84%

Overall score

Jump to conclusion

The Canon PowerShot V1 is a vlogging compact built around a large sensor and a 16-50mm equivalent zoom lens. Despite its focus on video, which extends to a cooling fan for extended capture periods, its similarity to the PowerShot G1 series of large-sensor enthusiast compacts has caught the attention of photographers.

Key features:

• 22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
• 16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
• Full-width 4K up to 30p from 5.7K capture
• 4K/60p from a 1.4x crop
• Up to 30 fps stills capture in e-shutter mode
• Cooling fan for extended video recording
• Wired or wireless video streaming
• Multi-function hotshoe for flash or audio accessories
• Fully-articulated rear touchscreen
• Headphone and mic sockets

The Canon PowerShot V1 was originally announced as costing $899 in the US. Elsewhere, pricing was set at €999 and £959, including VAT. However, the US price has subsequently risen to $979.

Index:

• What's new
• Body and handling
• In use: for vlogging
• In use: for photography
• Image quality
• Conclusion
• Sample gallery
• Specifications

What's new

The V1 is Canon's first high-end vlogging compact, with a multi-module mic on top and a cooling fan to extend its recording duration. But, while its wide-angle lens points at its ambitions to help self-filming social mediaists, its use of a roughly-four-thirds-sized sensor and a zoom lens can't help but evoke the more stills-focused PowerShot G1 X cameras.

The sensor's specs are a match for using a similarly sized chunk of the EOS R7's chip. Both need to crop into the same size of their sensor to deliver 4K/60, but the smaller 'full image' region on the V1 means there different between the full-width and cropped areas are much less dramatic than was the case with the R7.

It's built around a 16-50mm equivalent F2.8-5.6 stabilized lens with a leaf shutter that appears to operate using an electronic first curtain shutter, limiting its maximum flash sync speed to (a still very respectable) 1/400 sec. There's a built-in 3EV ND filter to help you keep to video-friendly shutter speeds in bright light. It can be set to activate automatically in video mode and can be manually engaged when shooting stills.

It has a built-in fan and fully articulating touchscreen but there's no built-in flash or electronic viewfinder, nor the option to fit one.

Body and handling

The degree to which the V1 has prioritized vlogging becomes apparent when you pick it up: the body is surprisingly deep, as a result of the fan-cooled chamber at the back of the camera, and the grip is unexpectedly shallow.

Just as we saw with the EOS R50V, the grip is designed so that it's easy to hold the camera facing towards you, but with less to hold onto if you're behind it. The body feels pleasantly dense and solid, with the grippy rubber coating making it feel secure in the hand. But while it works pretty well from both sides of the lens, it's not as well optimized for conventional hand holding as a dedicated photo camera.

All the camera's control points are quite small, though, with the shutter button, its surrounding zoom lever and the exposure mode dial all looking as if they've shrunk in the wash. The little power button gets partially obscured if you fit the included mic wind screen into place.

One of the principal control points is the free-rotating dial around the lens. Its default function varies, depending on your mode (controlling aperture value in Av mode, for instance). The direction of its operation can be reversed, if you find that easier, when facing the camera.

There's also a small, rather fiddly dial around the four-way controller on the back of the camera. Its function can't be changed directly, but if you assign the front dial to a specific function, such as Exposure Comp or ISO, it takes on the function that the front dial would otherwise do.

The PowerShot V1 has both Mic and Headphone sockets, placed on the right flank, meaning they can't clash with the articulated screen mounted on the other side of the camera. Below these are an USB-C and Micro HDMI port.

There are two small camera strap points on either side of the body: a protruding lug on one side, a recessed bar on the other. Both are quite small, which will limit your choice of neck or wrist straps to those with very thin cords.

Battery

The V1 uses the relatively small LP-E17 battery, from which it achieves a rating of 340 shots per charge (400 in power saving mode). These numbers shouldn't be taken literally, as it's common to get twice the rated number, depending on your shooting style. But the numbers are broadly comparable between cameras and a rating of around 350 shots per charge will usually allow you to shoot for a good amount of time without having to worry about it.

The V1 can be charged over USB and, with a powerful enough USB PD power source, can record or stream video and charge, simultaneously (you'll need a battery in the camera to do this, though).

Memory cards

We found the V1 could be a little temperamental with SD cards. In principle, its highest video rate is the cropped 4K/60 mode, which uses a 230 Mbps average bit rate. This is just under 30MB/s so should be safely accommodated by a memory card with U3 or V30 speed rating (the fastest class of UHS I cards). In practice, we found we also needed to use the low-level format option in the camera if we wanted it to work reliably. We'd strongly recommend doing this if you notice that the V1 is taking a long time to write video or Raw files to the card.

In use: for vlogging

The PowerShot V1 essentially uses a cropped version of the sensor from the EOS R7. This means it can deliver oversampled 4K video from its full width at up to 30p but has to crop-in to a roughly native 4K region of the sensor to deliver 60p.

It also means its rolling shutter numbers are proportionate to those of the EOS R7: a fraction faster because it's using a smaller region of the sensor, but not dramatically different.

Interestingly, the rolling shutter rate in the standard 4K modes is slower than the mode used for whole-image electronic shutter in stills (23.4ms), we're not sure why this is.

All the 4K/24 and 30 modes are taken from the same readout mode: the decreased rolling shutter is accounted for entirely by the degree to which they're cropped. The 60p mode, meanwhile, is actually being read faster.

We generally consider rolling shutter rates below 25ms to be acceptable, those below 20ms to be good and those below 15ms to be good. With the Powershot V1, if you're moving the camera it's well worth applying at least some degree of digital IS to make your footage smoother and reduce the rolling shutter rate a little. There's a noise and detail penalty to be paid as you crop in, but it's probably a worthwhile compromise.

The 4K/60 options disappear from the menu if you have any form of Digital IS engaged, which is worth being conscious of.

In terms of their intended effect, we found both IS modes to be very effective, with the basic digital IS letting you maintain a fairly steady handheld shot and 'Enhanced' doing a good job of handling more significant motion. There's also a subject recognition IS mode that applies a large crop so that it has freedom to move the capture area around to maintain your chosen composition, relative to a recognized subject.

We were also pleasantly surprised by the internal mics. The sound isn't as good as using an external mic but it's better than we've become used to, with these vlogging cameras.

In general, the V1 makes video capture fairly simple but there are a few quirks. 'Close-up Demo' mode, which over-rides face detection AF when you hold something in front of the camera is only available as a 'Scene' mode, so you suddenly lose control over things like mic volume and exposure. The same is true if you want to use the camera's skin-smoothing effect.

While we understand Canon wanting to make these functions easy to access, the fact you can only use them in a very limiting, highly automated manner means you lose any control over audio and white balance. To be truly useful, it should be available as an AF option for experienced users as well as a Scene mode for beginners.

In use, for photography

Although conceptually the V1 looks a lot like a wide-angle successor to the PowerShot G1 X series, its increased focus on vlogging seriously undermines its usability as an enthusiast compact.

The lack of a clicking front dial and the awkwardness of operating the small rear dial means it's not a camera that gives effortless access to, say, aperture and exposure comp. This is the same thing that stopped Sony's RX100 series from shining as enthusiast compacts, and meant instead they worked better as (superlative) point-and-shoots. The V1's added bulk means it doesn't rate so highly in that regard, either.

Add to this the insubstantial hand grip and slightly bulky body and you end up with a camera that, on paper, appears to have the capabilities of a high-quality wide-angle compact for photographers but that never delivers on the experience. The small buttons and awkward dials (of which only the front one can be customized), mean taking direct control is more fiddly than would be ideal.

Also worth noting is that you'll need to assign one of the camera's buttons if you want to position the AF point with anything other than the touchscreen.

The large sensor and ultrawide lens can deliver the goods. Canon PowerShot V1 @ 16mm | F2.8 | 1/250 sec | ISO 100 Photo: Richard Butler

On the plus side, the V1 has a hot shoe, compatible with newer flashes or with older ones if you buy an adapter. Despite having a leaf shutter, the V1 has the same 1/400 sec flash sync speed limit as the G1 X III with external flashes: still good but not as flexible as being able to sync all the way up to 1/2000 sec.

Even those photographers who can live without a viewfinder or the capacity to add one are likely to find themselves fighting against the V1 to get the most out of it, despite all the promise. For some people, that wide range and large sensor, unmatched by any other compact, will make it worthwhile. But if you've used a previous G-X model, you'll be constantly reminded of what's been taken away.

This isn't the camera's intent, of course, but it's disappointing that a camera that sounds like it should double as a pretty adept photographers' compact isn't more engaging to use as one.

Image quality

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.

This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.

Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it's delivering.

Wide-angle performance:

Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.

Canon PowerShot V1 @ 16mm equiv | F5.6 | 1/40 | ISO 100 Click here to download the accompanying Raw file.

As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.

However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.

It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.

And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.

Conclusion

The Canon PowerShot V1 is an interesting addition to the vlogging market, with a larger sensor and wider lens than any of the currently available models. And, for now at least, it's also the closest we have to an ultra-wide-angle compact for photography. It's significantly better at one than the other.

As a vlogging camera the V1 is pretty capable, offering a good selection of features with good video quality and a relatively easy-to-use interface. The internal mics are no substitute for a good external mic but they're not terrible and the wind screen helps for outdoor work. More advanced users can attach their own and take advantage of options like C-Log3 capture, without beginners finding themselves too overwhelmed.

This balance isn't always perfectly struck: the 'close-up demos' scene mode works well for beginners but limits control to the point that users worried about matching footage or controlling the volume of an external mic can't really use it reliably.

As a photo camera, the V1 works less well. It can produce excellent images and its uniquely wide-angle lens will make it worth perservering with, for some photographers. But the small and rather limited controls mean it's not as fun or engaging a camera as the company's previous G-series compacts were.

This isn't the camera's main intent, and if you've been waiting for a compact with an ultrawide lens, that may be worth working 'round. But it's worth being aware that you may feel that you're having to coax something out of the camera it wasn't particularly designed to do.

As a vlogging camera its range of capabilities and ability to accommodate a range of users and vlogging styles earns it our silver award. It's a powerful piece of kit for getting your message out to the world.

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 PowerShot V1's most obvious peers are two of Sony's ZV series of vlogging cameras.

The Sony ZV-1 Mark II is the most direct competitor, with is 18-50mm equivalent lens. That lens has an F1.8-4.0 maximum aperture, which sounds impressive next to the V1's F2.8-5.6 zoom, but if you factor-in sensor size, the difference is much less pronounced. The V1 is likely to perform around a third of a stop less well in low light and in terms of depth-of-field at the wide end, and around two thirds of a stop better at the long end. Its larger sensor should give it the edge in good light.

The Sony is a lot smaller than the Canon, its autofocus that bit more reliable and its 'product showcase' mode is more readily accessible and controlable. Conversely, we found the Canon's stabilization to be more effective than the Sony's, giving smoother output and being less prone to the distracting grab-and-release effect if you intentionally pan. The Canon also has a 4K/60 option, that the Sony lacks, making it our choice overall.

And, despite our reservations about the V1 as a photographers' compact, its larger sensor and wider lens make it a more appealing option, despite its significantly greater size.

The other real rival is Sony's ZV-E10 Mark II, a mirrorless camera built around an APS-C sensor. It's an appreciably larger sensor that's much faster to read out, and it has the same advantages in terms of autofocus. Its interchangeable lens design gives you more flexibility overall but means you end up with a larger camera/lens combination and a larger bill, as soon as you add something like the Sony 10-20mm F4 PZ G power zoom to approximately match the V1's range. Again, the V1 looks like a better-judged package, unless you specifically need an unusual lens, the attractive S-Cinetone mode or will benefit from its less-cropped, higher quality 4K/60 capability.

As a stills camera the V1 also out-points the ZV-E10 II, as Sony has omitted to include a mechanical shutter or physical stabilization: features you need to move up to the a6700 to gain.

Much as we were left cold by the V1 as an enthusiast compact, it is essentially your only option if you're looking for something plausibly pocketable with decent image quality and an ultrawide lens, it's essentially the best option purely as a consequence of being your only option.

Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Image: Tamron

Tamron has announced the 16-30mm F2.8 Di III VXD G2, a wide-angle full-frame zoom lens for Sony E mount and Nikon Z mount. It slots into the company's fast zoom lineup alongside its 28-75mm and 70-180mm F2.8 G2 lenses.

Tamron says the lens is a sequel to its 17-28mm F2.8 Di III RXD from 2019. Compared to that lens, the G2 obviously has a slightly wider zoom range and includes updates to the autofocus system. The older model used a stepper motor, while the new one uses the company's "VXD" linear motors. There's a single customizable function button.

The body is also moisture-resistant and includes a USB-C port that you can use to connect it to Tamron's lens customization software. The lens has a 67mm filter, the same as Tamron's 28-75mm and 70-180mm F2.8 lenses.

Optically, the 16-30mm F2.8 Di III VXD G2 has 16 elements in 12 groups and a 9-blade aperture that Tamron says is "almost perfectly circular up to two stops down from" its max setting. At the wide end, it has a minimum focusing distance of 0.19m (7.5"), and at the long end, it can focus on objects as close as 0.3m (11.8"), giving a maximum reproduction ratio of 1:5.4.

The lens will retail for $929; that's $30 more than the previous model, though given the extra range and faster autofocus system, that's hard to complain about. It will be available for E mount on July 31 and for Z mount on August 22nd.

Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

Tamron 16-30mm F2.8 Di III VXD G2 specifications:

Photo: Scott Ferguson

Figuring out your perfect travel photography setup is quite the balancing act, and often a constantly evolving task. It requires finding a sweet spot between portability (large gear isn't fun to lug around), versatility (travel can bring a wide range of photographic situations) and image quality. Here at DPReview, we are no strangers to travel, with all of us embarking on big trips fairly regularly for both work and vacation. That time spent traveling has allowed us to dial in our preferred cameras and lenses for trips. We're opening up our bags, giving you a glimpse into what we gear nerds like to take along (when we have a choice).

Dale Baskin

Fujifilm X100T | F3.2 | 1/340 sec | ISO 400 | Salvador da Bahia, Brazil Photo: Dale Baskin

While I always choose the right tool for a specific job, I’ve learned to travel light when I don’t have demanding photo requirements. It wasn’t always that way.

In the past, I often took too much gear, driven by FOMO: a fear of missing out on a once-in-a-lifetime shot. I’d constantly worry about having the right lenses, a tripod, or accessories for every possible situation.

At some point, I realized I was putting more effort into carrying photo gear than enjoying the travel itself. For my next international trip, I took a risk, carrying only my newly acquired Fujifilm X100T. Were there times I wished for more or different gear? Absolutely. But I quickly stopped stressing about what I didn’t have and focused on getting creative with the camera in my hands. That creative challenge has become part of what I enjoy about travel.

Fujifilm X100T | F2.0 | 1/105 sec | ISO 3200 | Salvador da Bahia, Brazil Photo: Dale Baskin

A decade later, the X100 series is still my go-to travel kit, though I now use an X100V, and I’ll often carry Fujifilm’s 28mm equiv wide-angle adapter in case I want a wider perspective. Of course, if I’m going to photograph birds or shoot a wedding, I take the right tools for the job. But for personal travel, it’s usually just my X100V. Even then, I find myself reaching for my iPhone; for many personal memories and shareable moments, it’s the best tool for the job.

Richard Butler

Sigma BF |Sigma 35mm F2 DG DN | F5.6 | 1/500 sec | ISO 250 | Little Britain, London Photo: Richard Butler

Working for DPReview means I'm usually shooting sample images, even when I'm on vacation, so I don't have much choice over which camera I'm shooting with. However, there are combinations of cameras and lenses that I find myself really enjoying, and that I try to recreate on my trips, where possible. And these combinations have evolved over time.

A few years ago, I'd have opted for just a 35mm equiv prime and the smallest standard zoom I could lay my hands on, which typically meant the kit zoom for most systems. But I increasingly find I like to have an 85mm equiv prime with me, too, as I love having a good option for taking portraits when I see my friends and family. My two most recent trips saw me using a 24mm, 35mm, 90mm set of compact primes, and before that, a 24-80ish equiv F2.8 zoom, which fulfilled a similar role. There are pros and cons to both approaches.

Sigma BF |Sigma 24mm F3.5 DG DN | F8 | 1/200 sec | ISO 100 | Twickenham, London Photo: Richard Butler

But while I've learned this is the range I like to use, I've also found that size is the most important criterion when I travel. That 24-80 equiv was an APS-C lens, meaning it was still comparatively small and light. When I've tried to take a full-frame 24-70mm F2.8, I've come back with almost no photos: the camera having stayed in the hotel room. It's the same story when I tried a three-prime set for medium format: I've got the photos from the occasions I specifically pushed myself to go out and shoot, but failed to capture any of the unexpected moments and incidental shots that would tell the real story of the experience.

Mitchell Clark

Sony a7CR | Sony 16mm F1.8 G FE | F2.8 | 1/60 sec | ISO 500 | Paris, France Photo: Mitchell Clark

Like Richard, my travel kit is generally dictated by what camera or lens I'm currently testing. However, if I'm reviewing a camera and get to choose a lens, I'll typically go for a fast, relatively wide-angle one. Those let me easily capture the people I'm traveling with and whatever sweeping vista we're in, and, in a pinch, can even be used for selfies.

However, I can only get away with that choice because I also take my own personal camera on every trip I take. I'm talking, of course, about the iPhone 15 Pro, which I specifically chose because of its 3x telephoto camera. While I'd prefer one of Apple's smaller, lighter and cheaper non-pro phones, the fact that their second camera is an ultrawide rather than a telephoto one is a dealbreaker for me; I've found a lot more situations where I can't physically get closer to something than ones where I couldn't back up a little.

iPhone 15 Pro | 77mm equiv. lens | F2.8 | 1/315 sec | ISO 25 | Las Vegas, USA Photo: Mitchell Clark

It's nothing like shooting with a dedicated camera, but if I need to take a picture of something quickly or something that's relatively far away, I'll reach for my phone every time...

Or, rather, I'll click the camera button, because it was probably already in my hand, acting as a GPS. I'm very good at getting lost in new places.

Mykim Dang

Overhead photo of Mykim Dang's travel cameras and storage solution. Photo: Mykim Dang

I shoot more video than photos and am pretty obsessed with traveling as light as possible (when possible). This is a holdover from years of operating as a one-person team dealing with endless connections in different countries with changing rules and regulations. A checked bag is something I avoid at all costs.

Ricoh WG-80 | Sayulitas, Mexico Photo: Mykim Dang

Most of my video work is focused on the outdoors and water-based activities. I tend to keep a few different cameras in my rotation for this reason. My main setup consists of a GoPro (still using the Hero 12 Black), a Sony ZV-1F, a Ricoh WG-80 and some sort of disposable camera. Between these 4 pieces of gear, I find a really nice rotation of video capture for in the water, underwater and on land. I love the variety of source material I have to work with in post. They are all very compact, lightweight and fun to use.

Abby Ferguson

Photo: Abby Ferguson

Even though I travel and adventure a fair amount, I've never bought a dedicated travel setup. Instead, I've used whatever gear I already have, even if it isn't excessively travel-focused. For the past handful of years, that has meant taking my Sony a7 III on trips. Luckily, it offers a decent balance of size and quality.

Lens selection is a bit more complicated, though. My one travel-specific purchase was a compact 35mm F1.8, which I picked up for a work trip to IFA Berlin. It has consistently been included in my travel kit since then, and is often my only lens. When I want a bit more versatility, I will throw in my 24-70mm. Or, for some select trips, I've swapped out the standard zoom for a 135mm prime lens. It's definitely not the most practical (it's far from light and compact) or versatile, but I like the challenge and I enjoy the photos I get with it.

Pentax K1000 | SMC Pentax-M 50mm F2 | Flic Film Aurora 400 | Honolulu, Hawai'i Photo: Abby Ferguson

Most recently, though, I've been more drawn to my Pentax K1000 film camera with a 50mm lens as my go-to travel camera. I was recently in Hawai'i for two weeks, and while I had my digital camera, I often only brought my film camera out with me. The size is right, and I love that it forces me to slow down and take in the scene more than I generally do with digital. It also doesn't separate me from what's going on as much, as I can't look at the rear display to check my shots. I take the shot and then move on, returning to enjoying my trip.

Matt Waller

Photo: Matt Waller

My camera for a recent street photography trip to London was the OM System OM-5. This cute little guy could be effortlessly carried on long walking days and did absolutely everything a travel/street camera could be asked to do. Its weather sealing shrugged off my one day of London drizzle (with the new weather-sealed 25mm f1.8 prime aboard), the hand-held hi-res 50MP mode came in handy to target the Shard and its superb IBIS made long exposures in the night tunnels of Southwark a breeze.

OM System OM-5 | OM 25mm F1.8 II | F4.5 | 1/2000 sec | ISO 200 | London Photo: Matt Waller

Yes, it's stuck at face/eye detect AF – which worked flawlessly on the streets. But its greatest power was the ability it gave me to carry a battery of superb little lenses: the 12mm F2 for cathedrals, 75mm F1.8 for occasional portraits, tiny Laowa 7.5mm F2 for skyscrapers – all in my coat pockets, no camera bag required.

Pretty though it is, the thing that really caught our eye about Fujifilm's recently announced X-E5 wasn't a design flourish or aesthetic detail, it was the fact that the company has been taking note of how its users are actually using their cameras.

The film recipe concept, using tweaked versions of the brand's film simulations to give bigger vibes and more expressive looks, is an entirely grassroots development. Up until now, users had had to use the cameras' custom settings banks to capture these recipes, but with the X-E5, there's a dedicated system specifically to do so.

And, intriguingly, Fujifilm has adopted the term 'recipe' directly from its community.

While there are some photographers who'd rather start with a completely blank canvas in a way that a LUT-based system would allow, the option to riff on existing, attractive color modes, created by engineers with lots of built-up experience in the field, has its own appeal.

Now let's hope Fujifilm extends a similar capability to its other current cameras, with one of those firmware updates that inspired the appropriation of the term 'kaizen' in the first place.

The moon rises over Cerro Fitz Roy and the Fitz Roy massif in Patagonia along the border between Argentina and Chile. I captured this photo during a solo trek through Patagonia, and to this day, I'm amazed that there were basically no other people there. I can't imagine that would be true today. Canon EOS Rebel XT | Sigma 18-50mm F2.8 EX DC Macro | F5.6 | 1/160 sec | ISO 200 Photo: Dale Baskin

The theme for our July Editors' photo challenge is "Landscape Showcase."

This is your chance to show us your favorite natural landscape photos! From grand vistas to creative compositions, we want to see your most stunning landscape shots. We know there are some talented landscape photographers here on DPReview, and we can't wait to see your stunning images.

This challenge is also open to stitched panoramas.

Photos can be submitted between Sunday, July 6, and Saturday, July 12 (GMT). It is open to photos taken at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Visit the challenge page to see all the rules

This week, we released our review of the Fujifilm GFX100RF, and we're deep into the review process for the Canon PowerShot V1. Editors Richard Butler and Mitchell Clark sat down with director of video and social Mykim Dang to discuss the cameras and the community's reaction.

The video touches on several topics: the PowerShot V1's capabilities as a vlogging camera versus how it performs as an enthusiast compact, the GFX100RF's placement as a luxury product and weirdness around flashes and leaf shutters.

A recent video shared by All Arts TV profiles the late Beuford Smith, a self-taught street photographer who captured iconic images in New York City in the 1960s and beyond. The video was the inaugural episode of the publication's new "The Darkroom MCs" series and is one of the last interviews Smith gave before his passing on June 7, 2025. In it, Smith talks about his career, what distinguishes someone's style and his darkroom process.

Smith was a prominent figure in capturing Black life and culture. He documented pivotal moments in the Civil Rights Movement and photographed the likes of Malcolm X, drummer Elvin Jones and jazz pianist Barry Harris. His accomplishments include serving as president emeritus of the Kamoinge Workshop, creating "The Black Photographers Annual," having photographs in the MoMA permanent collection and more.

In the video, Smith talks with hosts Russell Frederick and Anderson Zaca about how good photographs are everywhere. "You don't have to travel to Timbuktu or Peru or anyplace to take photographs," Smith says. "They're right in front of you, you just have to be able to see them and take them." As someone who sometimes grumbles about picking up a camera when I'm in a place that I deem boring, I really appreciated this reminder.

Smith also delves into the technical aspects of his darkroom work, a topic he noted was, frustratingly, rarely discussed in interviews. He walks Frederick and Zaca through a selection of his prints, demonstrating the importance of light and shadow, and explaining his exacting standards for print quality and style. He even reveals that he turned down the opportunity to purchase an Ansel Adams print for $125 because he didn't like its print quality.

Finally, Smith also shows a photo he created of Malcom X, which he said was simply a "self-assignment." Even though he didn't take the image for a paid job, it has been one of his best-selling prints, and the Whitney Museum bought a print of the photo for $6500. It's yet another push to just get out there and create photographs, even if you don't know what could happen with them down the line.

GFX100RF | F5.6 | 1/30sec | ISO 80 Photo: Richard Butler

This week, we released our review of the Fujifilm GFX100RF, a rangefinder-style large-sensor compact made for street photography. We've added the best photos we took during the review process to a sample gallery, which you can look through to get a feel for how the camera performs in a variety of real-world conditions.

See the sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

A Longspined Bullhead. Click here to experience the full-size image. Image: Søren Skarby

Combining work with hobbies can be a risky endeavor. Søren Skarby, a photojournalist and passionate fly fisherman, endeavored for years to keep photography – his profession – and fishing – his hobby – separate. But inevitably, the two worlds collided. The result was a long-term, ongoing project named Scaled Up, which aims to document fish with a level of detail we don't usually see. Skarby took the time to chat with me about his series, providing insight into what led to the project and the complicated process behind it.

"We think of fish in this part of the world as something dull. But fish are very colorful"

Skarby often has the experience of catching a fish and thinking how beautiful it is. Other people didn't quite get it when he would tell them, though. "We think of fish in this part of the world as something dull. But fish are very colorful as you can see, even in Scandinavia," he explained. Plus, most people only come across fish after it's processed and in the supermarket, which is always colorless. Seeing the fish alive is a totally different experience, and he wanted to figure out a way to show others the beauty he saw while fishing.

A Common Dragonet. Click here to experience the full-size image. Photo: Søren Skarby

When he saw the Microsculpture series of insect photographs by Levon Biss, it was a turning point. Skarby decided he wanted to do something similar with fish by combining hundreds of images taken with a high-resolution camera to create uber-high-resolution photos. From the start, he knew he would need funding. "If I'm going to do this right, I've got to get paid while I'm thinking because I'll only be focusing on that," he said. So he reached out to a museum to collaborate, and they were eager to participate. Obtaining funding took time, but it did eventually come.

While the idea of photographing fish is simple at face value, it's actually quite complicated. "I came up with one idea after the other and ditched it because it didn't work," Skarby explained. While most fish are colorful while alive, they lose that color very quickly when they die. So you have a very short window to work. Skarby says that cod is the worst, as it will turn very dark in less than 10 minutes. He started working with a taxidermist, and together they figured out that baby oil would prolong the time they had to photograph the specimen before the color drained.

A female trout. Click here to experience the full-size image. Photo: Søren Skarby

Next, Skarby said he had to figure out how to manage the camera setup. His process involves a combination of focus stacking and panoramic stitching to maximize the level of detail. But that presented its own set of problems. "It's really, really hard to set up a camera vertically and then move it and keep the same distance to the subject all the way. There's no gear made for it," he said. He was venting his frustrations to a friend, who said, "Can't you move the fish?" It was a lightbulb moment, and they drew the idea on the drywall of his mid-renovation kitchen, eventually having a movable table made for the project.

Lighting was the next hurdle. Skarby tried using constant light but said the exposure time gets way too long. He explained that the image he created of the male Three-Spined Stickleback took 40 minutes total, with each exposure lasting 15 seconds. Every time a loud motorcycle or large truck drove past their studio, they got nervous, because they were sure it would shake the camera or table with the fish and ruin the image. Flash, then, is a must, but it has to be precise flash that fires consistently each time.

A male Three-spined Stickleback. Click here to experience the full-size image. Photo: Søren Skarby

His lighting setup is relatively simple, with a light under the glass on which the fish rests and a light above at a 45-degree angle. However, the highly reflective surface of the baby oil-covered fish introduces challenges with lighting. So, Skarby adds polarizing filters to everything, including both lights and the camera lens.

Finding an ideal polarizer for the lights was yet another moment of creative problem-solving. Eventually, Skarby realized that TFT displays used in TVs have polarizing filters inside, and that he could buy packs of the filters meant for large TVs directly from China for cheap. Those filters then go in front of the softbox, and when one needs to be replaced, it isn't a big cost to replace it.

A Garfish. Click here to experience the full-size image. Photo: Søren Skarby

The studio setup isn't the end of challenges, either. Skarby ends up with between 120 and 440 individual images for each fish. He goes through each Raw file before starting the stitching process, and then spends an extensive amount of time retouching at 200% or even 300% once the files are stitched together. For example, the image he created of the Gar, which is 52,500 pixels long, took 80 hours to Photoshop. Each image has loads of dust to remove, along with the edges of the glass pieces used to spread out fins and keep the fish in position.

This unretouched image shows just how much work is involved in the retouching process. The final image can be seen here. Photo: Søren Skarby

While the Scaled Up project has been running since 2019, Skarby is far from done. He's currently working on his largest round of grant funding and plans on building out a caravan to be a mobile studio. That includes a camera stand that is built into the vehicle instead of using a tripod.

The caravan studio will enable him to go where the fish are, and connect with more people to curate stories with each individual fish. He's also going to be switching from the Fujifilm GFX 50S to a Phase One camera system, and using Helicon software for stacking the images instead of Photoshop. He says those changes should make the process somewhat easier and faster.

A Snake Pipefish. Click here to experience the full-size image. Photo: Søren Skarby

Beyond the technical side of things, Skarby says there are also concerns related to conservation and ethics. After all, the fish aren't alive when he photographs them. He was recently offered the opportunity to photograph the European sprat, which is endemic to Denmark. While he was honored, that fish is incredibly rare, so he turned it down. "It would be crazy to say that 'we want you to be aware of the wild tiger and that’s why we’ve shot one to show to you,'" he said.

"What I'm trying to do with the pictures is showing people this is what you risk losing."

Skarby says that one of the reasons this project is so important is for conservation reasons. "I don't know what I am any more, if I'm a fly fisher, photographer or both or I'm actually an environmentalist," he says. No matter what he is, he's using the images to raise awareness and help bring attention to the unexpected beauty of certain fish. "What I'm trying to do with the pictures is showing people this is what you risk losing."

We aren't able to show off Skarby's images at full resolution, so if you want to see these fish in all their glory, be sure to head to his website. There, you'll be able to zoom in to remarkable levels, highlighting spectacular details on each fish.

Image: Laowa

Venus Optics has announced the Laowa 12mm F2.8 Lite Zero-D FF, an updated, mirrorless version of one of its popular ultra-wide-angle lenses. The new model is slimmed down (hence, the Lite in the name), introduces autofocus capabilities for Sony E and Nikon Z mounts and brings additional upgrades over the original 12mm F2.8 Zero-D.

The 12mm F2.8 Zero-D lens's claim to fame was that it was one of the widest non-fisheye lenses for full-frame cameras. Like the original model, the Laowa 12mm F2.8 Lite Zero-D offers an ultra-wide 122° view with a rectilinear optical design, which Laowa says results in "virtually zero distortion." The optical design includes 16 elements in 9 groups, with 4 extra-low dispersion elements and 2 aspherical elements. It can focus as close as 14cm (5.5"), making it possible to capture close details.

Image: Christopher Frost / Laowa

Laowa says that the new model offers improved image quality, with better sharpness all the way to the edges and "excellent control of chromatic aberration." It is also more compact and lightweight than its predecessor, coming in at just 377g (13.3oz) for the E mount version. For comparison, the original model weighed 609g (1.3lbs). The lens sees the addition of a filter thread, using 72mm filters, whereas the old model required a filter holder system.

The autofocus version (left) and manual focus version (right) feature slightly different body designs. Image: Laowa

The 12mm F2.8 Lite Zero-D is available for Sony E, Nikon Z, Canon RF and L mounts. The Sony E and Nikon Z versions offer autofocus, while the RF and L mount models are manual focus only. The autofocus versions offer an MF/AF switch but no aperture ring, while the manual focus models feature an aperture ring.

Making things more complicated are the two aperture blade configurations. You can choose between a 5-blade or 14-blade aperture. Laowa says the 5-blade creates a 10-point sunstar effect when you stop down the aperture. If you want the 14-blade aperture, though, you'll need to opt for the manual focus lens no matter what mount you have. The autofocus versions are only available with the 5-blade aperture.

The new Laowa 12mm F2.8 Lite Zero-D FF is available for purchase for $699.

Image: Bastian Kratzke / Laowa

Sony has announced a new feature for its Camera Authenticity Solution, expanding options for newsrooms looking to address the challenge of authenticating digital images. The beta release of Camera Verify allows for the creation of dedicated URLs for authenticity information so that third parties can view the information directly.

The new Camera Verify Beta feature allows news organizations to issue external URLs for images with embedded digital signatures. That means that third parties, such as readers, partners and other media, can view verification directly through reliable URLs issued by Sony's verification site. Organizations also have the option to select which authenticity items they want to share during content publication and distribution.

The Camera Verify feature is based on Sony's digital signature system, which it has been developing for the past few years. When created with compatible cameras, images can be embedded with C2PA (Coalition for Content Provenance and Authenticity) digital signatures and Sony’s proprietary 3D depth information at the time of capture. That feature was previously only available to select organizations, though.

Now, the Digital Signature Upgrade License is available for purchase through the Camera Authenticity Solution website, meaning more professionals will be able to use it. It's only compatible with the Sony a1 II (Ver. 2.00 or later), a1 (Ver. 3.00 or later), a9 III (Ver. 3.00 or later), a7S III (Ver. 4.00 or later) and a7 IV (Ver. 5.00 or later), though. Sony says that the Image Validation Site, where authenticity information can be viewed, will initially only be available for select news organizations, and availability varies by region.

Sony also added that it plans to add support for video content "after fall 2025." Given that generative AI videos are becoming better and easier to produce, this is an important additional step for content authenticity.

Image: Leica

One hundred years ago today, Leica unveiled the Leica I – the first mass-produced 35mm camera. Leica has been hosting celebrations and releasing special editions all year, but today has announced a range of special edition cameras to mark the official 100th anniversary. Those include the M11-D, M11, D-Lux 8 and Sofort 2, along with a photobook commemorating 100 years of Leica.

Leica says that the M11-D included in the Centenary Set pays "homage to the original 1925 model in terms of both design and materials." The rangefinder uses the same internal components as the standard M11, including a 60-megapixel sensor, though the exterior is quite different. Most notably, it lacks a rear display. Leica also omitted the eyelets for a strap and the red Leica logo, in keeping with the original Leica I.

The anniversary edition of the M11-D does away with the rear display. Image: Leica

The special edition of the M11-D features a solid brass top and base plate with a high-gloss black finish, mirroring the original model. The body uses a genuine leather covering. There are nickel-colored anodized controls made from aluminum with the same cross knurling as the Leica I. The conical collar around the shutter release and semi-circular shutter button also make reference to early Leica cameras. Finally, the camera features the "100" logo on the hot shoe cover and a white "Ernst Leitz Wetzlar" engraving on the conical collar.

The M11-D special edition also adds another milestone for Leica: one of the editions is Leica's millionth Leica M-camera. That camera will be engraved with the serial number #6000000, and will be displayed alongside the Leica I #126 from 1925 at Leitz Park’s Leica Welt.

The Leitz Anastigmat-M 50 F3.5 references back to the original fixed lens on the Leica I. Image: Leica

The M11-D Centenary Set also includes two special lenses: the Leica Summilux-M 50 F1.4 ASPH. and the Leitz Anastigmat-M 50 F3.5. The Leitz Anastigmat 50 F3.5 was the original fixed lens found on the Leica I in 1925. Now, Leica has reimagined it, equipping it with an M mount. It keeps key characteristics of the original, though, including a retractable design. The modern lens is made from aluminum, though it features a nickel-colored finish.

The anniversary set also comes with the Leica Summilux-M 50 F1.4 ASPH. lens. Image: Leica

Leica says the Summilux-M 50 F1.4 ASPH. lens balances "timeless design with cutting-edge optical performance." It offers a vintage-inspired design, including cross knurling on the aperture ring and a nickel-colored surface.

The M11-D Centenary Set comes with a glossy black case and other accessories. Image: Leica

The M11-D Centenary Set also comes with special accessories. These include a glossy wooden box for storage and an SD card case. It also comes with a leather case and a leather carrying strap.

While the M11-D is the most dramatic of the special editions, Leica also announced three other anniversary editions. The D-Lux 8 also pays homage to the Leica I with nickel-colored accents and black leatherette covering with a texture similar to Leica M cameras. It features the conical collar around the shutter release button and cross knurling on the top controls. The Sofort 2 instant camera anniversary edition includes a nickel-colored lens cap and a glossy black finish with the "100" logo on the camera's top plate.

Leica also released special editions of the D-Lux 8 and Sofort 2 cameras. Images: Leica

Leica has been releasing special edition M11 cameras throughout the year, each engraved with the name of the city where the celebration takes place, for a total of six cities. Today marks the release of the "Wetzlar Germany" edition, with "Wetzlar" engraved on the top plate. Only 100 are available, and they can only be purchased in Leica stores in Germany for €9500.

Finally, alongside the cameras, Leica has unveiled the 100 Leica Stories Book. It features 100 stories of personal moments, iconic photographs, technical achievements and behind-the-scenes looks.

The Leica M11-D 100 Years of Leica set won't be available until spring 2026 in select Leica stores. The other anniversary editions are available as of today. The Leica D-Lux 8 edition is priced at €1850 ($2166), while the Sofort 2 edition costs €495 ($580). The book is available in Germany as of today, and internationally on July 14 for €70 ($82).

Image: Insta360

Insta360 has announced its latest smartphone gimbal, the Flow 2. It shares many features with the Flow 2 Pro, which was released in January this year, yet comes at a more budget-friendly price. The company says the Flow 2 is a "more affordable, creator-friendly evolution" of the Flow smartphone gimbal.

Like Insta360's other smartphone gimbals, the Flow 2 functions as a tripod, selfie stick and gimbal with multi-person subject tracking. The subject tracking features are powered by Insta360's Deep Track 4.0, which "brings sweeping updates to subject identification (even when obstructed by obstacles)."

The Standard Bundle of the Flow 2 only supports tracking in the Insta360 app, and its Active Zoom Tracking only works with compatible iPhones. If you want tracking in any third-party app and full compatibility, even if you don't have an iPhone, you'll need to opt for the slightly more expensive Tracker Bundle. The accessory included in the Tracker Bundle enables tracking in apps like TikTok, Instagram, Zoom and more. It also adds a built-in spotlight, which the Standard bundle lacks.

The Flow 2 is a three-in-one device, with the ability to serve as a selfie stick, tripod and gimbal. Image: Insta360

The gimbal supports NFC pairing, allowing users to skip the Bluetooth pairing process. Android users get an additional Quick Launch setting in the Insta360 app that automatically opens the phone's native camera app when they unfold the gimbal. It promises 10 hours of battery life, which is down slightly from the original Flow's 12 hours. As with the Flow 2 Pro, you can control the device with an Apple Watch or a second smartphone, unlocking remote use.

The Flow 2 is relatively lightweight and compact, weighing approximately 348g (12.3oz). The magnetic phone clamp adds another 25g (0.9oz). When folded, it's only 97.9x178.4x36.7mm (3.6x7x1.4"), making it easy to pack when traveling.

Image: Insta360

Within the Insta360 app is the company's "golden ratio composition tech" that can suggest shots for you. It will automatically perform barrel rolls, dolly zooms or 360°panoramas with a tap, making it easier for beginners to get more advanced-looking videos.

The Insta360 Flow 2 is available now for $110 for the Standard Bundle, while the AI Tracker Bundle costs $130.

The Mic Air is a tiny wireless mic that works with Insta360's lineup without any accessories, or with other devices with the option transmitter and receiver. Image: Insta360

Insta360 also recently launched its first-ever mic, rounding out its options for content creators. The Insta360 Mic Air is a tiny device that works wirelessly without additional adapters when paired with Insta360's X5 and Ace Pro 2 (more models coming soon) and Flow series gimbals. It can work with non-Insta360 devices, but you'll need a transmitter and receiver for those.

The Insta36 Mic Air is available for only $49, making it a very affordable audio solution for those sticking to Insta360 products. The bundle with the transmitter and receiver costs $69, which is still significantly more affordable than the DJI Mic Mini, and slightly less expensive than the similar-looking SmallRig S 60 mic.

Buy now:

89%

Overall score

Jump to conclusion

The Fujifilm GFX100RF is a 100-megapixel medium format digital camera with a fixed 28mm equivalent F4 lens.

Key features

• 102MP Medium format (44 x 33 mm) BSI CMOS sensor
• 35mm (28mm equiv) F4 lens w/ leaf shutter
• 5.76M dot OLED EVF
• Weather sealed when using included filter ring and filter
• Subject recognition autofocus
• Aspect ratio dial
• 3.2" tilting rear touchscreen
• 4K video up to 30fps
• Built-in 4EV ND filter
• 14 film simulations

The GFX100RF has a recommended price of $4899. It comes in either black or black and silver, and includes a braided strap, filter ring, filter and a color-matched square lens hood.

Index:

• What's new
• How it compares
• Body and handling
• Image Quality
• Autofocus
• In Use
• Conclusion
• Sample gallery
• Specifications
• Press Release

What's New

Fixed lens medium format body

The GFX100RF occupies a new space in Fujifilm's lineup and comes with a new design. It's essentially the long-rumored 'medium format X100,' in that it takes the formula of classic styling, direct controls and a wideangle prime lens permanently mounted on the front.

Don't take the rangefinder implications of the letters 'RF' too seriously though: this is essentially the world's most ambitious compact camera, lacking not just a rangefinder but also the X100/X-Pro hybrid viewfinder that gives the appearance of a classic rangefinder camera. Instead, the RF's EVF is a relatively standard 5.76M dot affair located in the top left corner of the back of the camera.

While the body is nowhere near as large as the interchangeable lens GFX cameras, it still has a lot of presence. You'll never forget that you have it on you and would be hard-pressed to fit it into a pocket. That's especially true when it's fitted with the included square lens hood, which adds style points but has to be mounted on the adapter ring, adding a substantial amount of depth, substituting flair for flare.

Like the X100VI, the GFX100RF can be weather-sealed with an adapter ring and filter, though this too makes it bulkier. The hood can still be fitted to the adapter ring when the filter is installed.

The fixed lens

Fujifilm says it went with a 28mm equivalent lens to make the camera as compact as possible while also letting users shoot with (to a point) lower shutter speeds without the aid of IBIS or optical stabilization. That ability, which largely depends on how still your hands and subject are, will come in handy given the lens's relatively slow F4 (F3.2 equiv) aperture.

The lens has a minimum focus distance of 20cm (7.9") and can accept 49mm filters when fitted with its adapter ring. Its being fixed also allows for the provision of a leaf shutter, letting the GF to sync with flashes up to 1/2000 (technically, it can sync all the way up to 1/4000, but you risk cutting off some of the flashes' burst using such a brief exposure).

Aspect ratio dial

Looking at the back of the camera, the first thing that sticks out is the large dial above the screen. Its sole purpose is to let you apply various crops to your image, changing your JPEG's aspect ratio – and reducing how much of the sensor's area and resolution you're using.

There are nine options to choose from, and the camera gives you a few ways to preview your chosen aspect ratio. It can use black borders, a bounding box or raise the opacity of the portions of the image that will be cut off.

Amusingly, the label for the XPan-emulating 65:24 aspect ratio is a bit too wide for the window; you can see the labels for neighboring aspect ratios peeking through.

There's also a "C" setting that lets you control the aspect ratio via one of the camera's command dials or the menus. If you decide you're unhappy with the crop after the fact, you can use the in-camera Raw reprocessing feature to change the aspect ratio, assuming you've been shooting in Raw + JPEG, as the camera maintains the full sensor Raw file and saves the intended crop as metadata.

Crop zoom

28mm equiv.	35mm equiv.	50mm equiv.	63mm equiv.

In addition to its choice of aspect ratio crops, the GFX100RF has a crop mode that punches in to give the impression of using a longer lens. You physically control the crop using a toggle switch situated under the power switch and front control dial.

As always, cropping reduces the area of the sensor being used, meaning a reduction in resolution and of total light capture. This has a consequent reduction in tonal quality if viewed at the same scale as full-sensor images. The table below indicates the equivalent focal length that each of the crops gives, both with reference to the camera's 44 x 33mm sensor, which is how the camera reports the 'focal lengths' of the crops, and in terms of their full-frame equivalents for reference.

As you can see, hitting the lever once essentially turns the camera into a "full-frame" camera with a 35mm F4 equiv lens, before dropping down to nearer APS-C and Four Thirds image quality.

As with the aspect ratio crops, the zoom is only applied to the JPEG, leaving your Raw untouched. You also have the same preview options, as well as the ability to have your chosen crop fill the screen, but doing so won't give you any context to what's outside of your frame.

You can remove the crop using the in-camera Raw reprocessing feature, though you can't select a different crop in-camera: it's the crop you shot the image with or the full sensor, only.

How it compares

The fixed-lens camera market is small but has several strong competitors, especially if you're willing to spend this much money on one. Leica's Q3, with its high-resolution full-frame sensor and 28mm focal length, is the most obvious point of comparison, but Fujifilm's X100VI is also a potential competitor for those who prefer the 35mm field of view or want a substantially smaller, less expensive option.

We've also included the Hasselblad X2D, which has a similar sensor but with an interchangeable lens mount. The Fujifilm GFX 100 S II is perhaps a more direct competitor in both specs and price, but the Hasselblad's size and use of leaf shutter lenses prompted us to include it instead.

The GFX100RF's sensor may appear to be in a class above many of its fixed-lens peers, and in good light, we'd expect its larger sensor to give it a proportionate image quality advantage.

But it's worth considering raw light-gathering ability if low-light shooting is a big concern for you. Wide-open, the Q3's much faster lens gives it a 1.7EV potential advantage despite its smaller sensor, and there are lenses substantially faster than F4 available for the X2D (though they do come at significant expense). Even the APS-C-equipped X100VI* can gather a bit more light per-whole-image than the GFX can in its 35mm crop mode.

While the difference in focal length is a deal-breaker for some photographers, those who like 35mm equiv may find that Fujifilm's smaller offering provides a more engaging shooting experience thanks to its standout hybrid viewfinder – the GFX100RF, meanwhile, has a good but otherwise standard EVF. It's also the only camera in this lineup without any form of stabilization, which further reduces its capability as light level drops, even if you take into account the reduced risk of shake from its leaf shutter.

*It's impossible to mention the X100VI without acknowledging that, over a year after its announcement, it's still extremely hard to get. Persistent stock issues mean you'll have to be patient or willing to pay a reseller a substantial premium over MSRP if you want one.

Body and Handling

The GFX100RF is relatively wide and boxy, though a small grip helps make it easier to hold. While it's undoubtedly large for a fixed-lens camera, it's not particularly heavy, making it easy to tote around all day.

From the top, the family resemblance to the X100VI is obvious. Though that top plate sits on an appreciably larger camera.

The GFX100RF is brimming with controls. There are two programmable command dials: a knurled barrel on the front and a conventional dial in the back, with the rear one being clickable to cycle through functions. There's also a dedicated exposure compensation dial and autofocus mode control.

Shutter speed and ISO control share a dial, with the latter requiring you to pull up on the bezel before rotating. The lens has an aperture ring, which includes an automatic setting and two opposed nubs that make it easy to turn.

On the left of this shot, top-to-bottom are the camera's power switch, the barrel-style front command dial and the 'digital teleconverter' toggle at the bottom. To the right is the front plate lever (designed to look like the self-time control on a film camera). This can be flicked in either direction to access two functions or held (for just a bit too long) in either direction to access two more.

Also fixed in function are the zoom toggle on the front and the aspect ratio dial; neither can be reconfigured. The lever on the front plate, however, is entirely customizable, and you can assign up to four functions to it, as it can differentiate between a flick and a pull and hold. The latter action takes around three seconds to activate. It also has a customizable button in the center.

The Q button, which by default brings up a customizable, on-screen control panel, is on the edge of the grip, which makes it difficult to press without adjusting your hand. This sort of placement makes a bit of sense on smaller cameras where there's nowhere else to put it, but it's baffling on a camera with so much room on the back. Also hard to hit while using the camera is the small, unlabeled button on the top plate right above the exposure compensation dial, which can be customized. As with many of Fujifilm's cameras, you can also have up to four settings that are controllable by swiping up, down, left or right on the touchscreen.

You can also use the touchscreen to position the autofocus point, though the camera has a dedicated joystick for that purpose.

The dual UHS-II SD card slots live on the right-hand side of the camera, while a door on the left opens up to reveal headphone and microphone sockets, the USB-C port, and a micro-HDMI port.

Display and EVF

The GFX100RF has a two-way tilting screen, which can help when you're trying to compose shots at waist level or above your head. The lack of side-to-side tilting does limit your options somewhat, though this was likely another concession to making the camera as compact as possible.

It's easy to wish that Fujifilm had gone with the hybrid optical/electronic viewfinder found on the X-100 and X-Pro series; it would enhance the rangefinder aesthetic and could make using the camera more engaging. One of the senior planners for GFX told us Fujifilm went with a 5.76M dot, 0.84x equiv. EVF instead because the more complicated hybrid viewfinder couldn't provide as much magnification and didn't really work when using the digital teleconverter feature – depending on how far you punch in, you'd be composing through some very small guidelines.

The EVF we did get is large, bright and easy to compose through. It's hard to complain about the experience it provides.

Battery

The GFX100RF uses the 16Wh NP-W235 battery, the same that powers cameras like the GFX 100 II or X-T5. It's rated to get 820 shots in its normal mode, which is a frankly stunning performance. We consider ratings – which rarely reflect the number of shots most people get but rather act as a standard benchmark to measure cameras against each other – of around 400 shots or more to be sufficient for a heavy weekend of shooting, and the GFX100RF almost doubles that figure.

Image Quality

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

We'll get into the nerdy details in a second, but a top-level summary is that the GFX100RF has superb image quality that's downright incredible once you consider its size and weight. We've long been impressed with what this sensor can do, and Fujifilm's work on getting great JPEGs out of it is paying dividends now that it's in a camera aimed at more casual and spontaneous styles of photography.

Unsurprisingly, the GFX100RF's Raws capture noticeably more detail than the 61MP full-frame sensor used in the Q3, Leica's high-end large sensor compact, and substantially more than the Fujifilm X100VI's 40MP APS-C sensor. The camera's JPEG engine does a good job of preserving those details.

The lens can't match the $2700 dedicated Macro lens we used for the GFX100 but the JPEG processing does its best to make up for the difference.

Those trends continue in low-light, and looking at high-ISO Raws noise performance follows sensor size. The JPEG engine does a decent job of not blurring away details when applying noise reduction.

Dynamic Range

The GFX100RF has excellent dynamic range performance at its base ISO of 80; it adds very little read noise to the image, meaning there's little difference in images shot at the same exposure but different ISOs, and then brightened to match each other in post. Its files also provide plenty of room to raise shadows, which will help if you want to shoot at a lower exposure to protect highlights.

The PDAF banding we saw in our original DR tests for the GFX 100 doesn't appear in our tests for the GFX100RF: there are reports it was also fixed on the GFX 100 via software update.

Lens Performance

Our studio test scene isn't designed to test lenses, but it can still tell us something about some aspects of performance. The 28mm equiv lens on the GFX100RF has to be shot quite close-up, but it's still around 30x the focal length away from the chart, so it should be a reasonable representation of real-world performance. Our tests are shot at F5.6 to maintain a reasonable depth-of-field and across-frame-consistency, but the F4/F5.6 comparisons we've shot show little difference in corner performance (it's vignetting, rather than sharpness differences, that has more of an impact).

With all of that said, the lens performs well under these conditions. It's quite sharp in the center. It performs reasonably well out to the corners, where there's some light falloff visible in the Raws (which the JPEG engine does a good job of correcting). While the original GFX100, paired with Fujifilm's 120mm F4 macro, renders our scene more uniformly and sharply, that lens alone weighs more than an entire GFX100RF.

At F5.6, chromatic aberration also seems well-controlled compared to the X100VI's lens.

In our out-of-studio testing, we didn't find the lens to be a limiting factor to our image quality. While we certainly shot images that we felt could have been sharper given the conditions, it's the lack of stabilization that kept the sensor from living up to its full potential, not the lens.

Autofocus

GFX100RF | 1/125 sec | F4 | ISO 3200

The GFX100RF uses the same autofocus system found in the rest of Fujifilm's X-Processor 5 cameras, complete with AI-derived detection for a variety of subjects: humans/eyes, animals, birds, cars, planes, bikes/motorcycles and trains.

You can use the touchscreen or the joystick to select a focus point, which can be anywhere from a pinpoint to a wide area. It also lets you store up to three zones with customizable widths and heights. When you're in AF-C mode, you get a medium-sized point that attempts to track your selected target as it or the camera moves. It also supports tap-to-track via the touchscreen.

The camera is usually good at respecting your chosen focus point, even when there's a subject it recognizes in the frame. However, we found that, on some occasions, it was more liable than other Fujifilm cameras to jump to a subject that was relatively far away from the selected focus point, which could force you to disengage subject detection for certain compositions.

Like the rest of Fujifilm's cameras in this generation, the GFX100RF's human subject detection mode is separate from the rest of its subject detection modes, where most other camera systems have humans listed as a subject. That means if you want to set a custom button to activate subject detection, you have to decide whether you want it to be for faces or one of the other modes, or devote two buttons to it.

Autofocus Performance

We found the autofocusing system to be generally reliable for the type of shooting the GFX100RF is suited for: street scenes, landscapes (both natural and urban), portraits and the like. While the lens isn't sluggish to focus, we also wouldn't try to use it to shoot a subject moving quickly through the focal plane.

As with Fujifilm's other cameras with its fifth-gen processor, the GFX100RF's tracking isn't as sticky as that of other brands; it can occasionally lose subjects or fail to lock on to them, especially if they're moving quickly. In most situations, though, it worked well enough for track-and-recompose shooting.

In Use

Despite its large-for-a-compact size, the GFX100RF isn't much of a burden to carry along. It's not like a Ricoh GR or Fujifilm X100 – a nearly pocketable camera that you'd take with you every day just in case you ran into something photogenic – but it's not so bulky that you'd hesitate to grab it if you're headed off to do something interesting.

While the front control dial is aesthetically pleasing, we did find it could be a bit hard to use, despite its aggressive knurling. Unlike traditional control dials, it's flush with the grip, which can make it a little difficult to find and to use smoothly. And if you miss it, there's a good chance you'll accidentally flick the fixed-purpose "digital teleconverter" toggle instead.

Whether you'll find that toggle useful mostly depends on how much you value image quality versus convenience. It's unavoidable that every time you punch in, you're throwing away more and more of the light-gathering ability and resolution that justify the camera's size and price – that's especially true if you use it in conjunction with the aspect ratio dial.

However, it's also unarguably convenient, and if you're in good light, even the cropped images will be spectacular. I took the camera on vacation with me as my main tool for documenting the trip and used the in-camera crop with abandon (with the knowledge that the camera was still saving the full image as a Raw). I found it was a very natural way to shoot, and I was happy with the image quality of the crops, though I rarely went past the second 50mm equiv. step, which uses an approximately APS-C-sized region of the sensor.

If you pixel-peep there's a fair amount of noise in this image, but I still find it perfectly acceptable at reasonable sizes and viewing distances. GFX100RF | 1/80 sec | F5 | ISO 6400 | 50mm equiv. crop

There is an argument to be made that using the camera in this manner is wasting its potential. However, you could also say that you're using it for something other than pure image quality; the full capabilities of the sensor are there for when you want them or need them, but you can also use the massive resolution and light-gathering ability to add a bit of flexibility to a fixed-lens camera, in a way that doesn't work as well with a smaller sensor. Which side of that debate you land on will likely be a good indicator of whether you should even consider a GFX100RF.

The aspect ratio dial is also a similar story, in that you'll probably already have a good idea whether it's something you'd be interested in using or not. Playing around with aspect ratios isn't a creative muscle that I've personally built up, and I found myself struggling to find compositions that I thought would look better in, say, 16:9 or 1:1... or, at least, so much better that it was worth using less of the sensor for.

That's not for a lack of effort on Fujifilm's part, though. The experience has clearly been thought through, with the Raws letting you see the chosen crop in post-processing software, while still giving you access to the whole sensor's output, and the different preview modes for both forms of cropping giving you flexibility with how much information you want about what's outside your chosen frame. For those who do appreciate different aspect ratios, it's hard to imagine the GFX100RF's experience leaving them wanting.

Conclusion

You don't get a camera/lens combo this much smaller than the similarly-specced one to the right without breaking a few eggs.

It may be tempting to see the GFX100RF as a super-sized and super-powered X100VI: a take-everywhere camera that's engaging to use and signals to others that you're someone who's Into Photography. And while it handily achieves that last point (even before you see the massive film format-emulating aspect ratio dial), it doesn't quite live up to the versatility of Fujifilm's smaller cameras.

Every camera has trade-offs, even pricey, premium ones aimed at buyers who expect a lot. The GFX100RF is no different, but it's in the odd position of having two identities: an image quality monster with a massive sensor, and a walkaround, everyday camera that aims to be as compact as possible. Fujifilm has clearly put in a lot of work to balance those competing personas, but with each concession, it narrowed the envelope within which the camera can perform at its best.

To be clear, in good light, the camera produces high-resolution images with incredible detail and tonal quality, the likes of which you simply couldn't get without a much larger kit. But in lower-light scenes, the lack of optical or in-body stabilization and the 28mm equiv. F4 lens make it harder to get the most out of the camera. And when you need to shoot at an odd angle, you may find yourself cursing the screen that only tilts up and down. Ironically, the decisions that make it so compelling to carry with you everywhere you go also make it less well-suited for the situations you may find yourself in when you get there.

Would an X-T5-style three-way tilting screen really have made the camera noticeably larger?

But while image quality may be the GFX100RF's raison d'être, it's also not designed to be a purely practical tool, the way many professional and prosumer cameras are. It's built to be played with, for you to take it everywhere and mess around with how you see the world through its viewfinder via the digital teleconverter and aspect ratio dial. Why else would those features get top billing with large, non-customizable, non-customizable controls?

Ultimately, whether the camera is for you or not will depend on how obsessive you are about image quality and how much you appreciate the things that make the GFX100RF special. Those concerned with maximum image quality in any situation and corner-to-corner sharpness above all may want to look elsewhere, but if you're willing to budge a bit on that, there's a lot to recommend it... provided, of course, that you can afford the asking price and appreciate the field(s) of view its fixed lens provides.

The limitations make it hard to award it a gold, but its combination of image quality, compactness and user experience comfortably earns it a silver.

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

In terms of direct competiton, the GFX100RF pretty much stands alone; there aren't any other fixed-lens, medium format digital cameras out there. However, there are other large-sensor enthusiast compact cameras out there (albiet with sensors that aren't quite as large).

The Leica Q3 is the most directly comparable, with its high-resolution full-frame sensor and in-camera cropping feature (not to mention two choices of lens with the Q3 43). It has a substantially faster lens that more than makes up for the sensor's lower light-gathering ability, optical stabilization and a brand name that, for some, will make every time they use it feel special. The GFX100RF doesn't offer the back-to-fundamentals user interface that the Leica Q3 wowed us with; when it comes to menus and controls, the GFX100RF is like pretty much any other Fujifilm camera in that it offers a lot of options spread out through pages and pages of settings. The Leica is substantially pricier, coming in at around $1400 more.

If you're looking for maximum portability from a compact, Fujifilm's X100VI will be a much better fit. In return for dropping down to a much smaller sensor, you get in-body stabilization and a hybrid optical/electronic viewfinder that offers a very engaging shooting experience – assuming you can find one, or are willing to pay scalpers' markups.

Sample Gallery

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Pre-production Sample Gallery

OM System's latest camera won't work with the FL-LM3, a flash loved by the company's users. There was some question about compatibility: charts on OM System's website said it wouldn't work with the recently announced OM-5 II, but users wondered whether it was a mistake, since the flash was compatible with the OM-5, a camera that is physically very similar to its successor. (From the outside, the hotshoes look physically identical.) However, OM System has now confirmed the incompatibility to DPReview, saying "the decision to not support it was the result of comprehensive considerations on the product's characteristics."

This will likely be a bit of a disappointment to long-time OM System and Olympus users. At DPReview, we consider the FL-LM3 as comfortably the best pack-in flashes. It can both tilt and swivel, giving you lots of flexibility when bouncing it. That would already set it apart from most included flashes, but it also remains useful even when you buy a bigger flash, as it can be used to trigger other OM System flashes that support its RC system, such as the FL-700 and the FL-900 (both of which are compatible with the OM-5 II on their own).

While the FL-LM3 hasn't come with OM System's cameras for a while now, it's sad to see that the company's latest cameras are dropping support entirely for it, with little explanation as to why. But if you were considering whether to get the OM-5 II and are a big fan of the flash, at least the matter is settled now.

This spring, both Nikon and Canon made vague statements about price increases in the US because of tariffs. Nikon gave a date of June 23 for the increase, though it didn't provide any specifics. Canon simply said that it would be increasing prices, with no date or amount specified. The companies have now followed through on those statements, with increased pricing of some Nikon and Canon cameras and lenses as of June 23.

We looked at prices on Nikon and Canon websites, and compared those numbers to price tracking data on Amazon through CamelCamelCamel and Keepa, along with launch pricing information. Of course, pricing data from Amazon can be tricky. Despite that, the pricing history graphs generally show a clear price spike for some Canon and Nikon gear.

While the exact difference depends on each piece of gear, the average price increase for Nikon cameras and lenses is 10.05%. That aligns with the current 10% baseline tariff on all countries. Sigma also increased its prices by 10% on June 2. Not every piece of gear is impacted, at least at this point. That could change as stock currently in the US sells out, but it isn't clear if that will happen.

A screenshot of the Canon EOS R3 pricing history at Amazon via Keepa shows a steep price jump on June 23. The R3 is the most dramatic example of the pricing increases.

Canon's pricing changes range from $100 to $500. That equates to an average percentage increase of 9.7%. Again, that's closely in line with the base tariff rate. There are outliers, such as the R3, which jumped from $3999 to $5399 on Amazon and B&H. However, it was most often selling for $4999, a much less significant increase. Plus, the new price is still cheaper than the $5999 launch price.

Making matters more complicated is the fact that the 90-day pause on full tariffs is set to expire on July 9. Negotiations are ongoing, but the latest reports show that imports to the US could face tariffs of 24% from Japan, 37% from Thailand, 46% from Vietnam and 20% from Europe. The situation with China is slightly different, with the full tariffs delayed until August 12. After that deadline, tariffs could jump to 34%.

Companies haven't been willing to say whether prices could increase again if tariffs go up on July 9. Given that we are seeing price increases in the US consistent with the current 10% tariff rate, it seems feasible that we could see additional increases if new deals aren't made. Companies could absorb some of the 14 to 36% increase, but that seems unlikely given how high those percentages are. If you're looking to pick up a new camera, lens or accessory, now is probably a good time to do so.

Image: VSCO

Just last week, Adobe quietly launched a potentially powerful camera app for iPhone users. Now, another familiar name is entering the third-party iPhone camera app market. Visual Supply Co. (VSCO) has unveiled its Capture app, blending its film-like presets with greater camera control, as Bloomberg's Chris Welch reports.

Capture stands out from other camera apps because it will allow users to apply presets before even taking the photo. That means you can see how the photo will look before you tap the shutter and, in theory, will not need to do any editing. "Photographers increasingly are moving away from using overly complicated editing software and are using apps that make it easier to get that right moment with a desired aesthetic right at the point of capture," says Eric Wittman, VSCO's CEO, in a statement to Bloomberg.

VSCO says Capture will provide "precise editing controls" and 50 of its most popular presets, so that users "can edit a photo before it's shot, in real-time." Beyond presets, the app will offer an auto mode for quick snaps and casual users. Those wanting more control will appreciate the manual mode, allowing you to adjust shutter speed, exposure compensation and lighting effects like bloom and halation.

Image: VSCO

All of the presets and effects in Capture are non-destructive, preserving the original image in JPEG, HEIC, Raw and ProRaw formats. Once you take a photo, it will automatically sync to the main VSCO app. From there, you can edit and share to your VSCO profile.

VSCO initially launched as a camera app with film-like filters and basic editing tools. Since then, it has expanded to a community-based platform, while maintaining its expansive list of filters and editing tools. The app still offers a camera, but it isn't the primary focus. The Capture app will be a standalone offering, separate from the main VSCO app.

The Capture app won't require a paid subscription, but you will need a VSCO account. The app isn't available quite yet, but will begin to roll out to Ireland, Australia and New Zealand this week. A broader US release will come later this summer.

Image: Fujifilm

Adobe recently announced quite a few updates for Lightroom and Photoshop, including broader availability of its Remove Reflections feature, improved Enhance tools and more. Beyond editing tools, though, the company also added native tethered capture support for Fujifilm cameras in Lightroom Classic.

Previously, Lightroom Classic's tethered capture tool was limited to compatibility with Canon, Nikon and Sony cameras. Those using Fujifilm cameras had to rely on Fujifilm's plug-ins, though some have reported poor experiences with those, making them less than ideal. Luckily, with the Lightroom Classic 14.4 update, there is now native support, saving Fujifilm users from jumping through hoops to shoot tethered with Lightroom.

The updated tethered capture tool supports a wide range of Fujifilm bodies, including the X-T1 through X-T5, X-T30, X-H1, X-H2, X-H2S, X-S10, X-Pro2, X-Pro3 and the GFX cameras. Adobe also updated support for new Canon cameras, adding the EOS R1, EOS R5 Mark II and EOS R50 V to the list of compatible bodies.

To use the tethering tool, update your Lightroom Classic to 14.4 and disable any third-party tether plug-ins. You can find further information and support for Fujifilm cameras on Adobe's website.

This image combines 678 separate images taken by NSF-DOE Vera C. Rubin Observatory in just over seven hours of observing time. Combining many images in this way clearly reveals otherwise faint or invisible details, such as the clouds of gas and dust that comprise the Trifid nebula (top right) and the Lagoon nebula, which are several thousand light-years away from Earth. Image: NSF-DOE Vera C. Rubin Observatory

The Vera C. Rubin Observatory was conceived nearly 30 years ago, and now we are finally seeing the first images captured by the world's largest camera. The Rubin Observatory teased a few photos ahead of the official reveal, with the full announcement and celebration taking place during a live stream.

Inside the observatory, along with a specially designed telescope, is the Legacy Survey of Space and Time (LSST) Camera. It has a 3200-megapixel imaging surface and is made up of 189 individual sensors that are each larger than consumer-level medium-format sensors. The camera is larger than a car, producing an incredible amount of detail.

This image shows another small section of NSF-DOE Vera C. Rubin Observatory’s total view of the Virgo cluster. Visible are two prominent spiral galaxies (lower right), three merging galaxies (upper right), several groups of distant galaxies, many stars in the Milky Way galaxy and more. Image: NSF-DOE Vera C. Rubin Observatory

The team shared the image above during the presentation, but pointed out that it is only 2% of the full image. That's because the massive camera produces more data than what the human eye can see, and would require 400 Ultra HD TVs to display the full image. It also offers a field of view 45 times the area of the moon.

To allow people to appreciate the captures fully, Rubin Observatory built a special viewer on its website that allows you to zoom in and scan around the image. You can even create a special URL for the specific section (and zoom level) you are looking at, making it easier to share what you find in the massive images with others. A video was also revealed, which offers a unique perspective of what LSST is capturing.

Within just 10 hours, the Rubin Observatory already revealed new discoveries, including 2104 asteroids. The team says that it will be able to discover millions of new asteroids within the first two years of the Legacy Survey of Space and Time, compared to 20,000 asteroids discovered annually by all other ground and space-based observatories. You can see all of the asteroids in the short video below.

This is just the start of what we will see from LSST and the Vera C. Rubin Observatory. Later this year, it will kick off a decade-long survey, which the team is calling the "ultimate movie of the night sky." The Rubin Observatory will scan the sky repeatedly over the course of a decade, resulting in an ultra-wide, ultra-high-definition time-lapse of our Universe.

The survey will involve observations of about 40 billion stars, galaxies and other celestial objects. Each object will be checked hundreds of times, resulting in 60 petabytes of raw data, which the Rubin Observatory says is "more data than everything that's ever been written in any language in human history."

Before that begins, though, there's still construction to finish. During the presentation, they said that they will be completing construction over the next three to four months, making sure everything is ready for the big project to begin. It isn't clear if they will be sharing more images during that time, though.

The observatory is jointly funded by the U.S. National Science Foundation and the U.S. Department of Energy’s Office of Science. Located on a mountain in Chile, it is named after U.S. astronomer Vera C. Rubin, famous for her dark matter research.

We'll be sure to share more images once they are released, but for now, you can watch the recorded live stream and check the Rubin Observatory's website to hear more about the project and goals for the observatory.

The addition of 8.1K open gate shooting will allow us to complete the video section of our S1RII review, shortly. Image: Panasonic

Panasonic has released firmware v1.2 for its Lumix S1RII high-res hybrid mirrorless camera, bringing the promised video enhancements along with a range of additional features. S1II and S1IIE users get several of these features in firmware v1.1 for their cameras.

S1RII additional features

The S1IIR gains 8.1K open gate recording capability, along with the ability to output a Raw data stream that can be encoded by BlackMagic or Atomos external recorders. At launch the camera downsampled its open gate output to 6.2K resolution. The new firmware allows the full sensor area output Panasonic said it would add.

It also gains the 'Urban Sports' subject recognition autofocus mode introduced on the S1II models, along with the ability to output 10-bit HEIF images, including HDR images using the HLG response curve. The update also includes an HLG View Assist mode for previewing the effect.

A significant suite of other feature tweaks and enhancements includes additions such as file transfer from internal cards to an SSD, UVC/UAC compatibility and the option to use the focus ring on some lenses as a control ring.

Upgrades for S1RII, S1II and S1IIE

The update also includes a range of features that also come to the S1II and S1IIE, as part of their firmware v1.1.

These include an in-camera focus stacking mode, that combines images focused at different distances, to increase depth-of-field, and the ability to change the color of the AF focus frame.

Users of all three cameras will be able to install a paid upgrade to shoot ARRI LogC3

Users of all three cameras will also be able to install a paid upgrade enabling the shooting of footage using ARRI's LogC3 color and luminance response, allowing its use alongside ARRI cameras and using LUTs designed for those cameras.

The new firmware also adds seven extra aspect ratio guides and allows up to three to be shown at the same time, to help when composing for output in multiple aspect ratios. All three cameras also gain the ability to communicate via Wi-Fi or wired LAN (via a USB adapter) with Capture One software.

Firmware v1.2 for the Panasonic Lumix S1RII and firmware v1.1 for the Panasonic Lumix S1II and S1IIE will be available from June 24th on Panasonic's Global Customer Support website.