comes to making fine details pop. That trend continues into higher ISOs, where its noise reduction does a decent job at smoothing out noise but can't quite keep the finer details that its competitors can.

Colors

The Velvia Film Simulation can be a bit heavy-handed for some people's tastes, but others like it. Out of Camera JPEG ISO 160 | 1/2700 sec | F2.8 | Fujifilm XF 27mmF2.8

One of the X-M5's main features is its 'Film Simulation' dial, which lets you quickly change the color mode for your JPEGs. The standard profile produces Fujifilm's typically pleasing colors, but if you want a more noticeably retro aesthetic, profiles like Classic Chrome or Nostaglic Negative are right at your fingertips.

Dynamic Range

The X-M5's dynamic range performance is similar to that of its competitors, which means it will handle most scenarios with bright lights and darker shadows reasonably well. However, you'll need to either adjust your exposure and work on the Raw files or use one of the camera's DR modes to get the most out of it.

It has Fujifilm's Dynamic Range modes that give you the option of capturing one or two extra stops of highlight information in high-contrast scenes. This can require an exposure reduction in bright scenes, which increases the noisiness of the image but provides a relatively simple way to get an out-of-camera JPEG without blown-out highlights.

ISO Invariance | Exposure Latitude

Autofocus

The X-M5's autofocus system is similar to the ones found on Fujifilm's higher-end cameras, such as the X-T50. It lets you choose anything from a fine AF point up to selecting the whole image area, which lets the camera select a subject. In continuous AF mode, there's also a 'Tracking' option that follows whatever is under the AF target when you half-press the shutter. You can use the joystick or the touchscreen to select a focus point.

It has AI-derived subject recognition, letting it recognize human faces / eyes, animals, birds, cars, motorcycles / bikes, airplanes and trains while taking pictures or videos.

The human settings are separate from the other subject detection modes, so switching between them can be a slight hassle since they're two separate menu items rather than humans being listed as one of the subject types.

Face and eye detection settings are in a separate menu.

The subject recognition system works with the different focus point selection modes. For example, if you use a single point and have the camera set to recognize birds, it'll look for any birds around your chosen point. In our testing, the camera wasn't overly aggressive in focusing on a recognized subject; if we had facial recognition on and a human was somewhere in the frame, we could still focus on something else without the X-M5 fighting to focus on the face.

The X-M5 performed well in our basic autofocus test, which involves putting a single AF point on a subject and having the subject approach the camera at a consistent speed. A few photos throughout our three runs came out soft, but it got focus right on the vast majority.

Our autofocus tracking test is more complicated and requires the camera to follow a subject that's moving around the frame and approaching at a variable speed. Using basic tracking with no subject detection, the X-M5 struggled; it would consistently lose track of the subject the second or third time it slowed down and couldn't pick it back up.

1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Switching to face detection yielded far better results, as the X-M5 was able to keep its focus point on the subject throughout the entire run. However, while the camera managed to keep track of the correct subject, it wasn't able to assess and respond to the changes in approach speed, meaning a handful of shots focused at the wrong distance.

At this point, it's clear that Fujifilm's tracking system is a fair bit behind the offerings of competitors like Nikon, Canon, and Sony, both in terms of the stickiness of general AF tracking and in terms of judging subject distance and keeping the subject in focus. While testing the X-M5, we also encountered a few situations where it would hunt back and forth for focus before eventually settling on the subject. This was more prevalent in low-light situations but would occasionally happen in daylight.

Video

The X-M5 has a range of video modes, including UHD and DCI 4K at up to 60fps, 1080p at up to 240fps, and a 6240  x 4160 '6K' open-gate mode that lets you shoot full-sensor video at up to 30fps that can be cropped later, allowing a horizontal and vertical crop from the same footage, for instance.

Several video modes on the X-M5 require the camera to crop in, making the frame tighter, and turning on electronic image stabilization adds a further crop on top of those, though the amount will depend on your resolution and framerate. The UI makes it clear whenever you're shooting with a crop.

You don't have to change to video-appropriate settings when you switch modes

The camera also keeps your photo and movie settings largely separate; the white balance, exposure settings, and subject detection mode you pick in photo modes won't carry over to video mode, so you don't have to worry about quickly changing to a video-appropriate shutter speed every time you switch between modes. By default, the Film Simulation dial setting will carry over between photo and video modes, though you can prevent that by turning on Movie Optimized Control, an on-screen interface that lets you control your color mode and other video settings using the touchscreen when in video mode.

Despite being an entry-level camera, the X-M5 has several advanced video features. Open-gate video could be counted among them, since it generally needs to be edited before you can share it, which Fujifilm doesn't let you do within its app. You can also shoot in F-Log if you want flexibility to adjust color and contrast in post, and the camera supports 1/48 and 1/96 shutter speeds, which are perfect matches for shooting at 24fps. You can also use its autofocus illuminator as a front tally light to make clear when you're recording, and it even supports Tascam's XLR adapter for connecting professional-grade microphones, along with support for recording four-channel audio.

Video Performance

The X-M5's 4K video is relatively detailed, even managing to be just about as clean as other cameras' 'HQ' modes, which downsample their 4K video from higher-resolution capture, often at the cost of higher heat output or cropping.

Shooting above 30fps in 4K will result in some loss in quality, though switching to 4K LP mode doesn't seem to impact much, beyond the crop. Using the lower-bitrate modes can introduce some artifacts and loss of detail, but given that it's intended for social media that likely would've happened anyways after your file goes through a site's compression algorithm.

Rolling shutter

If you shoot fast-moving subjects with the X-M5 or move the camera quickly, there's a good chance you'll run into issues with rolling shutter, where the video gets a jello-like skewing effect.

Generally, we'd consider 24ms of rolling shutter to be somewhat poor and 21ms to be at the very limit of what we'd consider acceptable. Fujifilm says its digital image stabilization helps correct rolling shutter, and our tests showed that it appeared to be applying some compensation, it also uses a smaller portion of the sensor, which helps further reduce rolling shutter a little.

Overheating

The X-M5's relatively compact form factor makes it seem like it'd overheat easily, and the included LP modes imply that Fujifilm was at least worried enough about it that it wanted to include a workaround for shooting in extreme conditions. However, you may not have to worry about it much in everyday use, especially if you're mainly shooting indoors or in the shade; we tested the camera by shooting its full 4K UHD mode – not the cropped LP mode – and were able to get over an hour over continuous recording in ambient temperatures of around 24°C (76°F).

Vlogging Features

The X-M5 has a Vlog setting on its mode dial, which gives you access to the special vlogging UI. To illustrate how it performs as a vlogging camera, we've produced a short vlog with it.

Conclusion

By Mitchell Clark

If you're looking for a camera to take pictures and videos for social media, the X-M5 is, at the very least, worth your consideration. The Film Simulation dial makes it exceedingly easy to control Fujifilm's famous color modes, so you can pick the right one for your post, and the camera's design makes it relatively easy to control basic photo settings once you've got the hang of it.

That design is also attractive, which is important if you're going to be carrying it around all day and if people are potentially going to be taking pictures of you while you're holding it. Thankfully, it's not much of a chore to take it with you since it's relatively compact and lightweight, depending on what lens you have attached.

Of course, it doesn't matter how easy it is to tote a camera around if it doesn't actually outperform your phone when it comes to taking pictures. Thankfully, the X-M5's image quality is good enough to justify its place, and its surprisingly capable video modes make it relatively easy to get professional-looking results.

The big downside is its autofocus

The big downside – the one that earns it a Silver award instead of a Gold – is its autofocus. On a camera like this, you want it to be simple, effective and reliable, and it doesn't always nail all those points in the way its competitors can. While its subject detection works well, it can struggle to predict where to focus, an issue you might struggle to work around if you're not familiar with techniques like pre-focusing or zone focusing.

There are other quibbles, too. At this price point, most of its peers have a viewfinder, which some people will miss, and transferring photos to your phone can take a while which is unfortunate given that this camera is so focused on creators and social media.

Despite those complaints, the X-M5 can still be a joy to use after you've learned to work with it, and it has enough capabilities to grow with you as a photographer. While there are other sub-$1,000 cameras worth considering, it's an easy camera to recommend to those looking for what it offers.

Scoring

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

Compared to its peers

The Sony ZV-E10 II is a video camera that can also take pictures, whereas the X-M5 is a stills camera that can also do video. Sony's vlogging camera has a large record button front-and-center, a zoom toggle for powered lenses around its shutter button, and comes standard with a windscreen for its capsule microphone. Meanwhile, the X-M5 has a mechanical shutter and twin top-plate control dials. The Sony will have more reliable autofocus tracking, though it can't detect as many subjects as Fujifilm's system – vehicles are a notable absence. Its design is also much more utilitarian and not as pocketable.

Sony's a6100, meanwhile, is decent for photos with its inclusion of a mechanical shutter and an EVF. Its video modes are no match for the X-M5's, though – it can't shoot the easy-to-edit 10-bit video, doesn't have a headphone port and has a substantial crop when shooting anything above 4K 24p. It also has a tilting screen instead of a fully articulating one, making it worse for vlogging.

Fujifilm's X-T30 II is designed around photography fundamentals. It has an EVF, built-in flash and dedicated dials for exposure compensation, shutter speed, and drive mode, though not for Film Simulations. Its video specs aren't as capable, and its battery likely won't last as long, though its biggest weakness compared to the X-M5 is its older processor, which doesn't support the AI-derived subject detection modes. It does still support face and eye detection for humans, but that's it.

The Canon EOS R50 fares very similarly upon comparison; it, too, has an EVF and pop-up flash, but is larger and only has a single control dial. Its video also can't quite live up to the standard of the X-M5's, as it can't shoot 4K 60p at all, and while the APS-C lens selection for RF mount has improved since we originally reviewed the EOS R50, it's still substantially better on Fujifilm's system.

While the Nikon Z50 II hadn't been announced when we initially reviewed the X-M5, it's an obvious competitor – it, too, has a focus on color modes, with Nikon adding a direct control for them to the body. While we haven't fully tested the Z50 II, we expect its autofocus performance to be a cut above Fujifilm's, though there are substantially more APS-C-appropriate lenses available for X-mount compared to Z-mount.

Sample Gallery

Pre-Production Sample Gallery

Kenyon climbing Bolt Gun, 5.11b – we thought we were setting the rope up on a much easier 5.10a. Sigma 18-50mm F2.8 RF @ 18mm | F2.8 | 1/1000 sec | ISO 100 Photo: Mitchell Clark

As a new member of the DPReview team, I got a lot of chances to push my photography this year. Part of that involved finding a wide array of subjects to take pictures of while testing cameras and lenses; an essential process to make sure we really know the gear inside and out, and that we're not boring our readers – or ourselves – to death with the same old photos over and over.

I was assigned to take a sample gallery with the Sigma 18-50mm F2.8 for Canon RF mount shortly before a weekend rock climbing trip I'd planned, so it seemed obvious that I should take the lens with me and try to get some interesting shots.

It wasn't exactly my first attempt at climbing photography: I've taken many pictures of friends climbing cool routes. However, they usually turn out rather uninspiring because I take them from the ground. My goal this time was to get an angle that actually captured the experience. If I could do that without dashing the camera and lens against the rock or falling to my death, all the better.

This was my first time rigging anything, so I went overkill on attaching myself to the wall: I clipped into a bolt with my personal anchor, clove-hitched into a quickdraw, and had my rope tied off to a tree. Photo: Tom Steeber

While I had a blast getting set up and actually taking the pictures, I don't think Jimmy Chin has to start worrying about his job anytime soon. There are plenty of shots where either my hand or my foot snuck into frame, ruining what would otherwise be a good photo.

It can be difficult to judge your own work objectively. When choosing this picture – and the runners-up included in the gallery below – I often found myself wondering whether I liked a photo because it was actually good or if I just wanted to pick it because I had good memories surrounding it or had simply taken a photo of a cool thing that I like looking at.

Undoubtedly, the photo I've chosen for this article is a mix of all three to some extent – of course, I'm going to have fond memories of a weekend spent doing a hobby that I've replaced a large chunk of my personality with. However, I do think it stands up on its own, and I plan on doing more climbing photography in the future with the hopes of increasing the percentage of keepers.

And besides, if I were picking my favorite photo of the year based purely on what made me the happiest, you'd just be getting a gallery full of pictures of my cats.

I'm not joking.

You can see a few more photos that I'm quite proud of from this year in the gallery below. If you want to play a fun game, make sure the details panel is collapsed and try to guess which two were taken with a cell phone instead of a full-fledged camera.

The Laowa 55mm F2.8 Tilt-Shift 1X Macro on a Canon RF-mount full-frame camera. Image: Laowa

Laowa has expanded its lens lineup with the introduction of two tilt-shift lenses designed for full-frame camera systems: the 55mm F2.8 Tilt-Shift 1X Macro and the 100mm F2.8 Tilt-Shift 1X Macro. Laowa says the lenses produce an image circle large enough to also be compatible with digital medium format cameras. The company suggests the lenses are suitable for a variety of applications, including product, architectural, landscape, and macro photography.

Optically, the 55mm F2.8 Tilt-Shift 1X Macro consists of 14 elements in 11 groups, while the 100mm F2.8 Tilt-Shift 1X Macro comprises 13 elements in 10 groups. As the names suggest, both lenses offer a maximum magnification ratio of 1:1. The 55mm lens has a close focusing distance of 27cm (10.6"), and the 100mm lens focuses as close as 32cm (12.6").

The Laowa 100mm F2.8 Tilt-Shift 1X Macro mounted on a Fujifilm GFX-mount medium format camera. Image: Laowa

The lenses provide ±10° of tilt and ±12mm of shift for full-frame cameras. When used with medium format cameras, this range is reduced to ±10mm tilt and ±8mm shift, as the edge of the imaging circle will encroach on the sensor sooner. Both lenses incorporate two rotation mechanisms: one enabling the tilt function to be rotated by 90° and another allowing for shift direction adjustment in 15° increments.

Both lenses are equipped with an Arca-Swiss compatible tripod foot and a 77mm front filter thread.

The 55mm F2.8 Tilt-Shift 1X Macro and 100mm F2.8 Tilt-Shift 1X Macro are available now for E, Z, RF, L, and GFX-mount cameras. Each lens has a suggested retail price of $1249.

Buy now:

Image: Viltrox

Viltrox has announced a new APS-C lens, the 35mm (53mm equiv.) F1.7 'Air' lens, which is available for Sony E-mount, Fujifilm X-mount and Nikon Z-mount. The company says it aimed to make the lens "compact" with a "highly competitive price."

The lens' optical formula includes 11 elements in 9 groups, with 1 ED lens, 1 aspherical lens, and 2 high-refractive lenses. It also features nano-coating, and the aperture has nine blades. While Viltrox makes no claims of weather resistance, the front element does have a coating to resist oils and liquids.

An example image provided by Viltrox, shot on a Fujifilm X-T5. Photo: Viltrox

The lens uses a stepper motor for autofocusing, and has a minimum focusing distance of 33cm (13"). The E-mount version of the lens weighs around 170 grams, and it's 56mm long. The lens is compatible with 52mm filters.

At an MSRP of $180, the lens is definitely a budget option, but it's hard to complain about there being another affordable prime available for these systems, especially in such a classic focal length. While manufacturers like Sony and Fujifilm have similar lenses with extra features like optical stabilization or weather resistance, they also come in at a much higher price.

Buy Now:

Viltrox AF 35mm F1.7 Air Specifications:

Updated December 18 2024

Fixed lens cameras may be a bit niche, but there's a reason they're so popular amongst photographers. They often come with some of the best lenses on the market, in a variety of focal lengths, matched to sensors ranging from APS-C to full-frame to give you the perfect field of view for your style of shooting.

Our picks range from pocketable models to larger cameras that you'll have to you'll have to consciously decide to take with you. They also cover a wide range of prices; while there sadly aren't any budget options, some come with much higher price tags than others, reaching well into the thousands of dollars.

Our picks:

• Best fixed lens camera for patient people: Fujifilm X100 VI
• Best pocketable fixed lens camera: Ricoh GR III
• The Rolls Royce of fixed lens camera: Leica Q3 43

Best fixed lens camera for patient people: Fujifilm X100VI

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

Image: Richard Butler

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. It features the same 35mm equivalent F2 lens and a hybrid viewfinder that lets you use it as a traditional rangefinder – with some digital augmentation if you want it – or as a modern, fully electronic viewfinder.

The addition of subject-recognition autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains. However, human (face/eye) detection is a separate mode. The lens is not the fastest to autofocus, prioritizing sharpness over speed, though that's not necessarily unique in this category.

The elephant in the room is that the X100VI has essentially been sold out since its initial release. However, if you're patient enough to sign up for waitlist notifications from a variety of sites, you may be able to get one in time.

It's probably worth the wait. While the X100VI has more dials and functions than previous versions, it still offers one of the most engaging photographic experiences out there. It's easy to see why it became so frustratingly unobtainable: It's an even better follow-up to a camera that was already popular with photographers of all kinds, and that had already sold out after going viral.

Click here to read our review of the Fujifilm X100VI

Click here to see the Fujifilm X100VI studio scene

Best pocketable fixed lens camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The GR III is the lightest and most compact camera on this list by a long shot, thanks to its retracting lens and lack of a viewfinder. If size is a major concern for you, it's definitely the fixed lens option to look at.

Click here to read our review of the Ricoh GR III

Click here to see the Ricoh GR III studio scene

A different perspective

Ricoh also sells the GR IIIx, which is the same great camera as the standard GR III but with a 40mm equiv. lens instead. If you prefer the 'normal' field of view to a wider one, be sure to pick the IIIx up instead.

The Rolls Royce of fixed lens cameras: Leica Q3 43

43mm F2 stabilized lens | 60MP BSI CMOS full-frame sensor | 5.76M dot OLED EVF

Photo: Richard Butler

While we've chosen the Q3 43 for its excellent control layout that puts photography first, the camera is also available with a 28mm F1.7 lens. There are minor cosmetic differences between the two Q3 models, such as the color of the leatherette wrap, but they're otherwise the same camera. There's also a price difference, with the 43 coming at a $600 premium.

Click here to read our review of the Leica Q3 43

Click here to see the Leica Q3 43 studio scene

The other full-frame option

Despite the fact that the RX1R II is almost a decade old at this point, you can still buy Sony's last compact full-frame fixed-lens camera. Unsurprisingly, as a nine-year-old camera, it's rather showing its age. Its autofocus and menu systems are significantly more primitive than we've subsequently become used to, but focus speed isn't exactly a strength for any of the cameras in its class. Its 35mm F2 lens is excellent, and its sensor still delivers excellent image quality. Battery life is atrocious, though, and we considered its performance sluggish even by 2016 standards.

We can't wholeheartedly recommend it after all this time, but if you've already made the seemingly irrational decision of buying an expensive camera with a single, fixed focal length that doesn't really even fit in your pocket, you might be the sort of person that gets some enjoyment out of opting for the slow, awkward, oddball choice.

Buy Now:

Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

Adobe is raising the price of some of its photography-focused Creative Cloud Plans. The monthly Lightroom plan is going from $9.99 a month to $11.99 a month and the monthly Photography plan – which includes Photoshop, Lightroom, and 20GB of cloud storage – is going from $9.99 a month to $14.99 a month for existing subscribers. However, that tier will no longer be available for new subscribers, regardless of whether you're paying monthly or annually.

The annual versions of the plans are not increasing, remaining $120 a year. The pricing changes will take effect for new customers starting Wednesday, January 15, 2025. For customers on an annual, paid monthly plan, the price will go up upon their next renewal.

In case you're not intimately familiar with Adobe's photography plans, here's a chart explaining what they are and what they cost.

This move makes it substantially more expensive to get into the Photoshop and Lightroom ecosystem for users who can't shell out for annual plans, as the affected plans are the cheapest way to access the apps. That's especially true with the discontinuation of the 20GB Photography plan for new subscribers; previously, you could get Photoshop and Lightroom for $10 a month, but you'll have to go up to the $20 a month Photography Plan, which includes 1TB of storage instead of 20GB. That plan hasn't gone up in price.

Adobe says the price increase for the Lightroom (1TB) plan will come with one perk: the plan will now include access to Lightroom Classic, alongside Lightroom for desktop, mobile, and web. Previously, you had to subscribe to one of the Photography bundles to get access to that particular version of the app, which includes some features not found in the more modern, cloud-based version.

The Photography plan has existed at its current price for a long time – in November 2013, we wrote about how it was being made available to everyone for $9.99 a month, and at the time, it included Photoshop CC, Bridge CC, Lightroom 5 and 20GB of cloud storage; very similar to the current offering.

Adobe says the price hikes are meant to "better reflect the value that the apps deliver." However, the news follows a notable downturn in the company's stock price. Earlier this month, the company reported record earnings for Q4 2024 and predicted it'd earn even more in 2025. Despite this, its stock fell by over 15% after the news, according to Forbes, and hasn't recovered by the time of writing.

Photo: Mitchell Clark

As camera reviewers, we have the good fortune to try the latest and (sometimes) greatest in camera tech. In some ways, this can help tamp down on the all-too-common gear acquisition syndrome; it's hard to justify buying new cameras or lenses for our personal collections when we'd be too busy testing out new products to ever use them.

However, that doesn't mean we're completely unaffected. After all, when your job is testing cameras, it becomes really easy to cast your eye towards all the accessories meant to make your shooting experience easier, faster, or more luxurious. And sometimes you just really want that one special lens to shoot whenever and wherever you want.

As a fun holiday exercise, we've compiled some items that we think are cool but couldn't justify actually buying for ourselves unless money truly was no object.

Dale

When thinking about what photo products I would buy if money were no object, I realized that most of the things I really wanted aren't necessarily that expensive. Sometimes, they're just difficult to obtain.

Another Lowepro Photo Sport 300 photo pack

Photo: Dale Baskin

A couple of months ago, I wrote an article about my favorite camera pack, the Lowepro Photo Sport 300, and it's been my go-to pack for over a decade. I love this pack because it just doesn't quit. Mine has trekked through tropical jungles, ridden on roof racks through snowstorms, dragged across ice in the sub-arctic and been bungied to the backs of motorcycles and tuk-tuks. It's a product I genuinely love.

Unfortunately, Lowepro doesn't make this exact model anymore, and while it makes similar models today, I like this one. If I found a good copy, I would buy it to save for the day when my current one finally gets pushed beyond the breaking point.

Mentorship by a photographer I admire

I believe that no matter how good you are at something, you can always learn more. Most of the things I've learned in photography over the decades fall into two categories: things I learned from trial and error and wisdom passed on to me by more experienced photographers.

"While I can easily trial and error my way through life, mentorship and advice from the best photographers in the world is a rare commodity."

While I can easily trial and error my way through life, mentorship and advice from the best photographers in the world are a rare commodity. So rare, in fact, that it's not something you can buy. They must recognize your passion and be inspired to take you under their wings.

However, if there was any way to swing it, I would find an opportunity to be mentored by a photographer that I admire, like Joel Sartore, whose work I've followed through years in the pages of National Geographic, or Cristina Mittermeier, who has done fantastic work with conservation photography.

An opportunity to tell an important story

Climate change is having a tremendous impact on the Amazon basin. Photo: Dale Baskin

Many years ago, I was fortunate to have the opportunity to live in the Amazon, and I've been back many times since. Unfortunately, in the 20 years since I started going there, I've been able to see the impact of climate change in the Amazon basin firsthand: water at historically low levels, villages cut off when smaller tributaries dry up, and the resulting cultural and economic impact that ensues.

If I could really buy myself a photo gift where money was no object, it would be a return to the Amazon for an extended period to tell this important story, focused on the environmental impact of climate change in the Amazon and its impact on the people who live there. This one may not be so far-fetched, and the more I think about it, the more I realize I should probably apply for a grant to do this.

The Sigma 14mm F1.4 DG DN Art lens

Photo: Dale Baskin

OK, I'll give in to good 'ol consumerism on this one because it's fair for anyone to lust after something they want. Strictly speaking, I don't need the Sigma 14mm F1.4 DG DN as I already have the Sigma 14mm F1.8 DG HSM Art, which is fantastic for astrophotography. But dear lord, that 14mm F1.4 is a beautiful optic. So, yeah, if money were no object, I'd likely find myself splurging on this.

Matt Waller

You may not be familiar with Matt's name, but you're certainly familiar with his work – he keeps the marquee at the top of our site up to date with our latest stories and pictures.

Lightpix Labs FlashQ Trigger kit

Image: Lightpix Labs

As a small camera user (my everyday carry is an Olympus Pen E-PL10) who's trying to get into off-camera flash, every trigger I try has been just too big and clunky, not much improvement on the on-camera flash. I recently found these, which are just what the doctor ordered. And yes, I could just buy them (and will), but they would make ideal small-camera-afficionado stocking stuffers (assuming one can find them in the stocking).

Richard

Something flashy

Image: Profoto

In common with Matt, having more regular access to an offboard flash is probably the thing that would most improve my photographic life. In practice this is unlikely to happen, given I’m perpetually working with a chaotic mixture of whatever camera is going to be launched next, so the likelihood of me finding something compatible with all the different x-TTL systems is essentially nil.

While, given the ‘cost no object’ ethos of this article, I like the idea of something powerful enough for any situation, such as a ProFoto B3 or A2. In reality, I suspect something like a Godox V1 or V1 Pro would actually get more use in my hands. I love the idea of it having its own Li-ion battery and being USB chargeable, as it means I might actually be able to keep it topped-up when I’m traveling. Given the company’s smaller Li-ion flashes all feature removable batteries, separate chargers and the awkwardness of having to find power lead adapters, they’d probably end up taking up just as much room in my bags, so I’d rather that space was given over to the flash itself, rather than accessories and peripherals I’d inevitably leave in hotel rooms and on trains (as I have a number of X100 chargers, down the years).

Image: LumeCube

In addition to a Godox, a couple of LumeCubes would mean I stopped worrying about TTL compatibility and would also provide a flexible option for a bit of fill for both stills and video work

A photo trip

A photo Richard took on his last trip to the UK.

On which note, perhaps the best thing I could buy to improve my photography next year would be a holiday. I’ve increasingly found that I shoot my best galleries while on vacation and, looking out of the window at another gray, wet Seattle December day, following a weekend where I didn’t take a single photo, the idea of a change of lighting, a change of scenery and a something novel to spur the imagination seems incredibly welcome. Of course, there’s then the question of whether it’s really going to be an inspiring creative opportunity if I’m feeling the nagging (self-imposed) pressure to get photos for work, but that’s not a quandary I can buy myself out of, irrespective of unlimited fantasy budgets.

Mitchell

A better camera strap

I don't mind the Peak Design strap, I just think there's something better out there for me. Image: Peak Design

In absolute terms, most camera straps aren't particularly expensive. However, the issue is that I'm not 100% sure what I want, and I'd probably have to try a ton of them to find out what I actually like. Other than manufacturer-provided straps, I've only used the Peak Design Slide strap. It's fine, but I don't love it... though I also don't have any specific improvements I'm looking for; just a general feeling that it could be better. That may not really be its fault, as a metal plate on my collarbone makes me especially sensitive to how things fall across my shoulder.

I do have two in mind that I'd start my search with. The first is the MagPul MS4. It's actually a rifle strap, but it's compatible with the QD mounts that show up on some camera accessories, and it can be used in both single-point or double-point mode, depending on how I'm carrying it. The other option I've considered is on the completely other end of the complexity spectrum: one of those straps that are made out of recycled climbing rope, which I feel would be a very comfortable material, but only for lighter-weight setups.

A press photography pass to Kendrick Lamar's Grand National tour

Image: Kendrick Lamar

The only concerts I've photographed were for small indie bands with crowds that could be counted in the dozens, not the hundreds or thousands. So, while I'm approximately 0% qualified to photograph what will likely be one of the biggest tours of the year, I would still absolutely say yes to the opportunity if someone offered. I think it'd be extremely cool to photograph one of my favorite artists at what very well could be the height of their popularity – and think of what a great sample gallery that'd be.

What I'm saying is that if you're part of pgLang and want to make my Christmas, you know where to find me.

A massive card reader station

Image: Lexar

A downside of writing our accessory roundup is that I often end up covering things that I couldn't possibly justify buying but that I still want. One of those items is this $600 docking station from Lexar, which can accept up to six (sold separately) card reader modules and lets you offload from them all at once at speeds up to 40Gbps.

Obviously, we work with a wide variety of cameras at DPReview, which involves juggling several types of cards. And while I've pretty much never needed the ability to dump six, it'd be fun knowing I could, even if I could realistically do my job just as well with a single CFexpress type A and Type B reader. Another plus of the Lexar dock: it gives you a few extra ThunderBolt and USB A ports, and I always feel like I could use one or two more of those despite already having a ThunderBolt dock.

The Sony 28-70mm F2

This is an incredible setup – it's a shame it costs $9,400.

My personal favorite time to take photos is late at night, so I'm always looking for the fastest lens I can get my hands on – an unfortunately heavy and expensive hobby, I know. That's why Sony's new 28-70mm F2 is so compelling to me; it's a stop brighter than standard 24-70mm lenses, and even though it's got a tiny bit less range, it's still way more versatile than the F1.4 primes that make up the bulk of my arsenal. Of course, it had better be, given that it costs $2,800. Plus, I'd have to pay even more if I truly wanted to get one for myself since I currently don't own any Sony bodies.

The Nikon Z6III is one of three Nikon bodies to gain support for Adobe's Frame.io Camera to Cloud service. Photo: Richard Butler

Nikon has announced that its NX MobileAir app for Android now supports Adobe's Frame.io Camera to Cloud service when used with the Nikon Z9, Z8 and Z6III cameras. Adobe revealed the upcoming integration with Nikon on its Frame.io blog during the Adobe MAX conference back in October.

Frame.io is a cloud-based service that allows teams to collaborate on video and photo projects. It provides a centralized location for uploading and sharing media, real-time project feedback, and integration with other tools.

The latest version of the NX MobileAir app can automatically or manually upload video files from the supported cameras to a user's Frame.io account, including the ability to filter uploads by file format or ratings if they have been applied.

By providing support through the NX MobileAir app, Nikon is taking a slightly different approach to Frame.io support than companies like Fujifilm and Panasonic, which embed support directly in the camera.

Frame.io has become a popular integration on mirrorless cameras in recent years, particularly among video shooters. More recently, Frame.io gained the ability to automatically upload photos and push them to a user's Adobe Lightroom account.

There are some constraints to Nikon's current Frame.io implementation: uploads are limited to video files, and support is limited to the Android version of the NX MobileAir app. The company says a version of the app for iOS with Frame.io support is in the works.

The NX MobileAir app for Android can be downloaded from the Google Play store.

Press release:

Nikon's continuing to add features to the Z9.

Nikon's latest firmware update for the Z9 is all about video, introducing the ability to set a shutter angle instead of a shutter speed among other improvements.

Shutter angle is important for pro videographers who frequently change recording framerates, as shutter angles will remain consistent. For example, if you were recording at 24fps and switched to 60fps, and your camera only supported setting shutter speed, you'd have to remember to change your shutter speed from 1/48 sec to 1/120 sec to make sure your level of motion blur was consistent. If your camera supports shutter angle, though, you could leave it at 180° shutter, and it'd automatically double the shutter speed with the frame rate.

Nikon says the Z9 will support 15 shutter angles between 5.6° (which would result in almost no motion blur) and 360° (which would create the maximum amount of motion blur). You'll only be able to set it in manual shooting mode.

Nikon also says the v5.10 update will let you change the color of the Z9's zebra pattern, and customize the transparency and position of the histogram and waveform displays.

The Panasonic G97 is essentially a G90/G95D with an updated screen and a USB-C socket. Image: Panasonic

Panasonic has refreshed two of its more affordable models, creating the G97 from the G90/G91/G95D and the ZS99 (known as the TZ99 in Europe) 30x compact camera from the ZS80D / TZ95D.

Panasonic Lumix DC-G97

The G97 is the more subtle of the two updates. The 20MP Micro Four Thirds camera gets a higher-resolution rear screen and USB-C connector as its main updates.

The USB-C socket still offers only USB 2.0 speeds and can be used for charging the camera but doesn't provide the ability to power it while in use. It also sees its Bluetooth feature brought up to the v5.0 standard, a dedicated button for smartphone image transfers, a red frame around the screen when recording video and the ability to tag video shot in portrait orientation.

Other than this, the G97 is essentially the same camera as the G90/G91 launched in 2019, and the G95D (which itself was an updated variant of the US-market G95, with a nicer rear screen).

Panasonic Lumix DC-ZS99 / DC-TZ99

The Panasonic Lumix DC-ZS99 also gets a USB-C socket... Image: Panasonic

The ZS99 (TZ99 outside North America) represents a slightly more significant change. It too sees the addition of a USB-2.0 Type-C socket. However, the other change, relative to the ZS80D (TZ95D) that preceded it is the removal of the electronic viewfinder. Panasonic believes there is a larger audience for whom an EVF isn't considered essential, compared to those who insist on one.

The previous ZS80D / TZ95D models had already gained the 1.84M dot displays, setting them apart from 2019's ZS80 and TZ95 models.

...but loses the rear viewfinder that the ZS80D / TZ95D had. It also loses its Panorama mode. Image: Panasonic

It remains a 30x zoom compact with a 20MP Type 1/2.3 (mm) sensor with a 24-720mm equiv lens. It gains the other feature additions made to the G97, but loses the Panorama and Beauty Retouch features of its predecessor.

The Panasonic Lumix DC-G97 will be available in mid-to-late February 2025 at a recommended price of $849 in a kit with the 12-60mm F3.5-5.6 Power OIS lens, a $350 reduction compared with the introductory price of the original DC-G95 in 2019. The Panasonic Lumix DC-ZS99 will be available from early-to-mid February at a recommended price of $499, a $50 increase over its predecessor.

Panasonic Lumix G97 specifications

Panasonic Lumix DC-ZS99 specifications

Photo: Richard Butler

Every December, as we approach the end of the year, DPReview editors engage in our annual ritual of picking our Gear of the Year: that one photography item we enjoyed using most during the past twelve months. When I think about how much gear comes through the DPReview offices annually, I’m surprised the decision is usually as easy as it is, but in most years, one product usually stands out for me.

Not so this year. It got complicated.

The candidates

Regular readers may know that I love fast, wide prime lenses, particularly for astrophotography. In the past, I’ve selected a fast, wide prime as my gear of the year at least four times. It’s not exactly a tradition, but it’s starting to feel close. I think there are even a couple of readers who placed bets over whether I would choose the new Sigma 15mm F1.4 DG DN Fisheye lens this year.

If you took that bet, you lost. Better luck next year (and maybe diversify your portfolio). I came close, though. That Sigma lens is a beauty, and I’d love to have it in my kit. But it didn’t quite make the cut for the top spot this time around.

"I’ve selected a fast, wide prime as my gear of the year at least four times. It’s not exactly a tradition, but it’s starting to feel close."

The next product I considered was a dark horse: The Panasonic DMC-LX7. In case you just did a double-take, that’s not a mistake. I almost picked a compact camera from 2012 as my favorite gear of 2024.

Unless your Wi-Fi went out in 2020 and you never bothered to fix it, you probably know that ‘vintage’ compact cameras – and I use the term ‘vintage’ loosely – have become all the rage among those who are too young to remember being frustrated by their image quality the first time around. (Those were the dark ages, kids.)

So, a few months ago, in a moment of nostalgia-inspired curiosity, I dug my LX7 out of storage and started using it just for fun. Thankfully, no bell bottoms or disco albums turned up alongside it, allowing me to put off confronting some earlier life choices.

Despite being released in 2012, the Panasonic LX7 almost snagged my 2024 Gear of the Year award. I rediscovered it earlier this year and have enjoyed its simple, point-and-shoot style.

And oh, the fun I had! I found myself carrying the LX7 around for much of this year, using it for snapshots and embracing it for the fun of point-and-shoot photography.

I’m sure I'll snap out of it eventually and go back to more meaningful pursuits like obsessing over megapixels or arguing about negligible differences in dynamic range, but if I were to choose my gear of the year based on the pure joy I got from a product, the LX7 would be the clear winner.

The product that ultimately made the cut for the top spot is the Canon EOS R5 II, a camera I didn’t get to use nearly as much as I’d hoped but used enough to be convinced.

The EOS R5 II

Photo: Richard Butler

The original EOS R5, introduced in 2020, never made my shortlist for gear of the year. It was a capable workhorse, but nothing about shooting it felt particularly special. In contrast, the R5 II added three features that, for me, made the difference.

Stacked sensor: I don’t need a stacked sensor for most of the shooting I do, and I rarely shoot at the highest burst rates offered by most new cameras. However, after a few years of shooting cameras with stacked sensors, I’ve come to appreciate the blackout-free shooting experience such cameras offer.

"It's a little luxury, like heated car seats for your eyeballs."

I can’t think of a single instance in which I’ve ever missed a shot due to viewfinder blackout, but I do notice the blackout. Call it a quality-of-life enhancement, if you will, but it’s becoming more important to me. It's a little luxury, like heated car seats for your eyeballs.

Eye-controlled AF: I’ve been a fan of Canon’s eye-controlled AF since the film days. A few years ago, I even wrote an article expressing my desire for Canon to bring it back with a more modern implementation; four years later, the EOS R3 delivered on that call to action. Thanks for listening, Canon ;)

Whether using eye-controlled AF or Canon's new Action Priority AF mode, the EOS R5 II's autofocus system is up to the task, even for sports. The pre-burst capture feature allowed me to get photos I would have missed. (Processed to taste in Adobe Camera Raw.) Canon EOS R5 Mark II | F2.8 | 1/1250 | ISO 4000 Photo: Dale Baskin

I know eye-controlled AF doesn’t work for everyone, but when it does, it can be a transformative way of shooting. It pains me to know there are many people for whom eye-controlled AF still doesn’t work because it's such a natural way to interact with a camera.

Pre-burst capture: I’m an expert at shooting certain subjects but a rank amateur at others, and it’s this latter group where I find pre-capture helpful. This is particularly true when shooting sports, but I’ve also found it helpful for shooting birds or wildlife. It has allowed me to capture photos I wouldn’t have gotten otherwise.

"It pains me to know there are many people for whom eye-controlled AF still doesn’t work."

To be clear, I don’t want to give Canon too much credit here. The R5 isn’t the first camera with a blackout-free stacked sensor, and it’s far from the first to offer pre-capture. However, it’s the first camera to offer those features alongside eye-controlled autofocus, and, for me, that combination is what makes the camera so enjoyable to shoot with.

There are many more things the R5 II does better or faster than its predecessor, and some of those things will matter more to other people, but most won’t make a big difference to my photography work. The R5 II hits a nice sweet spot for me, and the fact that it does so in a body with excellent ergonomics that delivers outstanding image quality is icing on the cake.

Canon EOS R5 II sample gallery

Editors' Photo Challenge: ‘Happy Holidays’

Our December Editors' Photo Challenge theme was 'Happy Holidays': we asked you to show us what the end-of-the-year holiday season looks like through your lens. And you certainly focused on the festive spirit, capturing heartwarming moments and scenes filled with holiday cheer. From twinkling lights and decorated trees to snowy landscapes, your photos truly captured the essence of the holiday season.

Did you miss this challenge? Stay tuned for our January challenge announcement! In the meantime, consider participating in these current and upcoming challenges hosted by other members of the DPReview community:

Open challenges

• Underwater photography (closes Dec. 16)
• DPReview | Your best photo of 2024 (closes Dec. 16)
• Repitition (closes Dec. 20)

Upcoming challenges

• A Big Year 2024 (starts Dec. 16)
• Crepuscular rays (God rays) (starts Dec. 17)
• Colourful landscape in portrait mode (starts Dec. 21)

Drumroll, please! Here are our top picks from the December Editors' Photo Challenge.

New Year's Eve, Mt. Hood, Oregon

Photographer: rainrunner

Description: New Year's Eve at Mt Hood, Oregon, each year, if weather permits, we snow camp on New Year's Eve and watch the fireworks show at Timberline Lodge.

Equipment: Sony a7 IV + Tamron 70-180mm F2.8 Di III VXD

Christmas card

Photographer: Aleksei Syrkin

Description: A little surprise for my wife, reflecting our life at that time and the atmosphere in the house.

Equipment: Canon EOS 5D Mark II + Canon EF 85mm F1.8 USM

Winter wonderland

Photographer: Managarm

Description: My winter holiday tradition is taking long walks through the snowy landscape. Nothing brings me happier moments than a cool breeze of air and the sparkling snow in the woods.

Equipment: Ricoh GR IIIx

Ho! Ho! Happy holiday little fella

Photographer: Hooyat

Description: The boy was watching children lining up to take pictures with Santa Claus. Santa noticed the boy was watching him for quite a while. He was alone with his mom. Santa came over, peeked around the fence, and told them he would take a picture with the boy... free of charge and ahead of the queue. Happy holiday.

Equipment: Nikon Z6 II +Nikon Nikkor Z 24-70mm F4 S

The list

Photographer: jaberg

Description: I think this is the "nice" list, but one can never be sure. This is part of the American Swedish Institute's 2024 Holiday Experience, Tomte: The Myth, The Gnome, The Legend.

Equipment: Fujifilm X100V + Fujifilm WCL-X100 II

Winter in Winterland

Photographer: Viking60

Description: The capital city of Norway, Oslo, is already illuminated with lights indicating the upcoming arrival of Christmas.

Equipment: Leica SL2-S + TTartisan 50mm F0.95

Christmas light!

Photographer: Jerodum

Description: A traditional Christmas village in France.

Equipment: Fujifilm X-T5 + Sigma 16mm F1.4 DC DN | C

A round world

Photographer: xenofon

Description: This ball was up on the tree, at a height of 10 m (or more). As a result, the whole square, the fountain, even the parliament in the background, are all depicted in the ball in a spectacular and unique way.

Equipment: Canon EOS R10 + unspecified lens

New Year in the Rockies

Photographer: etrautmann

Description: Long exposure at a remote cabin near Aspen, CO, just after the New Year in 2022.

Equipment: Sony a7R IV + Sony FE 20mm F1.8G

We shot this gallery using Canon's EOS R7, which is higher resolution than most of its APS-C peers with its 33MP sensor. We also were lucky enough to get a few sunny days while trying out this lens, a rarity in the Pacific Northwest winter.

Click to see the sample gallery

Image: Atomos

Atomos is making the touch to focus feature of its Shinobi II monitor compatible with more cameras. A firmware update lets you use the Shinobi II to control the focus point on the Canon EOS R1, EOS R5 Mark II, EOS R7, Nikon Z8, Sony FX3 and FX30, and the nine other previously supported cameras.

Being able to use an external monitor to control focus is useful for anyone who often films themselves and who would otherwise have to walk around to the back of the camera to make changes. The Shinobi II, which has a ~13cm (5"), 1,500 nit display, also gives you access to advanced monitoring tools that most cameras don't natively support, such as vectorscopes and false color overlays.

The update also adds 'Camera Control' support for the Fujifilm X-T3, X-T4 and X-T5, which lets you adjust settings like ISO, shutter speed, aperture, and white balance using the monitor.

You can download the firmware from Atomos' website.

Atomos Shinobi II: