Mirrorless cameras are now generally preferred to DSLR cameras because they are the newer technology. But what if the mirrorless camera in question has a cropped APS-C sensor, while the DSLR has a full-frame sensor?

Is the mirrorless system still the better camera, or does the older DSLR rig pull punches?

Crop sensor mirrorless cameras are a popular choice for both budget and portability, but some full-frame DSLRs sit at a similar price, thanks to the format's age.

Truth be told, there’s no single answer here, as it all depends on the kind of photography you like. Personally, I would opt for an APS-C mirrorless system because I travel a lot and also often take my camera hiking, but if image quality is a priority over portability and autofocus smarts, the answer may be different.

The more compact a system is, like the Sony A6700, the easier it is for me to get around, or up a mountain, for that matter.

I’m also looking for speedy autofocus to ensure I capture split-second adventure shots in the mountains crisply. And as mirrorless cameras use the imaging sensor to calculate focus, they have advantages like edge-to-edge frame coverage and smarter subject tracking, even if they feature seemingly ‘worse’ cropped sensors.

However, you might care more about absolute image quality, in which case, a full-frame DSLR might suit you better.

Full-frame DSLR cameras excel at low-light performance and achieving shallow depth of field. The larger sensor surface area captures more light, resulting in cleaner images with much less noise when light is scarce.

A full-frame sensor would also give you more control over depth of field, making it easier to achieve beautifully blurred backgrounds – ideal for portraiture.

Age has dropped some full-frame DSLRs to a similar price to some APS-C mirrorless in some regions. The Nikon D780, for example, sits at a similar price point to the Sony A6700 in the US and UK.

Even powerhouses such as the 45MP Nikon D850 or the 30.4MP Canon EOS 5D Mark IV can now be found for a competitive price compared to some flagship APS-C models, such as the Fujifilm X-H2.

Of course, there are a few exceptions. The Nikon Z50 II tends to be more affordable than the Nikon D780, for example. And there's the ultra-affordable Canon EOS R100.

The higher-end APS-C mirrorless cameras on the market, such as the 32.5MP Canon EOS R7 and 40.2MP Fujifilm X-T5, tend to sit at higher price points. But these are prosumer models that cost a premium and so are best suited to serious photographers rather than those testing the waters.

The bottom line? If you want solid image quality and maximum portability, then I’d go for a mirrorless APS-C.

But if you want maximum image quality on a budget, then a full-frame DSLR camera should at least be considered. Yes, you'll have to factor in things like age, autofocus, and lenses, but DSLRs are still capable shooters for the price point if you don't mind a larger camera.

A third option? Opting for an older or lower resolution full-frame mirrorless camera can still mean steep discounts over the latest models, like the Sony A7 III or the Panasonic Lumix S5 II.

My point is this: if you're on a tight budget, don't automatically ignore older camera tech.

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Discover our expert pick of the best mirrorless cameras as well as our take on the best DSLR cameras.

The 'bigger is better' motto is rampant in the camera industry, particularly when it comes to image sensors. Not only is a higher megapixel count a favorite with marketing departments, a physically larger image sensor is also often considered desirable. But, just as many photographers will tell you that having more megapixels rarely makes a better photo, should we get so hung up on sensor size?

This is a topic discussed in a video by YouTuber snappiness. He has a sizable camera collection including a pair of digital medium format bodies, albeit older SLR designs: a Hasselblad H3D, and a Mamiya ZD. Using these cameras he illustrates what's often cited as a key advantage of a larger sensor: the ease at which it's possible to obtain shallow depth of field, for improved subject-background separation.

Shallow depth of field

A larger image sensor reduces depth of field compared to a smaller sensor, even when a lens is set to the same aperture and your subject is at a consistent distance from the camera. However, while blurry backgrounds (bokeh) are prized in macro and portrait photography, a wafter-thin focal plane isn't always a good thing, as it makes it very hard to get all of a subject in focus. 

Shooting a full-frame camera with a lens set to f/1.2 means you may get your portrait sitter's eyes in focus, but the tip of their nose may not be. What's more, as snappiness points out, while a medium format camera has natural ability to reduce depth of field, medium format lenses often cancel this out by having a narrower maximum aperture than an equivalent full-frame optic. This is done to keep the medium format lens down to an acceptable size, weight and price; larger apertures require bigger, heavier and more expensive lens elements.

But surely a larger sensor improves other aspects of image quality, right? This is true to an extent, but it's not quite such a clean-cut victory for the bigger sensor as you might imagine. At Digital Camera World we lab test every new interchangeable lens camera from a major manufacturer, so we're in a position to compare exactly how cameras with different-sized sensors perform in terms of image quality metrics like dynamic range, noise, and resolving power.

In the graphs below I've selected four cameras for comparison, each one representing a different sensor size. The smallest here is Micro Four Thirds, represented by the 20.4MP OM System OM-3. Next largest is the APS-C Fujifilm X-M5 (26.1MP), followed by the full-frame Panasonic S1R II (44.3MP). Medium format is the biggest commonly-available image sensor size, and we're using the 102MP Fujifilm GFX 100S II as a prime example.

Dynamic range (EV)

Dynamic range is a measure of a camera's ability to record extreme brightness, yet still retain detail in the darkest parts of the same scene. It's measured in EV (exposure values, or 'stops').

You could easily be forgiven for assuming a bigger sensor would give you better dynamic range, but in practice that's not the case. All four comparison cameras capture almost identical dynamic range at low sensitivities, and even as sensitivities increase there's no clear winner, with sensor size not correlating with improved dynamic range.

Signal to noise ratio (decibels)

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

When it comes to the amount of noise visible in images, you might expect a bigger sensor to be less susceptible to generating noise, but again that's not always true. Here the OM-3 with its relatively small Micro Four Thirds sensor does indeed trail the other cameras, but not by much. It's actually the camera with the second smallest sensor here - the APS-C Fujifilm X-M5 - that produces the cleanest images.

Resolution (line widths/picture height)

There's really only one area where a bigger sensor has a clear image quality advantage, and that's resolving fine detail. A physically larger sensor area creates more space for additional pixels, and these then enable the camera to capture small details in a subject which a lower megapixel sensor simply can't resolve. It's here where increasing sensor size makes sense: it gives you the ability to shoot larger, more detailed photos, while still retaining good dynamic range and low noise. If you crammed 102 megapixels onto a Micro Four Thirds sensor (which is technically feasible) each individual pixel would be considerably smaller and therefore much less sensitive to light. This in turn restricts the sensor's dynamic range and makes it more prone to generating image noise. With a larger sensor you can have it all, with no compromise to any aspect of image quality.

However, unless you consistently view your shots at 100% image size, or want to print them to fill a billboard, 100+MP photos are difficult to justify. For the vast majority of photographers, it makes more sense to go for an APS-C or full-frame camera, as you'll still get more than enough resolution, but in a cheaper, more portable package, and with a broader choice of lenses.

Really, as with so many things in life, it's not what you've got, it's how you use it that counts. A bad photographer with a $10,000 medium format camera will likely still shoot uninspiring photos, whereas a good photographer with a creative eye could capture compelling photos even with a budget compact camera.

A pair of Panasonic executives have made some provocative statements, suggesting that it takes a higher degree of knowledge and camera literacy to understand Micro Four Thirds compared to full-frame sensors. 

Toshiyuki Tsumura, general manager of Panasonic's Imaging Solutions Division, and Shiomi Noriaki, section manager of the Product Marketing Division, were talking about some of the decisions made regarding the Panasonic Lumix S9. 

Japanese website BCN Retail highlighted a number of idiosyncracies with the S9, such as the fact that it has a full-frame image sensor but possesses a cold shoe (which lacks electronic contacts, so can only be used by "dumb" accessories), and that it champions small size and weight when the company makes smaller, lighter Micro Four Thirds (MFT) cameras.

"It is people who are knowledgeable about cameras who will be able to understand the advantages of Micro Four Thirds," said Tsumura.

"Obviously, full-size sensor cameras are easier to understand because they are easier to blur and have less noise. I would like you to first experience a full-size sensor that you can't get with a smartphone."

Tsumara's inference is that, for those who aren't educated about cameras, the old 'blurry background' factor of a full-frame sensor is much easier to understand than the intricacies of MFT. 

"For people with low camera literacy, Micro Four Thirds is difficult to use," concurred Noriaki. "If it's a full-size sensor that blurs and has less noise, even those people can get on board."

I completely understand what Tsumura and Noriaki are getting at. When someone's ceiling of understanding is limited to what their smartphone can do, they probably won't be savvy enough to appreciate the nuances of MFT.

However, show them something obvious like a picture with a blurry background, and they can immediately see what a full-frame camera can do – even if it doesn't have something as basic as a hot shoe. 

I've certainly seen this "low camera literacy" regarding sensor sizes demonstrated by some photographers' attitudes over the years. I've heard people insist that Micro Four Thirds is crap "because it's too small" or "because it's not full frame", as if that has any meaning – or as if 35mm can even claim to be full frame in the first place. 

Because when it comes to film, full frame is actually 4x5, it's 8x10, it's large format. We may call 35mm "full frame" today but, in years past, large and medium format photographers similarly decried 35mm as crap "because it's too small". 

Anyway, it's all just food for thought. As someone who shoots both MFT and 35mm, I'm glad that Panasonic gave voice to the fact that you need to know about cameras to understand MFT's benefits (and, inversely, if you don't understand MFT's benefits then you need to know more about cameras).

(Sidenote: Shout out to all the Devin Townsend fans out there!)

Are you upgrading from a camera phone to a mirrorless camera? Make sure to check out the best full frame cameras and the best Micro Four Thirds cameras. 

Canon has just dropped a bombshell on the world of cinema cameras with the Canon EOS C400 – its first full-frame RF mount cine camera, offering 12-bit 6K 60p, triple-base ISO (yes, really), Dual Pixel CMOS Autofocus II and support for 180° VR video.

Fascinatingly, the Canon EOS C400 was first rumored a decade ago as a new model to sit alongside the C300 Mark III and C500 Mark II. While it technically sits below the C500 series, its specs are definitely streaks ahead of its older brother. 

Canon EOS C400 specs

The EOS C400 features a newly developed, back-side illuminated, full-frame 6K sensor. It's capable of RAW recording up to 6K 60p, 4K 120fps and 2K 180fps in Canon's 12-bit Cinema RAW Light format. 

It also offers Canon's own XF-AVC codec for uncropped 10-bit 4:2:2 capture up to 120p, oversampled from 6K, along with two new codecs: XF-AVC S and XF-HEVC S (with an "easy-to-manage naming system and folder structure, while recording in the familiar MP4 format and preserving metadata").

Recording options aside, arguably the sensor's most amazing trick is the introduction of triple-base ISO – leapfrogging the conventional dual-native ISO technology seen in other video-oriented cameras. 

This enables the C400 to shoot at base ISOs of 800, 3200 and 12800 to offer an incredible dynamic range spectrum. 

With a full-fat CFexpress Type B slot and a standard SD card slot, the C400 enables you to record in RAW to the former while offering sub-recording and proxy options to the latter.

The 12-pin connection offered by the RF mount (the EF mount only had 8 pins) enables the Canon EOS C400 to take full advantage of broadcast and Cine-Servo lenses. 

It also boasts a full-size HDMI port, mini-XLR inputs, DIN connectors (for timecode, genlock and return video), 12G-SDI and 3G-SDI monitor outputs, ethernet connection and a variety of other in and output interfaces.

The camera also features integrated Wi-Fi connectivity along with support for video and audio IP streaming via SRT. Remote control is available via Canon's RC-IP100 or RC-IP1000 controllers, the Canon Multi-Camera Control app or browser remotes. 

All this signifies the company's full weight being thrown behind the RF mount when it comes to cinema cameras, following the baby steps taken by the Super35 EOS C70 and hybrid EOS R5 C. It's a brave but necessary step, moving away from the industry standard EF mount. 

The Canon EOS C400 will be available in September for $7,999 / £7,799 / AU$13,500 . Unlike other Cinema EOS cameras, which have been offered in PL mount, a dedicated PL to RF lens adapter is going to be sold for $1,599 / AU$2,600.

You might be interested in the best Canon cameras across all categories, including some of the best DSLRs and best mirrorless cameras.

TTArtisan has just announced a new 250mm manual focus full-frame prime lens, which already starts to sound farfetched but when you add the fact that it is a mirrored lens for the vintage M42 mount it passes farfetched and enters the realm of unbelievable! 

This week the TTArtisan 250mm f/5.6 Reflex lens was announced, available for M42 mount, a screw thread mount that harkens back to the days of retro cameras, in particular Praktica analog cameras of the 60s and 70s. However, TTArtisan states it is easily adapted for 'Sony, Fujifilm, Canon, Nikon, Hasselblad cameras'.

Nowadays, besides being a motorway in the UK that connects Birmingham to Leicester, the M42 is an affordable method for manufacturers to create a universal lens where all you need to change is the camera-specific adapter. This is particularly effective when used with manual focus lenses that do not rely on electronic components. 

This is the case with the new TTArtisan 250mm f/5.6 mirror lens, and in addition to its retro lens mount, it also has retro aesthetics and styling to match. Its diamond-shaped grip structure on the focusing ring looks straight out of the 1970s as it adds a vintage-styled grip for improved tactile usage. 

The lens is constructed of six lements in five groups, weighs 380g, and has a filter thread size of 67mm. Its all-metal aviation aluminum anodized body provides less weight than other lenses of similar specifications while remaining robust and durable for use in different environments. 

Like most mirrored lenses, the 250mm f/5.6 is more compact than typical lenses of similar focal lengths. The focal length enables the user to get close to the subject while creating a pleasing amount of compression in the out-of-focus areas. 

One of the defining features of mirrored reflex lenses is the spherical 'doughnut' bokeh produced when used with the lens' fixed f/5.6 aperture. The effect turns ordinary scenes into artistic painterly captures, and when used to capture rich colors, results in images that resemble abstract oil paintings.

Other notable features of the lens include a highly reflective metal mirror with a reflectivity of up to 98%, multi-layer ultra-low AR coatings, no vignetting on APS-C and full frame cameras, and a minimum focus distance of just 2m. 

Mirror lenses provide the user with a creative tool that captures everyday scenes in a new and innovative way turning the ordinary into the extraordinary. We haven't yet got our hands on the lens, TTArtisan has been making some great affordable lenses of late, so I imagine this will follow suit. 

The TTArtisan 250mm f/5.6 Reflex lens is available now directly from Pergear or from Amazon for $298 | £238 | AU $455. 

You may also be interested in our guides to the best telephoto lenses, the best retro cameras, and the best portrait lenses. 

Sigma has just revealed a groundbreaking, world-first lens: the Sigma 28-45mm f/1.8 DG DN Art, which is the first full-frame zoom lens with a constant f/1.8 aperture, for E and L-Mount. 

This is exactly the kind of optic that the mirrorless revolution promised us: with larger throats and reduced distance between lens and sensor, lenses that were previously impossible are now achievable. 

Leave it to Sigma, the self-confessed "guinea pig of the lens industry", to deliver the 28-45mm f/1.8, which sets new standards for what we can expect of zoom lenses. Previously, the family of f/2.8 professional zooms (15-35mm, 24-70mm and 70-200mm) were considered the "holy Trinity" because of their speed and coverage. 

While the new lens obviously covers a much shorter range, if those are the Trinity lenses then dare I say this 24-45mm f/1.8 promises to be the New Testament of what we can expect of performance optics. 

In addition to the constant f/1.8 throughout the range, the lens also boasts a constant size throughout the range – thanks to an internal zoom mechanism. So, while this 151.4mm / 960g lens isn't exactly small, it's incredibly compact for what it accomplishes – and, crucially, the balance remains fixed, making it perfect for gimbal use.

"The Sigma 28-45mm f/1.8 DG DN Art delivers sharpness and clarity comparable to that of a prime lens throughout its entire zoom range," claims the manufacturer, promising that it "rivals prime lenses for clarity and definition."

This is thanks to an elaborate optical formula consisting of 18 elements (including 5 super-low dispersion and 3 aspherical) in 15 groups, with Nano Porous Coating and Super Multi-Layer Coating meaning that flare and ghosting are "largely eliminated". 

In addition to its fixed size being a boon for videography, the lens also suppresses focus breathing and the dedicated aperture ring can be declicked – making it a powerful tool for filmmaking. 

The Sigma 28-45mm f/1.8 DG DN Art goes on sale June 20, for L-Mount and Sony E mount, priced £1,349 / £1,299 / AU$1,599. 

You might be interested in the best Sony lenses for E mount bodies along with the best L-Mount lenses for Leica, Panasonic and Sigma cameras.

Panasonic is no stranger to releasing small interchangeable lens cameras, and cameras like the Lumix LX100 II or Lumix GX85/80 previously featured highly on our list of the best travel cameras. However, these cameras seemed to have fallen out of favor at Panasonic, with 2019’s Lumix GX9 the last of its kind to be released as Panasonic has been busy promoting the very well-received Lumix S5II and S5IIX.

But when a quick glance at the sales figures for the Ricoh GR III, Fujifilm X100VI, or Sony a6700 shows that small but well-spec’d cameras are hotter than ever right now, it is clear which way the winds are blowing. And surprise – Panasonic is refreshing its compact interchangeable lens cameras with the Lumix S9.

However, this is no sequel to one of those aforementioned Lumix cameras, Panasonic has made a few key changes from any previous Lumix incarnations. First and foremost, the Lumix S9 boots the MTF sensor for full-frame one and has removed the viewfinder. No longer meeting the criteria to be a rangefinder, yet not a full compact, there is nothing else quite like the Lumix S9 currently on the market.

Panasonic is maneuvering this camera for the social media crowd, with a push of its in-camera LUT features and its ‘shoot to share in 30 seconds’ marketing, this might be the most influencer-targeted camera yet.

LUTs have been featured in previous Lumix cameras but have never been as prominent as they are with the S9, which is the first camera to feature a dedicated LUT button, while the camera will launch alongside the Lumix Lab app for creating and transferring LUTs. For the uninitiated, LUT stands for ‘Look Up Table’, which is a term for a predetermined set of parameters that affect the overall look of a photo or video by affecting the balance of color. It is similar to color grading, which is perhaps the more familiar term.

Panasonic has always been a master at balanced hybrid cameras, but the Lumix S9 is something new. Can this model serve photographers and videographers equally? Or is it just one for the 'gram?

Panasonic Lumix S9: Specifications

Panasonic Lumix S9: Price

Panasonic has already shown an appetite for some pretty enticing prices when it comes to Lumix cameras, but when the pricing was first revealed I was a little taken aback. The S9 comes in at just $1,499 / £1,499 for the body only, or $1,799 / £1,799 with the Lumix S 20-60mm lens.

Compared to its closest rivals this puts the camera at a whopping $700 / £850 less than the Sony ZV-E1, or $700 / £600 cheaper than the Sony a7C II. Both these cameras are not identical propositions but do feature a full-frame sensor and a pretty similar design.

However, there is a serious amount of competition in this area. The Lumix S9 is just $100 / £70 more than the APS-C Sony a6700 or $200 / £250 more than the Fujifilm X-S20. I could go on, with Canon and Nikon also having compelling options, but as you can see, it was wise for Panasonic to be aggressive on pricing.

But price and value are two different things, and the S9 does offer up value that is hard to resist.

Panasonic Lumix S9: Design & Handling

The Lumix S9 is an impressively small camera, especially when you consider it's packing a full-frame sensor under the hood. This is not quite the smallest full-frame camera out there, with the adorable Sigma fp still taking that mantle. But the camera is marginally larger in width and height than the Sony a7C or ZV-E1, but not quite as deep.

However, the Lumix S9 comes up against some of the same criticisms I leveled at the Sony a7C II. As soon as you attach a lens to the S9 it becomes very front-heavy, and with its very minimal grip, I found my hand (especially my pinky finger) aching using the camera one-handed. Panasonic has launched a Lumix S 26mm manual-focus fixed f/8 aperture pancake lens to go with the camera, but there aren’t any other good pancake options for L-mount right now. The additional size of a Lumix S 35mm or Lumix S 20-60mm lens, (the latter of which is sold in a kit with the S9), kind of undermines all the strengths of being such a small camera.

Size matters aside, the Lumix S9 is a very nice-looking camera, and will surely catch a few eyes when out and about, especially in its funky colors. The S9 takes after previous Lumix cameras like the Lumix GM5 or Lumix GX85, and like those cameras, it incorporates some retro-inspired rangefinder tropes, like a strip of faux leather across the front of the camera, but doesn’t go in for the full vintage look in the same way as Fuji or Olympus (OM Systems). It is another nice Lumix design, although it doesn't push the boundaries, in black, I am not sure I could pick the S9 out of a Lumix lineup.

As mentioned, there are some optional colors for the front strip of faux leather for a little individuality – Night Blue, Crimson Red, and Dark Olive. Cards on the table though, I don't really like colored cameras, but I don’t find these colors too offensive, and I almost like the green. I know many many others (including DCW’s Editor) love a colored camera so might be far more enthused than I am. The camera also comes in discreet Jet Black, which – call me boring, but would be my choice.

The Lumix S9 construction is good, the plastic construction feels solid enough but the buttons and dials also don't quite have the same quality feeling as other Lumix cameras like the S5II. The majority of the buttons are just a little flat and mushy whereas the S5II’s rounded buttons have a nice bounce, it's a very minor complaint, but it makes the camera feel slightly less premium. The Lumix S9 is not weather-sealed for dust and moisture resistance, which is a shame for a camera that will likely be used a lot while traveling, but again is understandable to keep the construction costs low.

The most notable addition to the rear of the camera is the new LUT button, which when pushed, opens the camera’s library of preloaded LUTs (but more on that later). Otherwise, the S9 features the usual staple controls most people will need, with key settings like focus mode, ISO, white balance, and drive modes on the rear control wheel under your right-hand thumb. The mode dial is up top, along with the shiny Lumix-red record button, exposure compensation button, and the shutter surrounded by a second control dial. It’s a tried and tested system that’s not dissimilar to many other brands, so most people should be able to just jump right into using this camera.

Panasonic's decision to not include an EVF is a curious one. Early marketing is not coy about the purpose of the S9 as an extension of your phone for social media, which I guess encourages you to use the screen. I'm sure missing out on the EVF also helped Panasonic meet the competitive price it wanted.

For video, where I would rely on the fully articulating screen, this is fine. However, as a photographer – I think not having the EVF hurts the camera considerably and kind of marks the camera as not for serious photographers.

My first day testing the camera was a very bright sunny day, and only having the screen to rely on was challenging. All I wanted to do was put the camera up to my eye to get a clearer picture of what I was shooting. This is even more relevant when we come in to talk about LUTs, where needing an accurate reference of your grading is fairly essential, and I struggled to see subtle differences between LUTs on the screen outdoors.

Panasonic Lumix S9: Performance

With a sensor essentially the same as the one featured in the excellent Lumix S5II (Panasonic suggested it's not exactly the same sensor), I was expecting the same great performance that I love from its big brother, and I was not disappointed. The Lumix S9 looks set to continue Panasonic's domination of hybrid video cameras, with some seriously impressive video chops like open gate 6K30p, Cinema 4K, and 14+ stops of dynamic range in V-Log.

The S9 features Panasonic’s latest Phase Hybrid AF with 779 AF points, which I found quick and accurate in testing, especially locking onto human faces and eyes. The S9 is also capable of tracking animals, birds, cars, and motorcycles. I have been impressed when previously testing the S5II and Lumix G9 II, so expecting the same performance here, although I haven’t had the chance to fully put it through its paces in my short time with the camera so check back in for the full review.

The S9 has 6.5 stops of 5-axis Dual I.S. 2, which matches the S5II performance. A lot of numbers are thrown around when it comes to IBIS ratings that don’t always reflect reality. But Panasonic has consistently impressed me with its stabilization tech more than any other brand. Its algorithms produce the most gimbal-like performance yet. On my initial tests, the S9 footage looks just as steady as its other cameras.

For stills photography, the S9’s 24MP isn’t quite as headline-grabbing as some rival cameras, but 24MP is still enough megapixels today, especially when the S9 is geared towards sharing images on social media and online where ultimate image resolution is not paramount. If you do need larger images, the S9 can perform Panasonic’s useful trick of Handheld High-Res, which combines several shots in-camera to output a 96MP image without the need for a tripod. However, this shouldn’t be relied on for every image as it is not suitable for moving subjects and generates some hefty file sizes.

Panasonic is also introducing a brand new feature called Crop / Hybrid Zoom with the S9 which might beat LUTs to be my favorite S9 feature. Crop Zoom, as the same suggests, applies with a digital crop to the JPEG image giving the impression a longer lens was used. I tested the camera with a 24mm prime lens, which I could digitally “zoom” to around 75mm, which gave me a 1920x1080 (~2.7MP) pixel image. I know that doesn’t sound like a lot but is perfectly fine for social media. If you shoot in RAW+JPEG, you can also fall back on the uncropped RAW image if you find you don’t like the crop later.

The zoom doesn’t just jump between different crop factors though, instead, you can smoothly slide through every millimeter of the crop zoom range. If you can avoid looking at the lens, it does feel like a compact camera zoom camera. Hybrid Zoom functions in a similar way, but it combines the optical zoom of a lens with a digital crop as you manually twist the lens, for example, the Lumix S 20-60mm lens becomes a 20-187mm lens.

I really enjoy using digital zoom with fixed-lens cameras like the Fujifilm X100VI and Leica Q3, although both those cameras have more megapixels to play with, as sensors get better, it is great to see digital crops become more viable. Panasonic’s implementation is superb though, and I am really hoping this comes to other Lumix cameras via an update.

Moving onto the feature that everyone will be talking about with the S9 – Real Time LUTs. Is the sudden prominence of LUTs a direct response to the popularity of Fujifilm’s film simulations and film recipes? Maybe, but, LUTs are a bit of a different beast. While Fuji’s simulations are based on trying to accurately recreate film stock in a digital way – LUTs have a more wide-ranging scope to be creative with color for better or worse (although, yes, you can also use a LUT to try and recreate film stock). I am not going to wade into saying one is better than another, it really depends on how you want your images to look.

The way the S9 integrates LUTs is excellent. Hitting the LUT button allows you to cycle through all the LUTs you have loaded onto the camera, and they affect the live-view image in real time. You get 39 slots to load LUTs into via the companion Lumix Lab app, which is frankly more LUTs than I think I could even keep track of, and plenty of scope for playing with different styles.

The Lumix Lab app is also very well designed, linking the camera took a few attempts, but the process couldn’t have been more straightforward, it was also so simple to find a few LUTs I liked and load them onto the camera. I have hit a few connection bugs along the way, but I am using a pre-release version of the app, so hopefully, these will be ironed out.

At the end of the day, your enjoyment of LUTs comes down to how you like to edit. If you already have a library of Lightroom or Premiere presets, or you love an app like VSCO, then in-camera LUTs are far from essential, you can just apply image presets and LUTs in post-production and keep on truckin’.

But having this in-camera is hard to beat for speed and simplicity, two essential things for content creators with tight turnaround times. LUTs can cut out the tedious process of importing files into editing software to apply a filter before exporting them again. When it comes to video, while you might still want to crop videos and overlay text and graphics, this can be done in simpler mobile apps. Social is just going to keep growing, and LUTs are a big step towards the future of photography.

Panasonic Lumix S9: Lab results

For our lab data comparison we compared the Lumix S9 to another entry-level full-frame mirrorless camera, the Canon EOS R8. We've included the Sony ZV-E1 as another example of a small, full-frame camera targeted at vloggers, and the latter also applies to Fujifilm's X-S20, which costs about the same as the S9, though it packs a smaller APS-C sensor.

Resolution (line widths/picture height):

With their identical 24.2MP resolutions, the Lumix S9 and Canon EOS R8 resolve identical levels of fine detail throughout our tested sensitivity range. Despite its slightly higher megapixel count, the X-S20 struggles to match the full-frame cameras for outright detail at higher ISOs due to its smaller APS-C sensor being more prone to moiré. Inevitably, the 12MP ZV-E1 was never going to excel in this test.

Dynamic range (EV):

Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').

The S9's dynamic range isn't quite class-leading at lower sensitivities, but it manages to outperform the Canon and Fujifilm cameras at high ISOs. But the combination of a large sensor and a (relatively) low pixel count makes the ZV-E1 unbeatable for dynamic range in low light.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

The S9 manages very low noise levels throughout the tested sensitivity range, and almost manages to match the ZV-E1 at high ISOs. This in spite of the S9 having much smaller individual pixels, which in theory could have made it more prone to generating noise.

Panasonic Lumix S9: Verdict

The Lumix S9 has been introduced at the perfect moment to cater to the growing demand among creatives for compact cameras that don't compromise on capability – and the S9 is an impressively small camera, despite housing a large full-frame sensor. However, this size advantage is somewhat negated once you attach a lens, with even some of the smallest L-Mount prime lenses being front-heavy, disrupting the balance and handling with the S9’s very minimal grip.

To maintain its compact dimensions, the S9 also forgoes an electronic viewfinder, a decision that will very likely detract from the experience for traditional photographers who enjoy composing shots with a viewfinder. I really missed the viewfinder here, and I think this will be the make-or-break factor for a lot of photographers when considering this camera.

But this raises the question of whether the S9 is actually a photographer's tool or is it just for content creators. The Lumix S9 positions itself as a versatile camera that bridges the gap between traditional photography and modern content creation. I am not sure it achieves that, but it certainly does a wonderful job at the latter.

The promotion of built-in LUTs to a dedicated button will appeal to social media creatives who need to quickly post polished photos. The new LUTs button, alongside the Lumix Lab app, makes this functionality incredibly simple to use. Additionally, the new crop/hybrid zoom function enhances the S9’s versatility when you only have a single lens or don’t have time to change lenses.

One of the most compelling aspects of the S9 is its aggressive pricing, but competition in this area is also very strong, with Sony, Canon, Fuji, and more offering notably similar cameras. However, the triple threat of compact size, incredible video features, and its full-frame sensor set the S9 apart at this price. For content creators working on social media and YouTube channels, the S9 is definitely a camera to check out.

Alternatives

Panasonic has been making pocket-sized interchangeable lens cameras for well over a decade, since it pioneered mirrorless camera technology (alongside Olympus) with the Micro Four Thirds standard. Now it hasannounced the latest in that long legacy of cameras with the brand new Panasonic Lumix S9.

In a departure from previous Lumix cameras like the Lumix GM5 or Lumix GX90, this is the first of its kind to feature a full-frame sensor. This continues to build on the success of the Lumix S5II and S5IIX, which Panasonic has said are enjoying record sales growth.

Given that it's the first with a full-frame sensor, the Lumix S9 is unsurprisingly the smallest and lightest full-frame mirrorless camera in Panasonic's lineup, weighing just 403g (14.2oz) and measuring 126 x 73.9 x 46.7mm (4.96 x 2.9 x 1.83 in). 

The Lumix S9 also comes in a choice of jazzy color options for the front leather strip including Crimson Red, Dark Olive and Night Blue, as well as the standard Jet Black. This color also extends to the thumb grip on the rear of the S9.

The S9 features a 24.2MP full-frame CMOS image sensor, which is the same size and density as the sensor used to great acclaim in the Lumix S5II (which we gave five stars). 

The sensor is also paired with Panasonic’s phase detection autofocus, which has been a huge improvement in the company's most recent models, offering faster focusing as well as subject recognition for human faces and eyes, as well as animals, birds, cars and motorbikes. 

It is also supported by Panasonic’s 5.0 stops of 5-axis in-body image stabilization, or the 6.5-stop Dual IS 2 when used with compatible lenses, significantly reducing blurring from camera shake even when shooting handheld.

The S9 is not the first Lumix camera to feature Real Time LUTs in-camera, but Panasonic is pushing this feature further than ever before, featuring a dedicated LUT button on the camera body for the first time. LUT stands for "look up table", which is a term for a predetermined set of parameters that affect the overall look of a photo or video by affecting the balance of color. 

LUTs enable share-ready photos and video to be captured in-camera and uploaded directly to social platforms with minimal editing required. You can even apply two LUTs at the same time. 

The Lumix S9 enables you to load LUTs onto the camera via the new Lumix Lab app (available now for Android and iOS), which can then be applied to both photo and video footage with the effects visible in real time. The Lumix Lab app also enables you to create your own bespoke LUTs from scratch, or to load one of the custom LUTs from other creators.

To make offloading video even laster, the Lumix S9 is introducing a new video format called MP4 Lite. This creates a smaller file size for faster transfer, but still enables creators to record in Open Gate in 4:2:0 10 bit in 30p/25p for high-quality footage that can be easily cropped to different ratios for different platforms.

The Lumix S9 will be available at the end of June 2024, and will cost $1,499 /£1,499.99 / AU$2,699 body only. The Lumix S9 will also be sold in a kit alongside the Lumix S 20-60mm lens for $1,799 / £1,799 / AU$3,299 or the Lumix S 28-200mm lens for £2,249 (no word on US and Australian availability for this kit).

Looking for a small but mighty camera? Check out our guides to the best compact camera or best travel camera for more.

It was the camera that started a revolution... well, at least for Fujifilm, the company that made medium format cameras cheaper and smaller. The Fujifilm GFX 100S successfully packs a whopping 102MP large-format sensor into a DSLR-like body, making it a little easier to handle than the bigger, more unwieldy models that were best suited to studio work.

In my Fujifilm GFX 100S review, I said that it had a "relatively affordable price tag" and that was at launch in 2021 when it cost AU$9,499. Three years on and just hours after the second-generation Fujifilm GFX100S II was announced, you can pick up the mark I model for less than the cost of a premium full-frame camera.

Head to Diamonds Cameras where the GFX 100S body is down to a record-low price of just AU$,5899! That's a huge saving of AU$3,600 on its launch price and AU$2,200 off its current list price at the retailer. You'd better hurry, though, as stock might be limited.

There was a time when the team here at Digital Camera World considered the GFX 100S the best medium format camera, but it's now been replaced by the Mark II model that's just been announced. That said, it's still our pick of the best affordable 100MP medium format camera.

More than just a megapixel beast, this camera liberates medium format photography from the studio and even makes it a viable street photography camera, thanks to its amazing stabilization. And between the 102MP on tap for stills and 4K/30p video, it's not a bad option as a hybrid, although if video is your main priority, you'll find better elsewhere.

Like I've said previously, medium format photography isn't meant for fast-paced environments like the sports arena or for wildlife shots – it's best for landscapes, portraiture, architecture or anything else where you can take your time to think about your shot. And in that, the GFX 100S excels. 

The results this camera produces is just stunning and you get a bunch of film simulations too. 

What you do miss out with the GFX 100S is subject detection and the speedy autofocus from smaller sensor formats. If that doesn't bother you, this will be a very nice investment if you've been holding off on getting into medium format photography.

Take a look at the best Fujifilm GF lenses to accompany the GFX 100S 

Viltrox has just released one of its best lenses for astrophotography for the Nikon Z mount after having seen success with this prime lens on the Sony system. 

Viltrox is a third-party lens manufacturer that has recently been making some of the best budget lenses on the market, and last year it released a modern super-wide prime lens in the form of the Viltrox AF 16mm f/1.8 lens for Sony E mount. This full-frame lens has now been released for mirrorless Nikon users to enjoy on the Z mount. 

In addition to offering a fast super-wide prime option, the lens has been recognized for its great build quality and modern features, making it a fantastic video and stills lens. 

The Viltrox 16mm f/1.8 is optically constructed of 15 elements on 12 groups, including 4 ED lenses and 3 aspherical lenses, delivering high image quality with great precision. The addition of the ED and aspherical lenses helps with combating aberration suppression and rendering light sources. Limiting these unwanting artifacts is especially important in astrophotography, a genre of photography where this lens would shine. 

AF is relatively new to modern lenses developed by budget third-party Chinese lens manufacturers, but despite being a recent addition, the AF performance has been well received. The inclusion of an STM and lead screw-type stepping motor means that the AF should be quick and efficient, and eye focus makes tracking simple. 

Viltrox has thought about the user when designing the 16mm f/1.8 as there are many elements that welcome ease-of-use functions in what Viltrox calls its operating system. The 'operating system' is essentially the control design features that enable the user to have greater 'efficiency' when shooting.

The lens features a 0.95-inch LED panel that shows distance, depth of field, and aperture information on the top of the lens, making it easy to see in low-light environments such as when shooting astrophotography. Two custom function buttons, a click on/off switch, and an AF/MF switch complete the quinumvirate.

The click / de-click approach option for modern lenses makes them more versatile for both stills and video. Reducing the clicks reduces the motion that may interfere with long exposure or video captures. Having a separate aperture ring also enables greater control and flexibility, and is becoming more common since the success of Fujifilm's iterations. 

Other notable features include a 77mm diameter filter thread, a dustproof structure, HD multi-layer lens coating, and a USB-C port for future firmware updates. 

This lens looks great for landscape and astrophotographers, and I would say it also has a place in the kit bag of videographers. 

The Viltrox AF 16mm f/1.8 for Nikon Z mount is available now for just $549 | £440 | AU $799 - an absolute steal for the features included in this lens. 

You may also be interested in our guides to the best Nikon Z lenses, the best Nikon cameras, and the best wide-angle Nikon lenses. 

Nikon has announced a new full-frame superzoom for its Z-mount mirrorless that sets a new range for an all-in-one zoom lens. The Nikkor Z 28-400mm f/4-8 VR offers a phenomenal 14.2x zoom ratio - which beats all other contenders for its reach.

The lens is designed for use on full-frame cameras, but its size, weight and price means that you will also be able to used on APS-C DX Nikon cameras, such as the Z50 and Zfc. On these DX models, the effective focal range becomes 42-600mm.

Superzoom lenses offer an all-on-one lens solution, that offers wide-angel and telephoto focal lengths in the one zoom. With this lens, anyone can effortlessly capture the finest details and facial expressions of distant subjects, opening up new possibilities for your photography or filmmaking. The longest range superzoom previously available for Nikon cameras was the Tamron 18-400mm f/3.5-6.3 Di II VC HLD - but that could only be used on Nikon F-mount DX-format DSLRs.

Whether you're shooting sporting events, amusement park attractions, or parade shows where the subject's distance varies continuously, this lens allows anyone to adapt to any situation with ease. Its versatility means I could rely on just this one lens to capture a wide range of scenes, eliminating the need to switch between multiple lenses.

What's more, the Nikkor Z 28-400mm f/4-8 VR excels in close-up photography, with a minimum focus distance of just 0.2m at the widest angle and 1.2m at the maximum telephoto position, while also offering a maximum reproduction ratio of 0.35x. It therefore promises to be able to can subjects in exquisite detail, whether it's delicate plants or intricate tabletop scenes.

Despite its impressive telephoto reach of up to 400mm, this lens maintains a very compact and lightweight design, weighing only approximately 725g / 1.59 lbs this portability makes it the perfect lens for travel and everyday use, allowing you to carry it wherever you go without feeling weighed down - making this the perfect lens for content creators wanting to shoot video while out on location.

Additionally, the Nikkor Z 28-400mm f/4-8 VR features a stepping motor (STM) for fast autofocus drive, ensuring quick and accurate focusing on moving subjects, Its vibration reduction function provides the equivalent of a 5.0-stop increase in shutter speed, minimizing blur and allowing for sharp handheld shots even in challenging conditions.

The lens supports linear manual focus operation, making it easy to focus precisely on your intended subject during video recording, enhancing the quality of your videography no end.

I'm excited about Nikon's commitment to pushing the boundaries of optical performance and meeting the evolving needs of photographers or filmmakers like myself. With the Nikkor Z 28-400mm f/4-8 VR, Nikon is not just providing a lens; they're empowering users to explore new possibilities. 

Nikon already has two superzooms in its ever-expanding Z-mount lens range - the Z 24-200mm f/4-6.3 VR for full-frame cameras, and the  Z DX 18-140mm f/3.5-6.3 VR for APS-C models.

I can see this being a very popular lens with many beginners, content creators, and anyone in between who just wants one lens to cover a vast array of distances whenever the mood or situation strikes. Also, filmmakers will be thrilled, as I think this lens could be used in any situation and again cover so many different scenarios that this lens might just be on their camera forever, with no need to change it - and I like that!

Pre-order and Pricing

The Nikon Z 28-400mm f/4-8 VR will go on sale from mid-April for $1,299 / £1,399 / AU$2,199 - and will come with a rectangular lens hood.

Pre-order at B&H (US)
Pre-order at Adorama (US)
Pre-order at London Camera Exchange (UK)
Pre-order at Wex (UK)
Pre-order at Ted's Cameras for a special price (AU)
Pre-order at CameraPro (AU)

Those who are keen filmmakers using the best 8K and 6K cameras should take note of the latest from Viltrox, who are teasing a Viltrox 30-300mm T4 Cine Zoom. I have to say that's an amazing feat of engineering that challenges the likes of Arri and Cooke - an achievement all on its own. But if I know anything of Viltrox, this lens will also be excellent on price.

If you're looking for a "do it all" lens that you can use for your whole career on commercials, indie projects, heck, even Hollywood productions then I can see this lens being a great asset to many filmmakers and cinematographers out there.

This massive constant T4 lens is believed to be available in Sony-E, Leica-L, and Arri PL-mounts. However, this lens has also been seen with a Fujifilm X-H2 camera, which could suggest a Fujifilm mount in the future.

This new lens appears to be the first zoom lens within the company's Luna series. The lens will be entirely manual focus, which is common for a cinema lens. 

Apart from its vast room range and constant T4 lens, another fantastic fact is that it has a huge 46.5mm image projection circle. This means the lens can even be used on cameras such as Red Digital Cinemas equipped with XL-sized Red VistaVision sensors.

While no official pricing has been released, we can expect this to cost a bit more than your standard zoom lens for your camera system, but I expect it to be far less than rival Cooke $50,000 plus zoom lenses.

Panasonic is at it again – hot off the heels of making the record-breaking-ly compact Lumix S 100mm Macro lens, Panasonic is shrinking down yet another lens to create the world’s smallest and lightest 7x zoom full frame lens – the Panasonic Lumix S 28-200mm f/4-7.1 Macro O.I.S.

The Lumix S 28-200mm lens weighs in at just 413g and has a total size of 77.3 x 93.4mm. Like Panasonic’s prime lens range, the 28-200mm also has the trick of matching the rough size and weight of the Lumix S 20-60mm making swapping the lenses in and out easier during video production. The lens also shares the same 67mm filter thread so filters are easier to swap out – not to mention cheaper to collect.

Interestingly, while Panasonic managed to make some big space savings in the Lumix S 100mm macro lens with its newly developed Dual Phase Linear Motor – Panasonic isn’t actually using this motor in the 28-200mm lens. Instead, Panasonic’s lens team is simply employing good old-fashioned engineering experience to get this lens down to a more diminutive form. Still, even without this new motor, Panasonic has claimed in their testing the 28-200mm lens will focus from near-to-far distances faster than competitor lenses from other brands.

In a further little lighthearted rivalry, Panasonic has pointed out that its Lumix S5II camera, plus the Lumix S 28-200mm lens, plus one of its Lumix S prime lenses – weighs less in total than just the Sony A7 IV and 24-240mm lens.

The new 28-200mm lens also has half-sized (0.5x) macro capabilities, with an impressive close focus distance of 14cm (5.5in) from the sensor, and just 3cm (1.18in) from the front of the lens. This is at the 28mm end of the lens though, which isn’t the ideal focal length for macro, but can make for an interesting perspective. 

It also blows the Sony FE 24-240mm F3.5-6.3 OSS and Canon RF 24-240mm f/4-6.3 IS USM out of the water with their 50cm closest focus distance, although in all fairness, neither claims to be a macro lens.

Optically, the lens has 17 elements in 13 groups, and the lens has 9 aperture blades which should make for a more rounded bokeh than the 7 blades found in most rival lenses. The lens is also weather-sealed for braving the elements – a pretty essential feature as this will undoubtedly be a popular travel lens for Panasonic shooters.

Superzoom lenses are often overlooked lenses despite being one of the most useful lenses you can have in a kit bag – and most photographers at some stage are likely to own one. There is a certain stigma around the lenses for being lower in quality to achieve their ambitious focal lengths, although this has been proven wrong time and time again, with lenses like the Tamron 28-200mm f2.8-5.6 Di III RXD or Canon RF 24-240mm f/4-6.3 IS USM we found very impressive in their category – and I am looking forward to fully exploring Panasonic’s latest.

The Panasonic Lumix S 28-200mm f/4-7.1 Macro O.I.S. will be available in April in the US and UK, from May in Australia, and will cost $899 / £899 / AU$1,599. The lens will come with a petal lens hood in the box.

For more check out our top picks for the best Panasonic camera and best L-mount lenses

This year marks the 10th anniversary of Laowa, a lens manufacturer that has been pushing boundaries since its beginning, and to celebrate, it is releasing a one-of-a-kind lens. Its AF 10mm f/2.8 will not only be the company's first autofocus lens, it will also be the widest non-fisheye wideangle for full-frame mirrorless cameras.

Laowa lenses are unique in many ways, and they offer specialty options that often appear in our guides to the best macro and the best cine lenses. Laowa has several different lens lineups to cover all photography and video needs, all of which have been manual focus - until now!  

I wrote about the rumors of the new Laowa AF lens last month, and we now have further details and an official sneak peek. Laowa has given us a glimpse at the new lens in a 10th-anniversary promo video which shows how Laowa lenses have made their mark on the imaging world. The Laowa AF 10mm f/2.8 Zero-D FF lens will be officially unveiled on Feb 20 and will not only be its first AF lens but the world's widest full-frame rectilinear lens.

As written previously the lens will be available for Sony FE, Nikon Z, Canon RF, and L mount, but may only provide AF options for Z and FE mounts. There has been no comment on this by Laowa, but if the case it would be a shame for Canon users as this lens looks to feature fast AF and eye-tracking capabilities.

The Zero-D part of the name refers to the lens' ability to produce zero distortion even when shooting wide open. This will excite architecture, landscape, and astrophotographers alike, as distortion is often the number one battle when shooting as wide as 10mm.

The lens design will feature the 10th-anniversary logo in addition to a newly redesigned lens body that looks incredibly sleek and modern, and much like other Laowa lenses, it will come in the classic black and blue colorway.

We are expected to hear more with the official announcement scheduled for next week, on Feb 20, 2024. 

Laowa will also be making an appearance at The Photography and Video Show next month at The NEC in Birmingham, UK ,which may provide the first chance to get hands-on with the new lens. Tickets for the show are available now and can purchased on the show website.

You may also be interested in our guides for the best lenses for landscape, the best tilt-shift lenses, and the best lenses for astrophotography. 

In January 2024, Nikon's flagship full-frame mirrorless camera, the Nikon Z9, was sent to NASA astronauts aboard the International Space Station (ISS) to aid in research and documenting life among the stars. The Z9 was provided to 'capture iconic and breathtaking images of Earth and space in stellar quality and clarity'. The Z9 certainly has the ability to do that job, as not only is it one of the best Nikon cameras, but it is among the best mirrorless cameras on the market. 

This marks a significant landmark in Nikon's history, as it is the first Z series, Nikon's mirrorless range, that has been used by the space station crew. The advancement in the Z9's mirrorless technology means that it will replace the existing inventory of Nikon D5 and D6 digital DSLRs previously used aboard. The shipment saw 13 Z9s along with 15 of the best Nikon Z lenses shipped via SpaceX Falcon 9 rocket, along with several Nikon FTZ II adapters, for use with the current inventory. 

Recently we reported on NASA testing the Nikon Z9 for use on on next Moon landings, with the Artemis III mission which is due to land on the south pole of the Moon in 2025.

For more than 50 years Nikon cameras and lenses have been used by NASA for space exploration on shuttles, ever since the Apollo 15 mission in 1971 and since 1999, they have been used aboard the orbiting laboratory of the ISS.

The Nikon Z series of cameras and lenses launched in 2018, and has been growing in popularity due to its rapidly expanding lineup. Constant firmware updates keep the best Nikon cameras fresh and future-proof, often adding boosts to performance and functionality. An example is a recent major update for the Nikon Z8 that enhances AF and pixel-shifting capabilities.

The Nikon Z9 has established itself as the flagship camera of the company, offering ' an extremely robust build, unwavering reliability for professionals, and next-generation technology'. It ranks extremely highly in our guide to the best mirrorless cameras and is a major workhorse for professionals and enthusiasts alike. The Z9s that have been sent to the ISS are physically unmodified, meaning that the one you can pick up off of the shelf is physically the same as those in space - a testament to its build quality!

Although not physically different, there is a significant change to the software. A custom dedicated firmware has been created by a collaboration between Nikon engineers and NASA to better serve the astronaut's workflow in space. Nikon states, "This includes expanding noise reduction to faster shutter speeds to account for the constant bombardment of cosmic radiation that the crew and gear are subject to about the space station. Additional changes have been made to the file naming sequence, as well as default settings and controls that are optimized for life aboard the orbiting laboratory and when enclosed in the protective covering for exterior missions. Changes have also been made to the in-camera FTP and transfer protocol to simplify the astronaut's workflow, increase efficiency, and reduce power consumption when sending images from space to Earth". Hopefully, non-space-based users can enjoy some of these extended features through a future firmware update!

Overall this is a superb accolade for the Nikon Z series and a testament to its flagship full-frame mirrorless camera.

When it comes to prime lenses for portraiture, 85mm is a perennially popular focal length, when using a full-frame DSLR body. Established fast, faster and fastest choices include the budget-friendly Canon EF 85mm f/1.8 USM, and the pricey Canon EF 85mm f/1.2L II USM (£1500/$2000). One thing lacking in all of these lenses is optical stabilization, which has never been available for a Canon EF-fit 85mm prime lens – until this Tamron came along in 2016.

Specifications

Mounts Canon EF or Nikon F

Full-frame compatible Yes

Image Stabilizer Yes

Minimum focus distance 0.8m

Max magnification factor 0.14x

Filter size 67mm

Iris blades 9

Weather seals Yes

Dimensions (dia x length) 85x91mm

Weight 700g

Handling

Some might say that you don’t need stabilization in a ‘fast’ lens that enables quick shutter speeds under low lighting conditions. We beg to differ, and you might too if you’ve ever tried shooting indoor portraits with a short telephoto lens, like an 85mm. It’s equally true that you might want to use your posh prime at narrower apertures, to retain its sharpness and relatively distortion-free optical characteristics while gaining greater depth of field and reducing vignetting. In this case, optical stabilization becomes even more desirable.

It’s interesting to see that, while Sigma has a range of high-end ‘Art’ lenses with a fast f/1.4 aperture, Tamron has gone for a slightly narrower aperture of f/1.8 while adding stabilization in its recent up-market primes. These include the SP (Super Performance) 35mm and 45mm f/1.8 primes, and now this new 85mm lens.

Another neat addition that’s lacking in Sigma Art lenses is that the Tamron primes are weather-sealed, which will no doubt be appreciated by wedding photographers on rainy days. Meanwhile, Tamron has played catch-up to the Sigma Art lenses by launching an optional USB console, via which you can apply firmware updates to the 85mm lens when attached to a computer.

Performance

The Tamron lens delivers great sharpness and contrast, even when shooting wide-open at f/1.8. Sharpness in handheld images really does benefit from the VC (Vibration Compensation) system, which proved to worth about four stops in our tests. Vignetting is somewhat noticeable at this aperture, but pretty much disappears by the time you reach f/2.8. Autofocus is fast and very quiet, with the typical full-time manual override of ring-type ultrasonic systems.

Beautiful bokeh (the quality of defocused areas) is retained even when stopping down a little, thanks to a well-rounded aperture based on a nine-blade diaphragm. Both lateral and longitudinal chromatic aberrations are very well controlled, while Tamron’s eBAND nano-structure gives good resistance against ghosting and flare. Overall performance and image quality are nothing short of excellent. 

Sample images

For all you filmmakers out there who dream of one day owning, or even just using a RED digital cinema camera then recent news might see some of your best cinema cameras drop in price. At the same time, Red makes room for new 8K-sensor equipped RED V-Raptor [X] and V-Raptor XL [X] cameras, both offering global shutters - but you'll have to have some pretty deep pockets to pick either of them up, as the RED V-Raptor [X] starts at $29,995, with its bigger brother costs an eye-watering $44,995.

The V-Raptor [X] and V-Rraptor XL [X] systems also offer increased exposure times, a further optimized optical cavity, and improved audio performance over their predecessors. The [X] sensor capabilities recreate the frame-rate performance levels of the V-Raptor line even with the global shutter readout. 

Able to shoot in 8K at up to 120 frames per second, or 150fps at a 2.4:1 ratio, while also being able to shoot in 6K up to 160 fps (200fps at 2.4:1), and if those speeds aren't enough fans of slow-motion can now recording 2K at a massive  600 frames per second!.

Like all of the company's cameras, these new additions harness the power of Red’s proprietary REDCODE RAW codec, which allows users to capture stunning 16-bit RAW and leverage Red’s latest IPP2 workflow and color management tools to eke out the best option image form every scene.

RED Digital Cinema President Jarred Land had this to say at the announcement:
"Ever since our sensor team cracked the code for a no-compromise global shutter sensor design in the original Komodo, customers have been pushing us hard to bring our global shutter technology to our large-format sensors, and today we are happy to deliver beyond our wildest expectations. We are very proud to not only be at the forefront of global shutter technology but also to be the first company delivering large format global shutter cameras to filmmakers.”

While these cameras are setting you back a massive house deposit on each, RED users who have the 'standard' models can opt-in for an upgrade program to get these new sensors in their existing and compatible bodies, but even then you are talking about laying down $12,500 - who said cinema is dead?

Pre-order Red V-Raptor [X] at B&H
Pre-order Red V-Raptor XL [X] at B&H

• What is a global shutter – and why is it so important?
• Canon announces its first full-frame global shutter sensor
• Sony A9 III can shoot at 1/80,000sec with full-frame global shutter

Lumix had a fantastic 2023 – and according to Panasonic – Lumix is the fastest-growing full-frame camera brand. Wholly unsurprising when last year’s Panasonic Lumix S5 II and Lumix S5 IIX are two of the best cameras the brand has released to date.

However, there are still holes to fill, especially when it comes to lenses – and one major omission to the Lumix roster has been the lack of a standard macro lens. 

Panasonic has finally plugged this gap with the brand new Panasonic Lumix S 100mm f/2.8 Macro lens, launched at CES 2024 – however, in Panasonic’s usual style, it has done things just a little differently.

Thanks to a newly developed Dual Phase Linear Motor (the motor used for focusing), Panasonic has claimed the world’s smallest and lightest full-frame macro lens over 90mm with a 1:1 magnification. Not only that – the lens also has the world’s closest focusing distance for a macro lens (same 100mm and 1:1 caveats apply), with a minimum focus distance of just 20.4cm.

This incredible feat of engineering puts the Lumix S 100mm lens at less than half the weight of rival lenses from Canon, Nikon, and Sony, weighing just 300g compared to the heaviest – Canon’s RF 100mm at 685g, or Sony’s 602g FE 90mm – the lightest of the bunch. And at only 82mm in length, this also puts the Lumix S 100mm's total length at between 49-66mm shorter than comparative rivals.

In another remarkable feat of forward planning – the Lumix S 100mm also joins Panasonic's other Lumix S f/1.8 prime lenses in having an identical body size and filter thread, making changing lenses during video shooting smoother than ever, as gimbals shouldn’t need to be rebalanced or camera rigs realigned. Panasonic also claims that these lenses produce a unified performance across the board for smoother post-production editing.

To achieve this reduced size, there is a notable absence of any optical stabilization in the lens, which is unusual for a macro lens and sets it apart from rivals – although with Panasonic’s rock-steady IBIS in its latest cameras, this might well not be an issue. 

The lens also contains fewer total lens elements than other comparative lenses but still squeezes in 3 ASPH, 2 UED, and 1 ED element to match Panasonic's latest sensors' image quality and control over unwanted aberrations.

The lens features what should be a top-notch build quality, offering weather-resistant sealing around the lens, and freeze resistance down to -10ºC for any cold-weather adventurer.

Price & Availability

The Panasonic Lumix S 100mm f/2.8 Macro lens will be available to purchase from January 24 and will cost $999 / £999 / AU$1,999.

This places it as more expensive than the Sigma 105mm f/2.8 DG DN Macro, but around $50 cheaper than the Sony FE 90mm f/2.8 Macro G OSS and Nikon Z MC 105mm f/2.8 VR S, and a pretty substantial $400 cheaper than the Canon RF 100mm f/2.8 L Macro IS USM.

Specifications

Focal Length: 100mm
Aperture: f/2.8 - f/22
Lens Construction: 13 elements in 11 groups, 3 ASPH, 2 UED, 1 ED
Aperture Blades: 9
Maximum Magnification: 1.0x
Closest Focusing Distance: 20.4cm
Focus System: Double Focus Dual Phase Linear Motor
OIS: B.I.S. only
Switch/Ring: AF/MF Switch, Focus Limiter
Weatherproof: Dust/Splash-resistant, Freeze-resistant (-10°C)
Filter Size: 67mm
Diameter/Length: 973.6 x 82.0 mm
Weight: 300g

Looking for more of the latest and greatest from Panasonic? Check out our top picks for the best Panasonic camera and the best L-mount lenses.

Finally, Blackmagic has gone full frame with the Cinema Camera 6K and dropped the name ‘Pocket’ which was always a misnomer as the camera is simply huge – as were the crop-sensor versions that came before it. 

It’s also the third lens mount as the original Pocket Camera used a Micro Four Thirds sensor and matching lenses, which was then upgraded to an APS-C – called Super35 by filmmakers – then a Canon EF mount fitted in the 6K Pro version. Now it’s gone full-frame 6K and there’s a Leica L mount. 

Not everyone has lots of these L-Mount lenses, but it means the camera can use an adapter to accept popular glass that cinematographers often use, like Arri PL/ LPL or Canon EF.

You could consider it as the successor to the Pocket Cinema Camera 6K Pro but fitted with a larger sensor. In some ways, it is a serious upgrade which includes the addition of an Optical Low Pass Filter to combat moire. But in other ways, some of the spec has been downgraded. The built-in ND filters have been dropped, and also absent are the twin card slots of the 6K Pro – one for CFast cards and one SD. These are replaced by a single CFexpress type B card, although you can record to an external SSD via the USB-C port, as long as you’re not using the port to trickle charge the camera.

But the biggie is that the new 6K camera can only record in Blackmagic’s own Raw format – or BRAW for short. The 6K Pro also offered ProRes in C4K, 4K, or FHD which meant you have an edit-ready codec that needs no conversion.

The full-frame 6K model does record a folder of low-res 1080p proxy copies of the Raw files that can be used in a quicker workflow. But you have to use the large B-Raw files for final output, so you need to transcode these in DaVinci Resolve software which means more time in front of the computer for color correcting, grading, and adding noise reduction. There is also a lot more memory used in the camera and on your hard drives, too.

Resolve usually is a standalone purchase but is industry-standard for color grading and also great for editing, too. You get a free, full Studio version of Resolve bundled with the camera to allow you to use all its high-end formats. But there is a learning curve to getting the best out of it, as it is powerful yet complicated. 

The new camera has a very similar shape and size to the older 6K Pro version, including the Large, five-inch tilting rear screen, Sony-fit NP-F batteries, and the latest Blackmagic color science.

Blackmagic Pocket 6K: Specifications

Blackmagic Pocket 6K: Key Features

Blackmagic’s new 35mm CMOS sensor has dual native ISO and is the most obvious upgrade in terms of image quality and the formats the camera can shoot in. And there’s any codec you like, as long as it’s Blackmagic Raw.

The sensor shoots in 3:2 format in 12-bit Blackmagic Raw ‘open gate’ as it records from the full area of the sensor where the frame rate maxes out at 36fps. This is because the camera is largely designed to be shot in this way, and then the image is cropped in post to suit whatever size and format you need. From super-wide anamorphic to widescreen 17:9 and even 9:16 vertical for social media, all from one setting which is then cropped in post. There are lots of in-camera overlays to help monitoring. 

There are other options, such as DCI 6K, DCI 4K, Super 35 4:3, and 1080 HD. But in these settings, the sensor is windowed during shooting. So as there is a crop factor to the shot, the camera doesn’t have to scan the whole sensor which means there is an increase in frame rates.

In full-frame 6K the frame rate is 36fps, in DCI 6K widescreen it’s 48fps but with a 1.06 crop. At DCI 4K it speeds up to 60fps, but there’s a 1.57x crop and in FHD 1920x1080 you can go to 120fps but there’s a huge 3.3x crop. Of course, cropping into part of the sensor means image quality and resolution are reduced. 

The camera offers 13 stops of dynamic range and dual native ISO which bases at 400 and 3200, so it’s clearly a camera that likes a lot of light. As it’s all shot in Raw, there is no in-camera noise reduction so you need to add this to every shot in post. 

There is also the file size issue as you will need a lot of CFexpress cards to shoot in the best quality. But the camera allows you to select different Raw compression levels from 3:1 to 12:1 if you keep the bitrate constant, or four quality levels from Q0 to Q4 for consistent quality. 

The  Optical Low-Pass Filter effectively combats moire but with a large sensor and not the fastest processor, there are some rolling shutter issues. One clever way of reducing this is in DaVinci Resolve which uses the camera metadata to detect skewed verticals and then correct the image for it. This works surprisingly well, but there is a small crop which is something the camera could do without. The same technology also works to reduce camera shake, which is useful use as there is no built-in image stabilization.

Resolve is also the only place to process stills from the 6K camera. There is a separate shutter release next to the main video button, which takes a full-resolution still image. This is also in Blackmagic Raw format, so they have to be opened in DaVinci Resolve and worked on like a video file. So it’s decent for a thumbnail but is a long way from stills out of a conventional mirrorless camera. This is a camera for serious video only.

Blackmagic Pocket 6K: Design & Handling

This pumped-up camera has lots of vents to help keep the sensor cool when it’s recording 6K video Raw files, so there is never an overheating problem. Add on the optional £492 EVF and £161 battery grip and the camera is a bit of a monster, though. The EVF has a 1280 x 960-color OLED display and the unit can swivel through a 70-degree range. There is an adjustable dioptre lens as well as a choice of eyecups. These do fall off easily, though.

The battery grip screws onto the bottom plate which accepts two additional NP-F batteries. In tests, we coaxed approximately an hour of shooting and reviewing per battery.

The left side of the camera has rubber covers over ports that include a headphone socket and mini XLR jacks. And there are good-quality internal mics and preamps, too, with on-screen audio monitoring. The screen tilts but does not swivel around, sadly.

On the back of the camera is an auto exposure button which gives a rough setting but isn’t particularly accurate. 

There is also the autofocus button which uses the contrast-detect AF system in single-shot only that often hunts around before locking on. Not only is the AF not a clever hybrid phase-detection system but it this is old-school, one-shot AF. There is no C-AF, subject tracking, face detection, or any mod cons. You really need to focus manually, which is decent as there is a punch-in focus button to zoom feature, and the screen is big. 

Like the Blackmagic Pocket Cinema Camera 6K Pro the new 6K full-framer has a carbon fibre composite body but it doesn’t feel premium or like it would take a significant beating.  

However, the controls are well-designed with a large Rec button and an obvious control dial on the front to adjust the aperture. There are clear buttons to change ISO and white balance, and three customizable function buttons ideal for false color, effect of the display LUT, and frame guidelines. 

The large touchscreen menu is clear and allows you to change settings including shutter speed or shutter angle. Once shooting, the main info is all around the outside of the screen or you can turn it off for a clear view. 

Compared to cameras with built-in ND filters, you need to use a variable ND or standard ND filter in a matte box. Maybe Blackmagic will launch a full-frame 6K Pro that includes NDs, or perhaps they are too hard to squeeze in because of the large sensor. 

Blackmagic Pocket 6K: Performance

There is little to compare to the ultimate quality and flexibility you have when shooting Raw files. In the full 6K setting, even the most compressed files give superb results. The files are detailed and packed with colors to allow extreme grading, thanks to the Generation 5 color science. The hues are not oversaturated, even in the ‘video’ setting, which is relatively bold and punchy. The Extended Video has a wider dynamic range, and the Film setting has a more organic, filmic feel. Included LUTs can be used to normalize the monitor image while recording Log. And you can load your own LUTS, too. This ultimate control in image quality is what this camera is all about.

Yes, there are some rolling shutter issues that can be combated in Resolve, albeit with a crop. And you definitely need to add noise reduction, even at low ISO settings, as there is none applied in camera. But the ability to change white balance, push highlights and shadows, and change colors in post is a massive benefit thanks to those BRAW files.

Faster frame rates look good if you don’t mind the crop. But the 3.3x crop to achieve 120fps should be considered a get-you-out-of-jail card for occasional use rather than for serious-quality filmmaking. 

But to get the best out of the Blackmagic Cinema Camera 6K, you really need a decent amount of light as the sensor isn’t best at high ISO. The camera really needs to be on a tripod or motorized gimbal to take out the shakes and focus manually. The old-school AF and lack of image stabilization means it isn’t great for events or fast-paced work, either.

We found the sweet spot at DCI 4K with 5:1 compression, shot at 60p which allows for half-speed slow motion, and just put up with the 1.57x crop. Or shoot in 6K and you can crop in post anyway, but your frame rates are stuck at a maximum of 36fps. 

Once you get to grips with this camera, you will be rewarded with superbly sharp and cinematic images at a price nothing else comes close to.

Blackmagic Pocket 6K: Video Sample

Blackmagic Pocket 6K: Verdict

There is much more to a camera than simply its sensor and processor pipeline to get the images onto the card. But in the case of the Blackmagic Cinema Camera 6K, the new full-frame chip and full-on BRAW workflow it allows really are at the heart of what this machine will do. 

It’s about creating top-quality, wonderfully cinematic films that can be cropped and graded to taste, with a super-shallow depth-of-field if you want it.

Yes, it’s a big machine that makes it a bit awkward to use, with no built-in ND filters or fully articulating screen. The AF is poor, there are no edit-ready codecs in full resolution, the frame rates aren’t great and there’s a crop on everything except open gate 6K. 

But once you work on the files in DaVinci Resolve, you can’t fail but to be impressed at the results. And considering the low price of the camera body, you will forgive it all its quirks.

If you have the talent and vision to make stunning, filmic movies, this camera will help you deliver.  

Laowa has built a reputation for developing specialty manual focus lenses, with attention to extreme macro and cine lenses. It has now announced its first AF lens, set to launch in the coming weeks. 

The Laowa FF II 10mm f/2.8 C&D Dreamer is a full-frame ultra-wide prime lens, which will become available for Nikon Z, Canon RF, Sony E, and L mount. Laowa is renowned for creating excellent glass and this lens looks set to follow suit, with a great selection of features that place it amongst the best astrophotography and best landscape lenses. 

The lens is comprised of 15 elements in 9 groups, including extra-low dispersion glass and ultra-high refraction glass to combat excess aberration and distortion. This brings a weight of approximately 420g depending on the mount option, and despite its ultra-wide design takes a relatively-standard 77mm filter. 

The design of the lens is sleek and modern, much like other Laowa lenses, with one of the most stylish focusing rings I have seen. However, judging by the images, it does appear to lack a focus distance scale/gauge to accompany the focus ring.

The lens provides a large 130.4-degree angle of view and a minimum focusing distance of just 0.12m, enabling the user to get creative and push the limits whether shooting interior or portrait photography. Inscribed on the lens, next to the focal length and the aperture, states 'Zero-D'. This signifies that the lens provides zero distortion, even when shooting wide open.

The f/2.8 aperture promises 'outstanding low light performance', an important specification for those who photograph at night. This also aids in providing high resolution that remains constant from edge to edge.

Because this is Laowa's first AF lens, the autofocus is the most noteworthy feature, and without testing it ourselves we have to extrapolate information based on the released video and images. 

One thing of note that certainly caught my eye, however, was an illustration in the video that states that the AF mount is available for Sony E and Nikon Z mounts, while the Canon RF and L mount fall under the heading MF mount. This means that Laowa's first AF lens is limited to E and Z mounts.

The lens will go on sale in March for $799 and is now available for pre-order from B&H Photo.

You may also be interested in our guides on the best wide-angle lenses, the best camera for astrophotography, and the best cine lenses. 

Panasonic's 2023 was a year of two halves. It kicked off in January with the launch of the Lumix S5 II and S5 IIX and then scored again in the second half with the new Lumix G9 II.

All three cameras ditch Panasonic’s long-running DFD contrast autofocus system, finally giving in to the widespread perception that the old depth-from-defocus autofocus, even though it became faster and more sophisticated with each new camera, just wasn’t as good at tracking subjects as phase detect AF, and had a tendency to ‘flutter’ during continuous autofocus.

For stills photography, this might not matter so much, but in a booming creator economy filled with solo shooters who can’t be both in front of the camera and behind it, AF performance for video has become a key buying decision.

Panasonic already had a strong reputation for good-value, high-performance hybrid cameras, even before people had invented that term. Even before the arrival of the new models, Panasonic was making some of the best hybrid cameras, the best cameras for vlogging and, with the Lumix S1H, BGH1 and BSH1, some of the best cinema cameras too.

So let’s see how Panasonic’s 2023 camera launches unfolded, what we thought of the new models and how they fit into the broader Lumix range.

January 2023: The Lumix S5 II and Lumix S5 IIx are launched

It’s very early in the year – just January 6, in fact – when Panasonic announces its two new Lumix S models, the Lumix S5 II and the Lumix S5 IIx. For most users, the key differentiator between the Lumix S5 II and the Lumix S5 before it will be the introduction of phase-detect autofocus. This alone may tempt users into the Lumix ecosystem where they were uncertain before, particularly given that the Lumix S5 already offers strong still photography credentials and powerful filmmaking features at this price. So how much better IS the new Lumix S5 II than the old model. Our Panasonic Lumix S5 II vs Lumix S5 comparison has all the details.

But what about the Lumix S5 IIx? It has the same sensor, form factor and headline video features as the S5 II, so is it really an additional camera model or just a confusing ‘special edition’? Our Panasonic Lumix S5 II vs Lumix S5 IIx comparison digs deep into the specifications to find out. The bottom line is that the S5 IIx has more processing power, much higher maximum bitrates and the ability to record direct to SSDs – it’s a more advanced filmmaking tool. It’s not the biggest difference we’ve seen between two camera models, but that probably explains the relatively modest price difference.

There is, of course, an elephant in the room – the Panasonic Lumix GH6. True, this is a Micro Four Thirds camera rather than full frame, and it’s saddled with Panasonic’s older DFD autofocus system, but prices have plummeted and it’s a real video powerhouse that needs taking seriously. Our Panasonic Lumix S5 II vs Lumix GH6 comparison spells out the differences – and the similarities.

Panasonic wasn’t quite done with January! It also launched a new Lumix S 14-28mm f/4-5.6 ‘half macro’ lens. The variable maximum aperture marks this out as a ‘consumer’ lens rather than a top-flight pro optic, but it’s pretty cheap for an own-brand full-frame ultra-wide zoom – and the ‘micro-step’ aperture control and minimal focus breathing should make it ideal for filmmakers too.

March 2023: MFT rumors start to circulate

Just a couple of months after the first phase-detect full frame Lumix cameras are launched, we hear that Panasonic’s first MFT camera with phase-detect AF is coming soon. Is this an obvious technological progression or just wishful thinking? We would get our answer before the end of the year. 

That is not the only Panasonic rumour, though. We also hear that a new Panasonic Lumix SH1 II was on the way, with a resolution nearing 50MP and 8K video. We’d better throw phase-detect AF into that soufflé of dreams, too. The story at the time was that the new camera might arrive in just a few weeks. That didn’t happen. Oh, well, 2024 maybe?

If such a camera DID arrive, it might answer a troublesome question – what happened to the Lumix S1R? Either Panasonic lost interest and gave up, or it has been keeping its powder dry and getting ready for a high-resolution hybrid monster like the Lumix S1H II.

Also in March 2023 we finally got hold of a Lumix S5 II for review. Did we like it? You bet. Filmmaking maestro Jon Devo gave it a 5-star rating citing, amongst other things, its excellent stabilization, ‘film-like’ rendering, 4K 60p 10-bit 4:2:2 internal recording and sheer value for money.

We didn’t manage to get hold of a Lumix S5 IIx until June, but our Panasonic Lumix S5 IIx review brought another 5-star verdict. The extra power of the S5 IIx and its SSD recording capability are key plus points, though its deliberately different black/gray styling made the button labels somewhat less visible.

August 2023: Two new lenses for the roadmap

It was a very quiet summer for Panasonic fans, though August brought the news of two new lenses for the Panasonic L-mount roadmap. One would be a new Lumix S PRO 100mm f/2.8 Macro lens and the other a Lumix S 28-200mm f/4-5.6 O.I.S superzoom lens. The L-mount lens line-up is steadily increasing thanks to the efforts of both Panasonic and its L-mount collaborator Sigma.

This was just the calm before the storm, of course.

September 2023: The Lumix G9 II is launched

September bring the announcement that had been powering the Panasonic rumor-mill for weeks. The Panasonic Lumix G9 II is launched, complete with the phase-detect AF system that everyone had been predicting and the latest Panasonic 25MP MFT sensor first used in the Lumix GH6. The G9 Mark II is an absolute speed demon, and a powerful hybrid video camera too. So powerful, in fact, that it kind of leaves the Lumix GH6 in the lurch.

So if you are a serious filmmaker, which of these two cameras should you buy? Our Panasonic Lumix G9 II vs Lumix GH6 comparison checks the specs to pick out the key differences, and it’s a pretty close-run thing.

This also begs another question which people are bound to start asking soon: if Panasonic’s 25MP MFT sensor can be equipped with phase-detect AF, how soon can we expect to see a new phase-detect Lumix GH6 II?

Our Panasonic Lumix G9 II review heaps praise on Panasonic’s new MFT flagship, but notes that it’s as big as larger-format rivals despite its smaller sensor. It also loses the top-plate status panel of the old Lumix G9, and we check this and other differences in our Panasonic Lumix G9 II vs Lumix G9 comparison.

Panasonic MFT fans get another boost with Leica-approved updates to two popular lenses, the Leica DG Vario-Elmarit 35-100mm f/2.8 Power OIS and Leica DG Vario-Elmar 100-400mm f/4.0-6.3 II Asph. Power OIS. The MFT lens ecosystem is particularly rich these days, and this is where the MFT format really shows its size (and cost) advantage.

Now, powerful as it is, the Lumix G9 II comes in at a fairly stiff price. You might argue that its specifications and features warrant it. Quite true. But it also happens to be extremely close to the typical retail price of the Lumix S5 II, a camera with a sensor 4x larger and its own highly impressive video capabilities. Tricky, huh? Our Panasonic Lumix G9 II vs Lumix S5 II comparison picks out the crucial differences.

However, earlier speculation about an 8K Lumix S1H II full frame camera are dealt a blow by Panasonic itself, saying it has no 8K plans right now as consumer demand is “not enough”. Well, look how long it said that DFD autofocus was fine. Just saying.

October 2023: Will there be a Lumix G100 II?

Now that is a good question, and we’re not the only ones asking it. Rumors begin to circulate that there will be a new Panasonic Lumix G100 II with phase-detect AF and the 25MP sensor from the Lumix G9 II.

That would certainly be an exciting camera. We’ve long been fans of the pint-sized Lumix G100 with its 20MP sensor, vari-angle screen, EVF and budget price point, but Panasonic’s DFD AF has certainly held it back, particularly amongst those who look to YouTube for their buying advice. The Lumix G100 has another weakness, though – no IBIS. Whether Panasonic can find room in its dinky little body for an IBIS mechanism is another matter.

November 2023: Firmware updates and questions

In November, Panasonic releases firmware updates for the Lumix S5 II and Lumix S5 IIx cameras, adding high resolution modes, an AF-Point Scope feature to magnify the image under the current AF point, and improve manual focus assist with a 20x zoom.

We also hear that Panasonic’s new 100mm L-mount macro lens will launch in January 2024, and that a Lumix G100D variant has been launched in Japan – but this is just a very minor update and not the Lumix G100 II that we’re hoping for.

And that kind of rounds off what has been a sometimes exciting, sometimes confusing and occasionally strange year for Panasonic.

There’s no doubt that the Lumix S5 II and Lumix S5 IIx have revitalized Panasonic’s presence in the hybrid camera market, and the Lumix G9 II is just the boost needed to refocus attention on the Micro Four Thirds format.

And yet Panasonic’s switch to phase-detect autofocus in 2023 raises lots of questions for its existing and highly competent contrast AF cameras, including the GH6, the still-worthy Lumix GH5 II  and its high-end Lumix S1H cinema camera. As for the original Lumix S1 and Lumix S1R, Panasonic never mentions them any more, and maybe we should prepare for the worst…

Brand new DSLR. Three little words I didn't expect to hear in 2024, but that's exactly what's happening: Ricoh has confirmed that it is working on the Pentax K-1 Mark III.

If you've been following the Ricoh / Pentax saga of late, this should come as no surprise. This is, after all, the company that could be launching four new film cameras in 2024, and the company that earlier this year released the Pentax K-3 Mark III – not just a DSLR, but a DSLR that only shoots in black-and-white.

And when you consider that our list of the best DSLRs includes three of the best Pentax cameras, there's no arguing that the manufacturer really knows what it's doing when it comes to old-school tech. 

So, news that a successor to the full-frame flagship Pentax K-1 Mark II is on the way probably shouldn't raise many eyebrows. And with Canon and Nikon having abandoned DSLR development, with the last non-Pentax body being 2020's Canon EOS Rebel T8i / 850D, it will have the market all to itself.

While no information on the camera is yet available, its existence was recently confirmed during a Taiwanese interview with Ricoh executives Tomoki Tanaka (general manager of the Business Division) and Takeo 'TKO' Suzuki (product designer / planner).

"In order to achieve higher accuracy, more time was invested than initially expected," they explained (via China's Xitek forum, machine translated). 

"Sourcing digital camera components has become more challenging than ever. However, rest assured it is currently in progress and please be patient for further news."

What could a Pentax K-1 Mark III look like? Well, the K-1 Mark II featured a 36.4MP sensor with a 33-point (25 cross-type) phase detect AF system, and a sensitivity of ISO100-819,200. 

Given that the K-3 Mark III featured a new image processor that facilitated a top ISO of 1.6 million, it's possible that this will make its way to the new camera – particularly given Pentax's propensity for astrophotography.

Indeed, the K-1 Mark III is almost certain to once again have in-body image stabilization (IBIS) – and not just for shake correction, but also to operate in conjunction with the GPS for streak-free astro shooting in Astrotracer mode. 

The previous model also used the IBIS system's pixel-shift capability to deliver an anti-aliasing simulation, giving the effect of an optical low-pass filter.

In short, despite its long-in-the-tooth DSLR technology, I expect the new K-1 camera to be pretty dang cutting-edge – and it might even manage to give the best mirrorless cameras a run for their money. 

See where things currently stand in the DSLR vs mirrorless cameras debate, and take a look at the best black-and-white cameras on the market if you love shooting in monochrome.

Much like its photographic lenses, 7Artisans has a great Cine lens lineup that offers great quality at an affordable price point – and it has just announced a new addition. 

The 7Artisans Spectrum 14mm T2.9 Cine Lens is a manual focus full-frame cine lens, available for the Canon RF, Sony E, Nikon Z, and L mount. With 7Artisan's reputation for excellent build quality and an affordable entry point, this lens looks set to excite. 

The lens has an optical structure consisting of 13 elements in 9 groups, including 2 aspherical (ASPH) and 3 extra-low dispersion (ED) lenses. The 10 aperture blades coupled with the generous T2.9 transmission deliver pleasing background rendition and imaging performance.

The manufacturer states that the Spectrum Cine series keeps a "uniform color balance across different materials, ensuring consistent picture performance and reducing post-processing pressure."

The 14mm T2.9 is an ultra-wide angle full-frame cine lens with a field of view that reaches 114°. Its stepless focus gear design provides an ultra-long 270° focusing stroke, enabling precise and accurate focus. 

This can be exploited further with the use of follow-focus units, which this lens supports. All 7Artisans cine lenses have the same focus gear positioning and front lens diameter, which enables consistent shooting when switching optics. This is important, as it reduces the need for alterations to equipment such as gimbals and focusing devices.

Other noteworthy features offered by this lens include breathing-effect rejection, a de-clicked aperture, and a minimum focusing distance of 0.4m.

The 7Artisans Spectrum 14mm T2.9 Cine Lens will be available for purchase on December 12 at the price of $459 / £459 (approximately AU $700). If you are in the market for a new cinema lens, I would recommend checking out the 7Artisans range on its website for an affordable entry point that does not fail on performance.

Cinema heads might be interested in the best cameras for filmmaking, along with the best anamorphic lenses for filmmakers and the best video editing software.

The Sigma 70-200mm f/2.8 DG DN OS|Sports lens is finally here - and this professional telephoto zoom is a lot cheaper than we'd dare imagine.

The new lens has been developed exclusively for full-frame mirrorless cameras and will be released for the L mount and the Sony E mount. The 70-200mm f/2.8 is a staple in any photographer's kit list, and this new lens release has been greatly anticipated as it will provide full-frame mirrorless users with a more affordable option, without sacrificing quality. I'm calling it now, this lens will feature highly in our guides to the best Sony lenses and the best L-mount lenses!

Sigma's lenses are renowned for offering exceptional performance, for a more affordable price than native lenses, and this new release is no different. It will be released at an enticing price of $1,499 / £1,499 when compared to the native Sony E mount equivalent of $2,599/ £2,599, a saving of over $1,000! 

The Sigma 70-200mm f/2.8 DG DN OS|Sports will be the go-to tool for sports, wildlife, weddings, and live events offering exceptionally sharp detail. Designed using ultra-high performance low-dispersion glass, which includes six FLD and two SLD elements the lens's image quality is consistent throughout the zoom range, even wide open at f/2.8.

This lens falls into the Sports category of Sigma lenses, and with the performance features it's easy to see why. Designed for use by both professionals and enthusiasts alike, the unique floating focusing system is designed to keep up with the most fast-paced action, whether wildlife or sports. A combination of two HLA (High-response Linear Actuator) motors and Sigma's OS2 optical stabilization algorithm, Sigma states, " the lens is able to deliver fast, accurate and near-silent autofocus".

The aforementioned OS2 optical stabilization algorithm enables the user to shoot handheld in low light with ease. It provides a 7.5 stop advantage at 70mm and a 5.5 stop advantage at 200mm. Two OS modes, adjustable from a switch on the lens, provide the ability to flick between normal shooting and smoother AF for panning shots, regardless of orientation.

Personally owning and using the Sigma 70-200mm f/2.8 DG OS HSM Sports lens (the DSLR version) for many years, Sigma's attention to detail in regard to not just performance but build quality is exceptional, and this lens looks to follow suit. The lens's compact yet robust configuration is able to tackle challenging conditions with its weather-resistant design - a must for sports, wildlife, and outdoor events. The lens' optical and mechanical design uses materials resistant to dust, moisture, and temperature changes, increasing its durability.

The only issue I had with the DSLR version of this lens was its weight, and this has been improved upon with the mirrorless version weighing considerably less at 1,345g, and having a more compact form factor of 90.6 x 205mm.

The features that are packed into this lens are nothing short of impressive, and so much so that I can't cover them all! However, other notable features included are the internal zoom mechanism, a professional feature set to customize the lens to your style, a tactile aperture ring that offers de-clicking enabling smoother transitions for photo and video, and a newly developed Arca-swiss compatible tripod socket.

In my opinion, Sigma is at the top of the lens game. It offers exceptionally professional glass at a price point that enables not just professionals, but enthusiasts to benefit from it. I made a career by using the Sigma Sports line of lenses, and it is exciting to see this lens, in particular, available for full-frame mirrorless.

The lens is scheduled for release on December 7, 2023, at the price of $1,500 | £1,500 | AU $2,864.

The Sony A9 III has just been launched at will feature the first full-frame global shutter on a professional mirrorless camera. It has a top shutter speed of 1/80,000sec - and can shoot at 120 RAW frames per second.

The global shutter will ensure that video is will give distortion free footage, with no rolling shutter effect.

Other features include

• 24.6MP BSI CMOS sensor

• Flash sync up to 1/80000sec, thanks to the global shutter, that reads all the photosites simultaneously

• 9.4 million dot EVF

• 6K video in 60p, or 4K 120p with no crop

• 10-bit 4:2:2 S-Log 3 / S-Cinetone

• 759 focusing points covering 95.6% of the image sensor

• Flicker free shooting with no banding

• 8-stop 5-axis in-body image stabilization

• Dual Bionz XR processors

The Sony A9 III will launch in spring 2024 for US$5,999.99 / £6,100 (Australian price and availability TBC).

Breaking story - see our live blog of the Sony launch here to see our ongoing coverage of the event

Also: At last! Sony finally launches 300mm f/2.8 GM lens

See the current best cameras for sports photography, and our choices for the best cameras for professionals.

Just when I thought the days of cheap AF lenses had gone, Viltrox hits us with one of the cheapest autofocus lenses I have seen in a long time. 

The Viltrox AF 20mm f/2.8 FE lens is a lightweight, autofocus lens designed exclusively for Sony full-frame E mount (FE). Designed for travellers, vloggers, and those on the move, this lens weighs in at just 157g enabling you to capture beautiful images without the burden of carrying heavy equipment. The E Mount has a long list of great  Sony lenses, however, this one may be one of if not the lightest. 

Aside from its minute form factor the best selling point of this lens is the price. This lens comes in at just $158!! For a full-frame autofocus wide-angle prime with an aperture of f/2.8, you will be hard-pushed to find one cheaper!

Although cheap, this lens looks set to pack a punch being made up of 10 elements in 8 groups including 2 ED lenses, 1 lens with a high refractive index, and 2 aspherical lenses. It is hard to imagine that with this much glass, the lens is so light! The optical design of the lens keeps vignetting, spherical, and chromatic aberration to a minimum.

Although short and compact this wide-angle prime is not a pancake lens like the Sony E 20mm f2.8 (APS-C E mount). The Viltrox 20mm is 65 x 59.5mm and weighs just 157g. The closest native lens equivalent for Sony full-frame FE is the Sony FE 20mm F1.8 G, which is notably heavier, larger, and much more expensive - although it does have the nice advantage of being a f/1.8. 

Other third-party manufacturers have also made a 20mm for the full-frame E mount such as the Tamron 20mm f/2.8 Di III OSD Macro and the Sigma 20mm f/2 DG DN I Contemporary, but still both are almost double the Viltrox's weight.

As well as weighing less than a mobile phone, the lens also has a number of attractive features for those wanting to shoot both stills and video on the move. It comes with eye/face autofocus, allowing you to track focus automatically when using video or stills. This is the case for both humans and pets, with Viltrox stating that it ''can efficiently and accurately lock to a subject'.

Other notable features include a minimum focusing distance of just 0.19m, an STM stepper motor, and a USB-C interface for updating lens firmware straight to the lens without having to do it through the camera body. 

This seems like a nifty little lens that can easily be carried around in your bag with little to no notice, for both video and stills purposes, and the best part is the price. This lens is available to pre-order now for mid-November release at the bargain price of $158 | £130 | AU$250. 

Reviews of other Viltrox lenses:

It’s been rumored ad nauseum that the Sony A9 III will be announced in early November (likely at Sony's Creative Space event in New York), alongside a Sony 300mm f/2.8 GM lens. 

Since Sony registered two new cameras in China, we have been weighing what they could be. While an upgrade to the Sony A9 II makes perfect sense, considering it’s now four years old, A Sony A7S IV or a Sony A1 II (although less likely) could also be in the running. 

Sony has not officially made any announcements regarding what will be revealed at the event, but Sony Alpha Rumors has shared some supposedly leaked specs. And the site's owner, Andrea Pizzini, has just released a video outlining what we could see in the new Sony A9 III:

Although he admits the information hasn’t come from his most reliable sources, it’s the first we’ve heard of any leaks and gives us some food for thought. We can’t be disappointed if the following isn’t true (after all, it is a rumor) but, according to Pizzini, the Sony A9 III will look and feel very much like the existing Sony A1, with the same lefthand dial. 

It is likely to have a 33-36MP stacked sensor, developed specifically for the new camera. When in continuous burst mode, it’s said to be able to shoot 12-bit RAW images at 40fps and 14-bit RAW images at 30fps. 

While he reiterates that he's not 100% sure about the details, he is bullish on the stacked sensor and its readout speed. "All I know form [sic] trusted sources is that the A9III uses a new stacked sensor to make it the world’s fastest FF camera." (The Nikon Z8 and Z9 both shoot at 120fps, so they are faster cameras, though they only output low-res JPEGs at that speed.)

Primarily designed to be a sports camera, the Sony A9 III won’t feature 8K video as there is really no need for it – speed, resolution, and autofocus accuracy are the main concerns.  

Alongside the launch of three possible products, Sony could also release new firmware for the Sony A1 on the same day – and we are hoping it will add some significant upgrades (something Sony firmware updates haven't done much of). With Creative Space fast approaching, it won’t be long before we can stop fantasizing and start giving you some solid facts on what exciting releases Sony has up its sleeve. 

We see the Sony 300mm f/2.8 GM lens fast becoming one of the best lenses for bird photography and wildlife – find out what other lenses are top-rated.

The Canon RF 10-20mm f/4L IS STM is the full-frame mirrorless successor to the Canon EF 11-24mm f/4L USM for DSLRs, which was launched back in 2015. 

Far from just a quick mirrorless update, the Canon RF 10-20mm F4L IS STM makes full use of the RF mount – which enables the rear element to sit much closer to the camera sensor, opening up a realm of innovation in optical engineering. Indeed, this is the world's first rectilinear zoom lens with a 10mm focal length and autofocus – making it, on paper at least, one of the best wide-angle lenses for those who work at the extreme end. 

We were able to compare our beta sample to the EF 11-24mm that it replaces, and looking at them side-by-side the new lens is considerably more compact and portable with a much neater cylindrical footprint (the older EF lens has a more awkward shape, which could be more difficult to load into a kit bag). 

Weighing just 570g it’s also considerably lighter, yet packs in new features like a Control Ring, custom button, and all-new tech like Peripheral Control Image Stabilization – impressive!

The new lens only zooms to 20mm at the long end, rather than 24mm on the prior model, though it does go slightly wider to 10mm rather than 11mm. This is a welcome tradeoff, as most people looking to buy this optic will likely have access to a 24mm focal length (with a lens like the Canon RF 24-70mm f/2.8L or Canon RF 24-105mm f/4L). Having a slightly wider focal length and cutting down on size and weight is a smart choice.

Canon RF 10-20mm f/4L IS STM: Specifications

Canon RF 10-20mm F4L IS STM: Key Features

Thanks to the advantages afforded by Canon's RF mount, it's been possible to improve the RF 10-20mm in pretty much every conceivable way over its EF predecessor. It has been made much lighter and more compact, while also being able to squeeze in the latest tech, like its 5-stop Image Stabilizer, Peripheral Control IS technology, a Control Ring and a custom button.

It's also Canon's first L-series lens to feature a stepping motor (STM), known for its smooth and quiet operation, making it ideal for recording video. In another first for Canon, it's also the company's first optic to use an STM positioning sensor. This means that the STM autofocus motor doesn't have to reset all the way, each time the camera is turned off, which makes it faster to get up and running with little delay. 

A filter holder on the rear element is featured for mounting 35 x 20mm gelatine filters, which we'll come back to later. The lens also boasts a built-in plastic hood, and comes with front and rear lens caps and a soft case for storage.

On the lens barrel you'll find the large focus ring for full-time manual focusing, a Control Ring that can be set to adjust a number of key settings, an AF/MF switch, and a custom button. There's also a switch to engage the optical Image Stabilization (IS), which offers five stops of stabilization on its own or six-stops when used with a compatible EOS R body with in-body image stabilization (IBIS).

Canon RF 10-20mm f/4L IS STM: Build & Handling

One of the most notable differences between the new lens and its predecessor is its portability and compact design. Weighing just 570g, it is 610g lighter – that’s a weight reduction of over 50%! And with dimensions of 83.7 x 111mm, it’s also about 35% smaller in footprint – an astonishing improvement!

This is a welcome change and makes it much easier to fit into a camera bag, as ultra wide-angle zooms are generally quite awkward shapes and can take up a lot of space. 

Due to the lens being a slimmer design and much better balanced (the old EF 11-24mm feels really front-heavy by comparison) we can see the RF 10-20mm being a much better choice when it comes to video, lending itself to gimbal use nicely such as on the DJI RS 3 Pro Combo. It could even be a good choice for drones (if yours is powerful enough to support a full-frame mirrorless body and a lens).

Handheld video should be impressive too, though it wasn't something we were able to extensively test in our short time with the beta model. When shooting handheld, users will be able to take advantage of the new peripheral Image Stabilization which corrects for wobble at the corners of the frame caused by the IBIS system when capturing video. In short, Canon has created an algorithm that calculates the amount of distortion occurring at the sensor level; the lens IS is then employed to compensate for it.

The autofocus stepping motor (STM) should be a boon for video use, too, as these motors are notably smoother and quieter during operation. It also means that focus whirr shouldn't be recorded by your internal or external microphone. In our testing we found the autofocus to be both very quiet and snappy.

Despite being smaller and lighter than its predecessor, the Canon RF 10-20mm squeezes in lots of new physical features. Many of these are found on the lens barrel, such as the Control Ring (for fast access to exposure settings like ISO), a custom button and a switch for the Image Stabilizer. That said, the focus distance window found on its predecessor has been omitted this time around.

The rear gelatine filter holder is a welcome addition, though it's fairly basic and limiting. While neutral density and color filters could be handy to rear-load for video use, filters like ND grads, variable NDs and polarizing filters will be more tricky.

Lee Filters make a specialist SW150 filter holder and series of filters designed for ultra-wide lenses, such as the EF 11-24mm and other ultra-wide optics like the Sigma 14mm f1.8 DG Art. While Lee has yet to announce any plans to make its SW150 system compatible with the new Canon lens, it seems likely given time. This would enable a full range of filters to be used, opening up more options for landscape photographers.

Canon RF 10-20mm: Photo Performance

When it came to autofocus the STM impressed as focusing was quick, smooth, and quiet, making it ideal for both stills photography and video. As you'd expect from one of Canon's top-flight L-series optics, all the rings on the lens barrel felt smooth and the switches clicked nicely into place – and they were also easy to find and engage when you have an eye to the viewfinder.

When it comes to image quality the Canon RF 10-20mm f/4L IS STM boasts an advanced rectilinear optical design. You'll usually find lenses with an ultra-wide focal length of 10mm (full-frame) to be a fisheye with bags of barrel distortion. 

A rectilinear design, however, makes this optic special, as vertical lines of buildings should remain straight, making it a good choice for architecture and landscape photography. Of course, you pay a premium for this, with Canon's new lens costing $2,299 compared to a lens like the 7Artisans 10mm f/2.8 manual focus fisheye which costs just $139.

While a focal range of just a 10mm difference doesn't sound all that impressive on paper, you might question if this is worth it over just a super-wide prime. However, when you can actually see the difference it makes in photos and video then it is much more apparent how big of an effect this small focal length can achieve. Below are the same images shot at 10mm and 20mm to show the full range of the lens.

One issue I did note with our sample was that there was a strong vignette present in the corners of RAW files when shooting at the widest 10mm setting, though this was corrected with the in-camera JPEGs. 

There is a lens profile to correct this in Adobe Camera Raw, Lightroom, and Canon Digital Photo Professional, so it isn't really an issue, but I think this is something that we can expect on all wide-angle lenses going forward as lenses get smaller and digital corrections get much better. In Lightroom looking at the RAW images, I could not tell that any corrections had even been applied.

I don't remember the vignetting or curvature of straight lines to be notable when I was framing up, so the in-camera software is likely correcting this to make the live view display look more like the processed JPEGs. These corrections should also hopefully be applied to any video footage.

Below you can see the RAW file from our R5 on the left and the in-camera processing in the JPEG hard at work on the right, to pull and stretch any vertical and horizontal lines to make them straight. It also pulls the most egregious vignetting found in the RAW file out of shot. 

The lens is very sharp, I tested this at the same time as the considerably cheaper Canon RF-S 10-18mm lens and the results were incredible, with the 10-20mm lens being clearly visibly superior. Unsurprising when the 10-20mm lens features sixteen elements in five groups, with three glass-molded aspherical (GMo) elements, one of which is UD, as well as a Super UD element to boot. It also boasts Super Spectra, Air Sphere (ASC), and Sub Wavelength (SWC) coatings.

How does this compare to the previous EF version of the lens though? Well, to find out I set up on a tripod and shot an identical scene at f/8 with both the Canon RF 10-20mm f/4L IS STM and the old Canon EF 11-24mm f/4L USM to see how they compared. While only a 1mm difference at the widest setting, the RF 10-20mm does squeeze significantly more into the frame.

Results at f/8 we found to actually be quite similar, although the newer RF version had a slightly better level of sharpness across the entire frame, with just better edge and corner clarity in the new RF model.

Canon RF 10-20mm f/4L IS STM: Sample Images

Canon RF 10-20mm f/4L IS STM: Video Performance

Video performance was very impressive with 4K footage shot using the Canon EOS R5 looking so sharp and clear. The autofocus throughout was also whisper quiet and very very fast, paired with Canon's excellent subject recognition and tracking algorithms I really didn't have to think much about the focus at all in the moment, and when checking through footage everything was pin sharp.

Image stabilization is especially good, even more so when combined with Canon's in-body image stabilization in the EOS R5. Only the R5 running the latest firmware will be able to make full use of the new Peripheral Control Image Stabilization function at launch. This is a clever bit of algorithmic technology that promises to eradicate the "Jell-O"-like wobble at the corners of the frame, which is often the result of using ultra-wides with in-body image stabilization systems.

Footage was smooth in panning and static shots, and even walking wasn't horrendous, although still not close to the level of a gimbal, it is better than a lot of other Canon lenses I have tried. The super wide angle of this lens also means using Canon's active image stabilization and its cropped footage is a lot more reasonable. 

Canon RF 10-20mm f/4L IS STM: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is excellent, at all tested focal lengths, even wide open at f/4. Corner sharpness appears much softer, however ultra-wide lenses need to be positioned very close to our large, flat test chart in order to maintain correct framing. This means the corners of the chart are much further away from the lens relative to the center, causing them to fall outside the lens's focal plane, thereby reducing the corner sharpness scores.

Fringing:

Fringing is noticeable at all focal lengths and apertures, though it's not severe.

Distortion:

Canon seems to have abandoned any efforts to reduce optical distortion in its RF-mount ultrawide lenses, instead relying on in-camera firmware corrections. With this turned off, the RF 10-20mm f/4 exhibits catastrophically bad barrel distortion at 10mm, and it's still pretty awful at 12mm. Thankfully this is very effectively ironed out by enabling in-camera distortion correction - an option which really shouldn't be turned off.

Canon RF 10-20mm f/4L IS STM: Verdict

The Canon RF 10-20mm f/4L IS STM improves on the EF 11-24mm f4L USM in every way possible – and while I won't go as far as calling it affordable, but it won't cause such a big dent in your wallet either. If you were considering buying the older EF version, getting this new version is a no-brainer, and for those who are considering upgrading, it is well worth it.

While our sample did show some vignetting at the wide end throughout the aperture range in the RAW photos, Adobe Camera Raw will be able to correct this effectively and it shouldn't be an issue. This is also negligible with in-camera JPEG processing stretching it out of shot when correcting the vertical and horizontal lines. The camera can also impressively relay the corrected image in the viewfinder, so I could frame my shots perfectly.

The RF 10-20mm lens is notably sharper across the board compared to its predecessor, I tested the Canon RF-S 10-18mm at the same time as this, and it is night and day between the quality of the two, so you definitely are getting what you pay for here! Its impressive results extend into video as well, with solid image stabilization even at full width, and great 4K footage. 

If you are a pro who needs the widest angle possible, then this is the best Canon wide-angle lens so far!

It's been 10 years since Sony first launched the A7 and A7R, the first full-frame mirrorless cameras that led the revolution and reshaped the photography landscape. 

Where has the time gone? It feels like only yesterday that Sony came out with the very first iteration of full-frame mirrorless cameras. The Sony A7 and the A7R pioneered the changing of the guard from mirrored to mirrorless. 

• Take a look at the best Sony cameras on offer today

Many in the photography community saw it as a fad that would never take off but, over the past ten years Sony has proven the naysayers wrong, leading the migration to mirrorless. 

The early focus on mirrorless camera systems thrust Sony atop the hierarchy of manufacturers, and during the last decade it has continued to develop new bodies and features for mirrorless systems. 

The ability to house the same specs as a top DSLR in a smaller and more lightweight body was the first key factor. Sony's camera systems offer top-of-the-market video and stills, and it has become one of the best hybrid camera manufacturers around today. 

During the last ten years, Sony has pushed the boundaries of photographic technology by introducing new full-frame mirrorless lines, each specializing in different areas. 

From the A7s series, which has a main focus on video and low light, to the A9 (and now A1) line that focuses on fast-paced sports and wildlife, Sony has covered all bases, providing new and exciting technology for all. You only have to take a look at these milestones to appreciate Sony's commitment to innovation:

Key milestones:

• 2013: The photographic landscape was revolutionized with the introduction of the world's first mirrorless full-frame cameras – Sony’s A7 and A7R. These pioneering models marked the start of an ongoing evolution for the Alpha series.

• 2014: In less than a year after, Sony introduced the 'S' variation, setting new standards for low-light performance at high ISO settings and 4K video recording.

• 2015: The A7R II, featuring a groundbreaking 42.4MP back-illuminated full-frame sensor, continued to redefine photography standards.

• 2017: The A9, launched in 2017, offered blackout free continuous silent shooting at an impressive 20 frames per second, giving sports photographers a competitive edge over their DSLR-shooting counterparts.

• 2020: Sony announced the A7C – the world’s smallest and lightest full-frame camera. Uncompromised performance in a compact design

• 2021: The A1, the world’s first full-frame mirrorless camera to combine a high-resolution 50.1MP sensor with 8K video recording capabilities and much more, groundbreaking for both photographers and videographers and marked a new era in professional imaging.

• 2022: The A7R V, the first Alpha camera with an AI processing chip for autofocus. The state-of-the-art AI processing uses detailed information about human form and pose estimation to dramatically improve recognition accuracy beyond systems that only detect face and eye, also includes several subject types such as animals, vehicles, and insects.    

To celebrate this decade of innovation, Sony has produced a flickbook of images that showcase how far it has come as a manufacturer of photographic equipment. They exude quality and give an example of how Sony considers its users, covering all conceivable genres. Images from Sony cameras have always felt deep and rich, with great color and sharpness. 

There is no denying that Sony has become a dominant force in the camera industry, with no signs of slowing down, and I am excited to watch how it continues to push boundaries. Happy Birthday, Sony full-frame mirrorless!

Check out the best Sony lenses, including the best Sony wide-angle lenses and best Sony telephoto lenses.

A new super-wide-angle 9mm lens to be released by 7Artisans for full-frame mirrorless cameras. 

Full-frame mirrorless cameras are to receive yet another new 9mm super-wide angle lens, this time from 7Artisans. The manual focus 9mm f/5.6 lens will be available for Sony E, Canon RF, Nikon Z, and L mounts. It shares a list of features with the new best wide-angle lenses and looks to be an exciting option for super-wide shooters. 

The 7Artisan 9mm f/5.6 is a fully manual lens, designed for full-frame cameras. Its ultra-wide angle gives a huge view of 132 degrees, ideal for landscape photography and astrophotography. An angle of view this wide can enable the user to capture more of the scene and provide a creative perspective. Despite the focal length, the angle of view does not fall into the fish-eye territory and instead, thanks to two aspherical lenses, provides quality image edges and controlled distortion.

This lens has a smooth all-metal design that makes it more durable but does not stop it from being conveniently lightweight and compact. Weighing in at 463g and with a lens length of 78mm, this lens can be used by photographers on the move, who require a lighter kit.

Another increasingly desired feature, that up until recently I had not been aware of, is the sunstar ability. This lens creates 10-point sun stars by way of its 5 aperture blades, allowing for a pleasing symmetrical light flare. The aperture itself can be used from its minimum of f/5.6 through to its max of f/22.

Other notable features include a 20cm minimum focusing distance, 70mm lens diameter, 2 ED lens elements to suppress chromatic aberration, and a de-clicked aperture ring. The de-click option for the aperture ring has been increasing in popularity, especially with manual focus lenses. It allows a smoother aperture switch when videoing reducing camera shake.

The 7Artisans 9mm f/5.6 Full-frame Wide-angle lens will be officially released on October 13, 2023, at the price of $479 | £459 | AU $749.

Sigma has revealed that its flagship telephoto Sports lens, the Sigma 70-200mm f/2.8 DG DN OS Sports, is currently in development for both L-Mount and Sony E Mount. 

The Sigma 70-200mm f/2.8 DG DN OS Sports optic is the full frame mirrorless update of the beloved trinity lens for Canon and Nikon DSLRs, the Sigma 70-200mm f/2.8 DG OS HSM Sports.

Despite the many crossed fingers of Canon RF and Nikon Z users, however, the new glass will not be making its way to EOS R or Z system cameras (at least, not yet) thanks to the severely restricted nature of the respective mounts. 

Their loss is everyone's else's gain, though, as full-frame Sony, Panasonic, Leica and Sigma mirrorless shooters get to enjoy one of the best 70-200mm lenses on the market. We called the previous version "a top-performance lens with sumptuous build quality and a mighty range of up-market, customizable features" in our review. 

Being that this is a development announcement, there is precious little information about the new optic. Here is the official word from Sigma:

"Create expressive images and capture the action in both stills and video. The built-in HLA (High-response Linear Actuator) delivers fast, quiet and accurate AF, able to keep up with fast-moving subjects. The optical stabilizer features Sigma's unique 'OS2' algorithm allowing the lens to be used easily in low-light conditions, even when shooting hand-held. 

"Continue shoot [sic] in challenging weather conditions thanks to the lens' fully weather resistant construction. Use alongside the Sigma 14-24mm f/2.8 DG DN | Art and the Sigma 24-70mm f/2.8 DG DN | Art, these three Sigma zoom lenses cover a wide range of focal lengths with a bright and consistent f/2.8 aperture." 

The Sigma 70-200mm f/2.8 DG DN OS Sports is due for release in December 2023, pricing is to be confirmed.

E-Mount shooters can check out the best Sony lenses, while Panasonic, Leica and Sigma users should take a look at the best L-Mount lenses. 

UPDATE: In addition to the lens being released on Canon RF, Nikon Z and L- Mount, the TTArtisan 500mm f6.3 lens will also be released for both X-mount and G-mount!

According to TTArtisan's Facebook account, when asked in the comment section of the lens announcement about the X-mount and G-mount, TTArtisan responded "Yes, just confirmed that there will be X-mount later" and "There will be GFX mount later". No dates have been issued for this release. 

This news comes not long after Fujifilm announce a new GF 500mm f/5.6 to their road map, scheduled for next year.  

…

ORIGINAL STORY (24 Sep 2023): There is yet another new product announcement from TTArtisan, as they release details on a new TTArtisan 500mm F6.3 super-telephoto prime lens.

Set to become one of the best budget telephoto lenses of the year, the lens will be available for Sony E-mount, Nikon Z-mount, Canon RF-mount, and L-mount. The 500mm focal length is the first telephoto lens of this range that TTArtisan has released for full-frame mirrorless bodies and provides a budget-friendly alternative to the existing mirrorless telephoto market. 

With a retail price of $369 / £409, this is a powerful lens that lowers the entry point and accessibility of super-telephoto photography. With a maximum aperture of f/6.3, it provides a relatively bright image compared with some budget rivals.

It is worth noting, however, that this lens is manual focus, therefore, not a lens designed for the tracking of fast-paced subjects. Instead where this lens may shine is with landscape, astrophotography, and slower-paced wildlife photography. The manual focus element may seem like the sacrifice for focal length and aperture, but this is not an issue for photographers pre-focusing on a subject such as a branch or a moon. 

Stability is vital for a lens of this focal length and to aid in this department, a tripod mount ring is included. TTArtisan has seemed to miss an opportunity here however as the tripod mount ring is not Arca-Swiss compatible.  

The 500mm f/6.3 Telephoto lens is optically structured from 8 elements in 5 groups - and uses a conventional, rather than mirror, design. Included in this configuration are 2 extra-low dispersion (ED) glass lenses and 2 high-index glass lenses, stated to reduce chromatic aberration and contribute to decent image quality. 

Sony E-Mount users may experience some slight vignetting when used wide open, the official press release warns - but this said not to be an issue with  Z-, RF-, and L- mount versions of the lens. 

There is a real focus on astrophotography with the promotion of this lens and it is easy to see why. The 500mm focal length pierces the night sky, enabling you to 'capture distant worlds' - and will be particularly useful for photographing the moon. The ED lenses will also control and diminish comatic aberration, a common concern in this field of photography.   

Other key features include a 3.3m minimum focus distance (10.8 feet), an 82mm front filter ring, and a 12-blade aperture diaphragm. It weighs around 1600g (57oz).

The TTArtisan 500mm f/6.3 lens is available now at the price of $369 / £409 (approximately AU$775), and is supplied with a metal lens hood and the tripod foot as standard.

After a lot of teasing, Nikon has announced the Nikon Zf – finally bringing full frame to its vintage-inspired range of digital cameras.

This comes hot on the heels of the APS-C Nikon Z fc, released in 2021, which by Nikon’s own account has been a runaway success surpassing all expectations. The market has shown a clear appetite for cameras with retro styling and manual dials aping the design of old-school film cameras, like Nikon’s own Nikon FM2, which still remains a popular choice for film fanatics today.

• Read our Nikon Zf review

Not just visually inspired by the FM2, the new Nikon Zf also takes some cues in the design, with larger dials made of brass, a fully magnesium alloy metal body with an artificial leather-covered grip, as well as a leaf shutter to replicate that nostalgic film camera shooting experience. 

Where the outside of the camera is made to hark back to simpler times, inside, it's a different story, with Nikon packing the Zf with some much the latest tech inherited from its most recent Nikon Z8 and Z9 flagship. The Zf has a 24.5MP FX (full frame) sensor, paired with the Expeed 7 processor found in the Z8 and Z9 cameras, which Nikon says offers improved autofocus algorithms, more file types, better in-camera vibration reduction, higher ISO of 64,000, and better video.

The Nikon Zf is made to shoot both color and monochrome with ease, offering a manual switch to swap between the two modes. This isn’t a dedicated monochrome sensor like the Leica M11 Monochrom, but it gives a master way to get black-and-white images without the extra editing. There is also skin softening, rich tone portraits, and portrait impression balance from Nikon’s previous cameras. The Zf can record in HEIF image format, too, which gives a greater dynamic range and more colors to play with in editing. 

Despite its retro design, the Nikon Zf features all the modern ports: USB-C for data output and in-camera battery charging, a microphone and headphone jack, as well as a micro-HDMI port. The Zf has a USH-II compatible SD card slot but, curiously, a microSD card slot as well, which Nikon seemed to suggest makes a good backup card. The body is also dust and moisture-resistant and operates down to 32°F / 0ºC.

Autofocus

The autofocus uses the Expeed 7 processor from the Z8 and Z9, which gives it the same subject tracking options including humans (faces, eyes), animals, birds, and vehicles. The Zf has a total of 299 focus points, providing an 89% by 96% coverage of the sensor. The Zf can also employ backlit AF, using different pixels for metering and focusing in bright environments, as well as being able to focus down to -10EV. 

The Nikon Zf also has a few additional tricks up its sleeve. It can use subject detection algorithms even when in manual focus or when using adapted manual focus lenses, which can help with accurate exposures based on the subject, or can be used with the new focus point VR system (more on that in a moment).

It also has pre-release capture, which starts shooting a split second before you press the shutter, so you don’t miss a special moment with a slow trigger finger, and can shoot at 7.8fps in RAW/JPEG or up to 30fps in JPEG only.

Focus point VR

New to Nikon cameras (or any camera, for that matter) is Focus Point VR, which uses the focus point to lock the in-camera VR onto that subject as you move. It isn't the most straightforward system to understand, and Nikon wasn’t forthcoming with exactly how this works (likely due to IP issues) but is likely performed by predictively moving the sensor using the camera’s IBIS so that the subject remains framed. 

Hopefully Nikon will reveal a little more of the technology behind this as time goes on, as well as add this to the other cameras in its lineup – especially the Nikon Z8 and Z9, as this sounds like it could be a significant breakthrough in image stabilization if it works.

The Nikon Zf can achieve up to 8 stops of VR (vibration reduction, Nikon's term for in-body image stabilization) with compatible lenses and can use Nikon’s Synchro VR. Finally, the VR system can be used to create pixel shift images by taking 4, 8, 16 or 32 images and combining them into one higher megapixel image. Nikon was unclear of the exact size during the briefing, but tentatively floated around 150MP.

Video

The Nikon Zf offers video in 4K 30p, 4K 60p, FullHD 120p, and has 8-bit or 10-bit 4:2:2 recording. It can record for up to 125 minutes before cutting out for excess heat. 

For serious videographers, the Zf also has a number of key features including focus peaking, zebra stripes, waveforms in live view, a red REC border, fine ISO control, and Nikon’s enhanced video info display. The Zf is also capable of recording 24-bit PCM sound via compatible recording devices.

Availability

The Nikon Zf goes on sale in mid-October and will cost $1,999 / £2,299 / AU$3,499 for the body only. The Zf will be sold in two kits, the first with the Nikon Z 40mm f/2 SE lens for $2,236 / £2,519 / AU$3,999, and the second with the Nikon Z 24-70mm f/4 S lens for $2,599 / £2,849 (AU availability to be confirmed).

The Nikon Zf will widely be available in a black colorway but, if ordered directly from the Nikon store (or other partnering retailers), you can find exclusive colored leather options. Nikon will also be holding a promotion at launch with an additional grip from Smallrig in select markets, so look out for that.

Check out our top picks for the best Nikon camera and the best Nikon lenses. Or if you are missing the days of film, then check out our guide for the best retro camera.

Blackmagic Design has just unveiled its most powerful, portable creation ever: the Blackmagic Cinema Camera 6K. This innovative digital film camera is the first in its compact range to boast a full-frame 6K sensor, and the first Blackmagic camera to feature the L-Mount. With an impressive set of features and an even more impressive price tag, this 6K camera is gearing up to redefine professional standard video cameras.

Some of the best cinema cameras offer incredibly high-end features in bodies you can hold in your hand. Gone are the days when you need bulky bits of camera to record professional-looking footage for the big screen, and Blackmagic’s latest release is all the proof you need. With 13 stops of dynamic range, dual native ISO of 400/3200 increasing to 25,600, CFexpress storage, a built-in optical low pass filter and a massive 24 x 36mm 6K sensor with a 3:2 ratio, the Cinema Camera 6K is a high-performing, versatile system. 

• Check out the best 8K and 6K cameras, perfect for shooting high-res professional video

Its sensor is three times larger than the Super 35 sensor found in the Blackmagic Pocket Cinema Camera 6K, which accommodates a shallow depth of field and anamorphic lenses without cropping. It also enables shooting in a wide range of film formats such as  6K 3:2 open gate at 36fps, 4K DCI at 60fps, Super 35, Super 16, and true 6:5 anamorphic in 4.8K at 24fps, which is a much higher resolution than other cameras. Its USB-C expansion port enables direct recording to external flash media disks or an SSD, perfect for recording full-resolution 12-bit Blackmagic RAW files.

With its dynamic range and dual native ISO the camera excels in low-light conditions, and it is able to deliver precise skin tones and rich organic colors. The optical low-pass filter enables it to record around artificial lights without producing moire fringes, which is increasingly crucial for professional videographers. 

While the built-in NDs found on the Pocket Cinema Camera 4K are missing, it's for good reason: the depth of the L-mount lens was too shallow to physically fit them, and Blackmagic went with the assumption that those needing to use filters would use screw-on ones. 

The move to L-Mount means that the Cinema Camera 6K can accommodate full-frame lenses from Leica, Panasonic, Sigma and more. Its short 20mm flange distance means it works with a wide range of mount adapters, including the crucial Canon EF and PL mount. 

A large 5-inch HDR touchscreen display is ideal for framing and focusing under varying conditions, with on-screen overlays providing essential information, while 3D LUTs enable monitoring with the desired color and look. The display boasts 1500 nits of brightness, which means even in super-sunny conditions you can see what you’re filming. 

For outdoor and handheld shooting precision, the camera supports an optional viewfinder with a high-quality 1280 x 960 color OLED display, a built-in proximity sensor, and a focus adjustment range of -4 to +4.

You might be thinking that it looks a lot like the Pocket Cinema cameras. Well, that’s because it basically is – on the outside, anyway. It’s the same size and weight (almost), it uses the same NP-F570 battery, and you can even use all the same accessories – but it’s what's on the inside that makes this camera an entirely different species. 

"This is a true high-end cinema camera designed for high-end work and we think it gives our customers a whole new way to tell their stories," said Grant Petty, CEO of Blackmagic Design. 

With prices starting at $2,595 / £2,119 / AU£4,021, this is a seriously good value bit of kit that we imagine is going to be sought after by independent filmmakers looking to shoot professionally. Its compact form and range of impressive features make it one of Blackmagic's most exciting releases, maybe ever, and we can’t wait to get our hands on one for testing. 

Check out some sample footage from the Cinema Camera 6K here

See how it compares to the best Blackmagic cameras in Super 35 and Micro Four Thirds formats, and check out the best cameras for video for a range of mirrorless systems, phones and more.

Canon has launched its first-ever cine lenses for its RF mirrorless lenses - and instead of starting with just one or two, Canon has unveiled no fewer than seven different lenses in the new series - which debut at IBC 2023 later this week.

Canon is not new to cinema lenses. It already makes seven CN-E lenses for the Canon EF SLR mount - and has a further seven lenses in its Sumire lens for the industry-standard Arri PL-mount. But now the seven primes have been reconfigured for the RF full-frame mount. This new CN-R range will be of particular interest to those using the two current RF-mount Cinema lenses in the Canon range - the EOS C70 and the EOS R5 C.

The seven lenses are a 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3, and a 135mm T2.2.

The lenses offer optical performance that is suitable for 8K productions, and feature geared rings for use with third-party follow focus rigs. The gear position, total length1, front diameter, filter diameter and focus rotation angle have been made consistent through the Prime Lens series to simplify the use of accessories.

All seven lenses feature 11-blade diaphragms and are said to have minimal focus breathing. The 12-pin RF-mount promotes efficient communication unlocking benefits like distortion correction in movie mode.

The first four of the lenses - the 20mm, 24mm, 35mm and 50mm - go on sale in Feburuary. With the following three arriving in the following months (see table above for exact launch dates). They are priced from $3,950 - $4,220 each.

• Pre-order the Canon CN-R Cinema Prime lenses at BHPhoto

More leaked details are surfacing regarding the rumored new Nikon Z f. Ever since Nikon launched the retro-styled Z fc, a full-frame version was likely, making it a potential successor to the 10-year-old Nikon Df; the company's last (and only) full-frame DSLR to receive classic film camera styling.

The latest news from Mirrorless Rumors suggests the Z f will launch on September 20th, with a price tag of $1,999/2,500 Euros. The source suggests retail examples will begin shipping by the end of the year.

Other technical specifications have also been leaked, but since we can't verify the reliability of the original source, take these with a pinch or two of salt. The Z f is rumored to have a 24.4MP sensor, with a sensitivity range of ISO 100-64000, and a continuous shooting speed of around 30fps.

Given the old Nikon Df recycled much of its internals from the D4, and the Z fc is basically a Z 50 in a more stylish body, we'd expect a Z f to borrow heavily from an existing full-frame Nikon Z camera. In terms of price and sensor resolution, the obvious candidate would be the Z 6II, but judging by the rumored specs, the Z f may be more than just a Z 6II clone. The rumored 30fps maximum burst shooting speed of the Z f is significantly higher than the 14fps of the Z 6II, and the stated maximum ISO 64000 native sensitivity also beats the Z 6II.

Of course there could be an entirely new sensor at the heart of the Z f, as its alleged 24.4MP resolution doesn't quite match the 24.5MP of the Z 6II. The leaked specs go on to state that the Z f will have "Improved AF compared to Z 5/Z 6II", though this could simply be a result of tweaked firmware.

Other specs suggest the Z f will measure 144x101mm and weigh in at 700g. This makes it a little wider than the Z 6II, but otherwise the two cameras are very similar. From leaked images we can see that the Z f adopts a similar control layout and styling cues to the Z fc. Like its APS-C sibling, the Z f can be seen with a vari-angle rear display, along with a small LCD top panel screen for displaying the current lens aperture. The Z f adds a more ergonomic front grip though, and build quality is apparently better. As yet only a black version has been pictured, but we'd be surprised if Nikon didn't capitalize more on the camera's aesthetics by releasing other color variations.

Additional rumored specs:

• 4K 60p capable
• Compatible with USB-C Power Delivery
• Powered by a EN-EL15 battery
• Z logo moved left
• Dual memory card slots
• Pixel shift shooting

Read more:

The best Nikon cameras
The best Nikon lenses
The best portrait lenses for Nikon users
Best superzoom lenses for Nikon DX DSLRs

Sony has today announced a new 61-megapixel full-frame E-mount mirrorless camera with a difference. This ultra-compact design is stripped to the bones in terms of weight and size to make it suitable for industrial applications including drones, inspection devices and photogrammetry.

The Sony ILX-LR1 is built around a back-illuminated Exmor R CMOS imaging sensor and Sony's BIONZ XR processors which have the capability to deliver images continuously at up to three frames per second for an extended period of time (over 2 hours, Sony told me). This makes the body perfect for aerial mapping missions which require high resolution, flexibility of lens choice, and access to a mechanical shutter. 

The camera body is just 74 x 100 x 42.5mm in size, with screw mounts front, back, side, top, and bottom for fitting to different frames (as well as a standard UNC 1/4in tripod mount). 

The back sports the typical Sony control wheel and buttons, and of course a memory card slot, but with no screen the display comes either via USB-C DisplayPort or MicroHDMI. It can draw power from a 10-18V connection, so a drone build – for example – need not hoist up a separate battery inside the camera.

The other key feature is the Sony Camera Remote SDK. The camera has an API integrated into it, making remote control of the camera easy – changes to camera settings, shutter release, live view monitoring, focus data and more. 

While some full-frame box cameras, like the Panasonic BS1H, are more focused on video (and Sony has options there too) the choice of a stills-centric sensor gives this some specific purposes. The real flexibility comes via Sony's Power & Control Terminal, which may be familiar to drone and other industrial product engineers.

Drone mapping, in which remote camera operation can be built into the camera support, is a good example. Compared to a typical 15-megapixel sensor resolution, the camera can capture 4 images worth of mapping data in one frame from a higher altitude. This has the potential to save time not only when shooting but also by reducing stitching overlap and so, by extension, processing time. The camera is also lighter than its equivalents, and lowering payload weights buys flight time.

There are other uses for the ILX-LR1 thanks to Sony's SDK. Car fleet operators need linked high-resolution cameras for vehicle exterior inspection, for example. The cameras can make great timelapse devices, too, and their size makes them ideal to build into Holywood-grade photogrammetry photobooth devices (in other words, a room of cameras that record appearance in 3D).

Sony's professional Digital Imaging Solutions has been building the company's SDK for some time, so it is already possible to find able programmers and know many issues have been addressed. Sony's free SDK for drone operations is available for Linux, Windows, and Mac and uses C++. It doesn't require the use of Sony's own Airpeak drone either (though this camera will undoubtedly extend flight times with equivalent lenses on that drone).

Sidestepping a professional concern in America, Sony is producing the camera in their Thailand facility.

To get your hands on the ILX-LR1 (and the SDK)  you'll need to go via Sony's professional distributors, where it will retail for $2,950.

What is photogrammetry and why do we need to know about it?
Best camera drones in 2023

Does anyone at Sony sleep? It feels like Sony is never content to just take a moment and sit and reflect on its enormous success. Only a few weeks after launching the Sony a6700, which itself was hot off the heels of the three other major cameras Sony has already put out this year, Sony is back with the big brother of the a6700, in not one, but two sensor sizes – with the Sony A7C II and Sony A7C R.

Sony A7C II

If you follow Sony cameras closely then the specs of the new A7C II won’t come as much of a surprise as these are all components or features Sony has debuted in previous models such as the Sony A7R V or Sony ZV-E1, however, the A7C II combines all this latest Sony tech into the only camera in its range that ticks all the boxes of a compact form factor, a viewfinder, and a full-frame sensor.

Sony has gone with a 33MP BSI Exmor R sensor for the A7C II, combining this with its now tried-and-tested Bionz XR and AI processor combo which is a bump from the 24MP sensor in the prior version. Sony promises that this processor will make the A7C II up to eight times faster at processing images than the A7C, and enable the camera to shoot up to 10fps with continuous autofocus and autoexposure, and with a buffer of 1000+ JPEGs, 44 RAWs, or 20 RAW and JPEGs. 

The A7C II is also able to create in-camera focus-stacked images of up to 299 frames. When it comes to ISO, the A7C II settles on Sony’s current standard of 100 - 51,200 (expandable to 102,400).

The body has been slightly redesigned from the original model, although you might have to look hard for the changes. Sony claims the new body is now more ergonomic, with a new front command dial and additional custom button. If you are getting deja vu and thinking this camera looks oddly familiar, yes, this is pretty much the same design that debuted on the APS-C-equipped Sony a6700 just a few weeks ago.

The rangefinder-style EVF remains, with a 2.36 million OLED dot resolution and a 0.7x magnification, which is a small but welcome improvement in magnification over the A7C, which didn’t have the best viewfinder experience going. The camera itself has 759 phase-detection points which cover 94% of the sensor and can focus down in low light down to -4.0EV (which is one more stop than A7C).

On the rear, there is a 3.0-inch 1.03 million dot touchscreen panel that uses Sony’s latest and much-improved touchscreen interface with quick menus. The A7C II has again been stuck with just the one SD UHS-II card, which is bound to annoy some users, the SD slot is thankfully on the side though, and not under the battery, alongside HDMI, headphone, microphone, and USB-C ports.

Very much a hybrid camera aimed squarely at creators, the A7C II offers a range of video options, topping out at 4k60p video. The camera is also capable of 4k30p with oversampling down to FHD video in 120p, and the usual shooting options are present, with 10-Bit 4:2:2, S-Cinetone and S-Log for a more controlled post-production workflow.

The A7C II has up to 7-stop in body image stabilization for still and video, as well as Sony’s Active Stabilization for video recording which applies a slight crop to the image. 

The A7C can also pull off all the tricks from Sony’s other recent cameras including Auto Framing, in-camera LUTs, soft skin, focus-breathing correction, and four-channel audio recording.

Sony A7C R

The Sony A7C R feels very much like Sony taking a punt on a build-it-and-they-will-come strategy. The A7C IIR is the exact same body as the A7C II, except Sony has decided to switch out that camera’s 33MP sensor for the 60MP one from the Sony A7R V - making this onto the list of the highest-resolution cameras you can buy. Is this a camera many people were asking for? Who knows, but here we are.

The 60MP sensor in the Sony A7C R is again combined with the Bionz XR and AI processor. In an interesting twist on the formula, this sensor now has multiple resolutions, which means that the Sony A7C R can shoot 15, 26, or 60-megapixel images using the full width of the sensor through pixel binning, not by cropping the image. This is something that Leica has used on its most recent Leica M11 cameras to very good effect. The A7C R is also able to use its IBIS to create Pixel Shift images that are even larger, should really need it. 

Most of the specs for the A7C R follow that of the lower resolution A7C II, with a few notable exceptions due to the increased pixel size of that 60MP sensor. On the A7C IIR, the ISO caps out at 32,000 (64,000 expandable), the shutter speed is also slightly slower at just 8fps with continuous autofocus and autoexposure, and the sensor has a reduced 693 AF points that only cover 79% of the sensor. When it comes to video, the A7C IIR is also capable of 4K60p, but this time with a 1.2x crop, 4k30p and below however can use the full width of the sensor.

Pricing and availability

Both cameras will be available around mid-September, but preorders are starting now at most retailers. The A7C II will cost $2,299 / £2,100 / AU$3,499 for the body only, or $2,499 / £2,350 in a kit with the Sony FE 28-60mm f/4-5.6 lens (Australian pricing for the kit is TBC). 

The A7C R however, will cost a much steeper $2,999 / £3,200 / AU$4,999 for the body alone. 

Both cameras are available in all black, or black and silver finish like the A7C. Speaking of which, apparently the A7C is staying on the market for the time being, but with retailers clearing space for these new model, it might soon be possible to pick one up at a discounted price.

Tamron is launching a Nikon Z-mount version of its extraordinary 35-150mm f/2-2.8 Di III VXD zoom lens, which it first introduced for Sony mirrorless users at the end of last year. The lens (which Tamron announced was in development a month ago) is remarkable for its super-wide f/2 maximum aperture at its widest end, and which even at its telephoto end still offers a fast f/2.8 setting.

When we reviewed the Tamron 35-150mm f/2-2.8 Di III VXD we noted that its zoom range and its variable maximum aperture made this lens a perfect fit for wedding and event photographers. But its credentials make it a tempting offer for almost any type of photography where you need to the wider aperture to maintain shutter speeds, or to compensate for low light.

The lens will equally suitable for use on an APS-C DX camera body, such as the Nikon Z50, where it will give an equivalent focal length range of 53-225mm.

The specification for the Nikon Z lens looks unchanged, other than the wider mount makes it an ounce (25g) heavier.

Specifications

Mount: Nikon Z
Tamron product number: A058Z
Full frame: Yes
Image stabilization: No
Autofocus: Yes
Lens construction: 21 elements in 15 groups
Angle of view: 63.4-16.4 degrees
Diaphragm blades: 9
Minimum aperture: f/16-22
Minimum focusing distance: 0.33m (W) 0.85m (T)
Maximum magnification ratio: 0.18x (W) 0.17x (T)
Filter size: 82mm
Dimensions: 89x158mm
Weight: 42oz / 1,190g

Price and availability

The 35-150mm will be Tamron's second lens for the Z-mount - following on from the Tamron 70-300mm f/4.5-6.3 Di III RXD. Tamron is the only third-party lens manufacturer offering autofocus lenses for the Nikon mirrorless mount.

The Nikon-mount version of the zoom will go on sale from September 21 for US$1,999 / £1,799.99.

See our guide to the best Nikon Z lenses available 

Update, September 12th: The initial announcement of the 17-50mm F/4 Di III VXD suggested a fall/autumn launch for the lens. Photo Rumors now reports that the lens is set to launch on October 19th 2023.

Tamron has announced that it is developing a 17-50mm f/4 lens for Sony full-frame mirrorless cameras. The 17-50mm F/4 Di III VXD will be the 16th lens in Tamron's impressive range of options for the Sony E-mount.

With a constant f/4 maximum aperture, the wide-angle zoom will be a great option for travel and for everyday shooting - offering a useful alternative to a kit lens. 

Full features for the FE-mount lens have yet to be revealed, but we do know that the closest focusing distance will be 0.19m (7.5in) at the widest end and 0.3m (11.8in) at 50mm. The lens will have a 67mm filter thread - which is the same as found on the majority of its other Sony-fit Di III lenses.

The lens will use Tamron's VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism which boasts "superior quietness and agile performance and achieves high-speed and high-precision autofocus". 

The lens maintains the same physical length when being zoomed - this internal zoom mechanism becomes particularly useful when using the lens on a gimbal stabilizer, so that this does not have to be rebalanced when you change focal length. The new lens, however, will not offer image stabilization (or Vibration Compensation, as it is known on Tamron lenses)

Other known features include that it will be compatible with Tamron's Lens Utility, allowing you to tweak certain lens features from your computer using a USB cable. The zoom will have a moisture-resistant construction - the number of seals is as yet unknown - and there will be a fluorine coating on the front element.

There are no direct equivalents to this lens in Sony's own line-up - the closest competitor probably being the Sony FE 20-70mm f/4 G.

Pricing has yet to be announced, but we will bring you this along with the lens's full specification, when it is fully launched this autumn.

Other Tamron Sony-fit lenses

• Tamron 70-180mm f/2.8 Di III VXD review
• Tamron 28-200mm f/2.8-5.6 Di III RXD review
• Tamron 70-300mm f/4.5-6.3 Di III RXD review
• Tamron 28-75mm f/2.8 Di III RXD review
• Tamron 17-28mm f/2.8 Di III RXD review
• Tamron 20-40mm f/2.8 Di III VXD review
• Tamron 150-500mm f/5-6.7 Di III VC VXD review
• Tamron 35-150mm f/2-2.8 Di III VXD review
• Tamron 50-400mm F/4.5-6.3 Di III VXD review

I firmly believe that the Canon EOS R8 is a great camera for enthusiasts. It takes the compact, light and user-friendly body of the old EOS RP, but crams in pretty much all the high-tech processing, autofocus and video tech of the much bigger Canon EOS R6 Mark II.

The EOS R8 is not the cheapest full-frame mirrorless camera in the Canon range – that's the RP. But the R8's combination of power and performance at a still very affordable price make it one of the best Canon cameras today. There is one thing, however, that the R8 does not have: in-body stabilization.

That's hardly a huge price to pay, but it does mean you should be a little more selective when choosing lenses. So I've given priority to optics that include lens-based image stabilization, though I wouldn't rule out non-stabilized glass entirely. The R8 has excellent noise control and I wouldn't hesistate to ramp up the ISO to get 'safe' shutter speeds in poor light.

Other things I’m looking for in this selection are affordable pricing and lightweight. The EOS R8 itself is a pretty inexpensive camera for what it offers, and is extremely light and compact, so I reckon R8 owners will look for similar qualities in the lenses they choose to go with it. These, then, are my picks for the best lenses for the Canon EOS R8…

Best lenses for the EOS R8 

Best first lens for the R8

It's not hard to find compact full-frame mirrorless cameras like the EOS R8, but it can be hard to find a kit lens that matches the size of the body. That's where the Canon RF 24-50mm f/4.5-6.3 IS STM comes in.

Like a whole series of compact retracting kit lenses from other makers, it does compromise on zoom range and maximum aperture, but it does give EOS R8 owners a walkaround kit lens that is as compact and light as the camera itself. The 2x 24-50mm zoom range means you lose out a little for longer focal lengths, and the f/4.5-6.3 maximum aperture range is on the mean side too, but this is an inexpensive and lightweight lens that delivers better optical performance than you might expect.

If you're considering getting an EOS R8, then for the small additional outlay, this compact kit lens is practically a no-brainer. One word of warning, though – like many modern lenses, this one relies on digital corrections. These happen automatically with in-camera JPEGs, but with raw files you'll need raw software that has a suitable correction profile. Lightroom does, for example, while Capture One does not.

Read more: Canon RF 24-50mm f/4.5-6.3 IS STM review

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Best everyday lens for the R8

If the Canon RF 24-50mm f/4.5-6.3 IS STM doesn't offer the range you need, take a look at the Canon RF 24-105mm f/4-7.1 IS STM instead. The f/4-7.1 maximum aperture might look a little mean, but the built-in IS is very effective and helps make up for that. The advantages of this lens are its low cost, light weight, compactness and unexpectedly good image quality.

There is a more expensive Canon RF 24-105mm f/4L lens you might want to consider, which offers Canon's L-series build and image quality – but it costs more than twice as much, and is a bigger lens that might not balance quite as well on the compact EOS R8 body.

Read more: Canon RF 24-105mm f/4-7.1 IS STM review

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Best wide-angle lens for the R8

One of the great things about the Canon EOS R system is that it includes a lot of very affordable non-professional lenses which are also rather good. The Canon RF consumer lenses are significantly cheaper than those from other brands. This makes the ultra-wide Canon RF 15-30mm f/4.5-6.3 IS STM especially effective.

This would make a great lens for travel, interiors and landscapes, combining very wide angles of view with lightweight build with a very competitive price for a full-frame lens of this type. It even has image stabilization built in, which will be an advantage on the EOS R8, which doesn't have IBIS. The maximum aperture is a little limited at f/4.5-6.3, but it's easy to forgive that given this lens's price and portability.

Read more: Canon RF 15-30mm f/4.5-6.3 IS STM review

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Best telephoto lens for the R8

The fast burst speed and powerful AF of the EOS R8 make it a great camera for sports and wildlife photography, and Canon has just the lens for this. The Canon RF 100-400mm f/5.6-8 IS USM has a 4x zoom range, which is great when shooting subjects at varying sizes and distances, and while the maximum aperture range is modest, especially at 400mm, this helps keep the lens light and portable – and affordable too.

There's no weather sealing, so if you do expect to be standing in rain-soaked fields for hours on end waiting for wary wildlife, it might be wise to save up for one of Canon's premium L-series telephotos instead. But for casual animal or sports fans, this is a terrific 'starter' lens to help develop a hobby.

Read more: Canon RF 100-400mm f/5.6-8 IS USM review

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Best super-telephoto lens for the R8

Canon did get a bit of criticism when it launched this lens and its companion 800mm f/11 optic. It's the fixed f/11 aperture that caused all the controversy, with many users assuming it would be way to dim for usable shutter speeds. Not at all! This is a lens that you have to try in order to appreciate it.

On a DSLR that f/11 aperture would produce a very dim viewfinder image, but a mirrorless camera like the EOS R8 has an electronic viewfinder that responds automatically to produce an image as bright as if you were using a much faster lens.

The stabilization is very effective and the optical quality is very good too – and where else will you get a 600mm supertelephoto prime at this price? The Canon RF 600mm f/11 IS STM is not exactly small, but it's very light for a lens of this focal length and can be used handheld without straining your arms.

Read more: Canon RF 600mm f/11 IS STM review

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Best street photography lens for the R8

Prime lenses are making a comeback. This is especially true for full-frame cameras like the EOS R8, where the larger sensor size inevitably means that zoom lenses are pretty big too. And amongst prime lenses, the 35mm focal length is one of the most popular, especially for fans of travel and street photography, where its semi-wide angle of view is ideal for a range of subjects. The Canon RF 35mm f/1.8 Macro IS STM also has a fast f/1.8 maximum aperture ideal for low-light shooting in bad weather, in dark interiors or at night.

It goes further than other 35mm prime lenses, though, but adding image stabilization (though we don't find this as effective as Canon claims) and a half life-size 'macro' capability that lets you focus much closer than normal with this kind of lens. Best of all, the RF 35mm f/1.8 Macro IS STM is not expensive, and it's small enough and light enough to easily carry in a pocket or a corner of your camera bag.

Read more: Canon RF 35mm f/1.8 Macro IS STM review

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Best 50mm lens for the R8

A 50mm lens is reckoned to give a field of view closest to that of the human eye and is often suggested as the best 'standard' lens. Be that as it may, camera makers have long included an inexpensive 50mm f/1.8 lens in their line-ups, including Canon. There's nothing cheap about the build quality or the optical performance of the Canon RF 50mm f/1.8 STM, though. It has a metal mounting plate, smooth controls and a recessed front element that means you don't need a lens hood – which is just as well because, as with so many of its lower cost lenses, Canon makes you pay extra to get one.

This lens has no image stabilization, but then we wouldn't expect it in a 50mm prime lens. What it does have is a compact, lightweight design, strong optical quality and a price tag which makes it hard to resist.

Read more: Canon RF 50mm f/1.8 STM review

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Best portrait lens for the R8

If you're a wedding, events or portrait photographer, an 85mm 'portrait' lens is bound to be on your shopping list, ideally one with a maximum aperture of f/1.4, or f/1.8 if necessary. The Canon RF 85mm f/2 Macro IS STM looks like it falls slightly short in that respect, but honestly, even at f/2 the depth of field is extremely shallow, with terrific background blur. Besides, this lens has another trick up its sleeve – a 0.5x close-focusing 'macro' capability that means you can be photographing the bride and groom one moment and a close-up of the ring the next, and without swapping lenses.

The RF 85mm f/2 Macro IS STM is more versatile than the average 'portrait' lens, then. It's also a lot lighter and cheaper and, thanks to its in-built image stabilization, a great companion for the EOS R8.

Read more: Canon RF 85mm f/2 Macro IS STM review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. Levels of sharpness are very good for all of these lenses, although the RF 24-50mm and RF 100-400mm zooms lag a little behind some of the others. There’s fairly little color fringing in all cases. As with many lenses designed for mirrorless cameras, some of these rely heavily on automatic in-camera correction for distortion, which effectively takes care of any issues.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion. Bear in mind that these average values don't fully reflect specific areas of performance.

For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

How to choose the best lens for the Canon EOS R8

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How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

It looks like a full-frame version of the Nikon Z fc – likely called the Nikon Zf – is about to be launched. And according to a new report, the camera is "about as ergonomic as a brick".

If true, perhaps this shouldn't come as a surprise. While the Nikon Z fc has been one of the company's most popular cameras since it launched, it was nowhere near as chunky as the body to which it paid homage: the classic Nikon Df. 

With its APS-C sensor, the Z fc is slim and svelte and designed to do battle with the best retro cameras from the likes of Fujifilm and Olympus / OM System. However, the original Nikon Df on which it is based – a retro-styled full-frame DSLR from 2013 – was quite a beast. 

So it might make sense that the Nikon Zf, a full-frame mirrorless version of the Df, would likewise have a little meat on its bones. "It had the feel of almost a GFX 50R to the extent that it was about as ergonomic as a brick," said a source quoted by Nikon Rumors, who claimed to have handled the camera.

"It used a very similar grip on the front to the one of the Df. It has a fully articulating screen, but not in the GH6 / A7R V style." The latter could be alluding to a rear screen with a four-way tilting mechanism, similar to the Nikon Z8 and Nikon Z9. 

Nikon Zf specs

The rear screen might not be the only nod to the flagship Z8 and Z9. According to the same source at Nikon Rumors, the company representative said that the sensor inside the Nikon Zf is the same one used by the flagships – that being a 45.7MP stacked, back-side illuminated (BSI) sensor.

On the one hand, this would make some sense; the original Nikon Df used the same sensor as the then-flagship Nikon D4, after all, so this could be a case of history repeating. However, the source also claimed that the camera will sell for $1,999 (approximately £1,555 / AU$2,979) – which would be an extraordinary price for flagship tech. 

It's possible that the rep said the camera has the same resolution as the Z8 and Z9, which could have been conflated for having the same sensor. What seems much more likely – and is being reported by Nikon Rumors – is that the camera will have the same sensor as the Nikon Z7 II, which is also 45.7MP BSI but is not stacked.

It will reportedly have autofocus on par with the Z7 II, though will only carry a single memory card slot. The body is said to carry "a small LCD screen on top for aperture display", along with a "new third function on the sub-lever of the shutter speed dial (besides photo/video) for B&W mode", as well as "a little grip / bump like the Nikon Df".

By all counts the camera is being announced in August, so more leaks and official word should be forthcoming soon.

Check out the best Nikon cameras that the Big N has to offer right now. And if this has got you jonesing for genuine retro goodness, take a look at the best DSLRs around today.

The Sony A6700 is the company's flagship APS-C camera, while the A7C is its cheapest full frame model. Both are hybrid stills/video cameras designed for content creators who need to shoot both types of content. 

The Sony A6700 is packed with power but uses a smaller sensor, while the Sony A7C has less sophisticated video features but a bigger full frame sensor. It's a tricky decision! Our Sony A6700 vs A7C comparison drills down into all the key features and differences to help you decide which camera might be best for you.

Hybrid cameras are big news these days, and the new Sony A6700 has all the qualifications to be amongs the best hybrid cameras you can buy right now. Alternatively, the Sony A7C, while not our favorite camera for handling or cutting edge tech, is still one of the best Sony cameras for beginners and, with its retracting 28-60mm kit lens, is worth considering amongst the best cameras for travel.

The reason we're comparing them, and why we think many buyers will too, is quite simple – price. The Sony A7C is only a little more expensive than the A6700, but brings all the benefits of a full frame sensor – better sensitivity and dynamic range, less noise and the potential for shallower, more 'cinematic' depth of field. 

There are also many more full frame Sony FE mount lenses than there are APS-C E-mount optics, and while you can of course fit full frame lenses on the A6700, this will bring a 1.5x crop factor which restricts their angle of view.

So let's take a much closer look at these cameras' key features and how they compare in order to see where their strengths lie and which might be best for different types of users.

Sony A6700 vs A7C in 2026

1. Sensor/processor

• Sony A6700: 26MP APS-C back-illuminated Exmor R CMOS image sensor with BIONZ XR
• Sony A7C: 24MP full frame back-illuminated Exmor R CMOS with BIONZ X

The AP-C sensor in the A6700 is a more modern design and in fact has a slightly higher resolution, though this won't have any real practical implications for either stills or video. The key difference here is the sensor size. The larger sensor in the A7C is likely to deliver just a little less noise at higher ISO settings and perhaps a small advantage in dynamic range. 

The main factor, though, is that bigger sensors use longer focal length lenses to achieve the same angles of view, and this brings shallower depth of field. If that's the look you like, the A7C will do it just a little better.

And while Sony has, to its credit, continued to develop its APS-C lens range alongside its full frame optics, the Sony A7C does offer a somewhat wider lens choice.

2. ISO range

• Sony A6700: 100 to 32000 standard range, exp ISO 50 - 102400 for stills
• Sony A7C: ISO 100-51200, exp ISO 50-204800

The advantages of the larger full frame sensor in the A7C are reflected in its higher ISO range. The APS-C Sony A6700 tops out at ISO 3200 (this can be expanded to ISO 102400 for stills), but the A7C goes higher still at ISO 51200 in its standard range and ISO 204800 expanded. With the A7C, Sony said it concentrated on noise control in the middle ISO range.

3. Autofocus

• Sony A6700: Still images: Max. 759 points (phase-detection AF) Movies: Max. 495 points (phase-detection AF), AI processing unit from A7R V, human, animal, bird, insect, car/train, and airplane recognition for both stills and video
• Sony A7C: 693 phase-detection AF points cover approx. 93% of the image area, same AF advancements as Sony A9, AI-based Real-time Tracking and Real-time Eye AF, Real-time Eye AF for Animals

Sony's autofocus advances continue at breakneck speed, and the Sony A6700 now has the dedicated AI processor first introduced in the Sony A7R V. This allows AI subject recognition for all kinds of common objects including humans, animals, birds, insects, cars/trains, and airplanes. It also has a huge number of phase detect AF points – 759 for stills and 495 for video.

The A7C does not have this sophisticated AI AF, but it's no slouch. With 693 phase detect AF points of its own, covering 93% of the frame area, it uses AI-based Real-time Tracking and Real-time Eye AF for humans and animals. It doesn't have the same subject recognition, but it does use Sony's clever distance/pattern based tracking tech that may prove perfectly effective in its own right, depending on your subjects and shooting style.

4. Video

• Sony A6700: 4K 30/60p from 6K oversampling, up to 120p (38% crop), 4:2:2 10-bit internal recording, 14+ stops dynamic range (S-Log3) , S-Cinetone picture profile, AI-driven Auto-Framing (cropped from 4K resolution)
• Sony A7C: 4K 30p oversampled from 6K, up to 120p FHD in S&Q mode, 4:2:0 8-bit internal recording, 4:2:2 8-bit via HDMI, 15 stops dynamic range (S-Log3)

This is where the Sony A6700 streaks ahead. We thought when the A7C was launched that its 4K 30p maximum was a bit pedestrian, and it looks even more so now. Both cameras capture full-width 4K video oversampled from 6K capture, but while the A7C is stuck at 30p, the A6700 can also capture at 60p and, with a crop, 4K 120p.

The A6700 is also better for color grading. Both cameras offer Sony's S-Log3 capture, but the A7C is limited to 4:2:0 8-bit capture, while the A6700 can record 4:2:2 10-bit internally, which offers more data for effective color grading. The A7C has a slight dynamic range advantage in S-Log 3 mode (15 stops vs 14+ stops), but any difference might be hard to spot.

The Sony A7C looks fine if 30p 4K capture is enough and you don't do too much color grading, but the A6700 is a much more powerful camera for serious filmmakers.

5. Stabilization

• Sony A6700: 5-axis IBIS, 5-stop of compensation, Active Mode DIS (slight crop)
• Sony A7C: 5-axis IBIS, 5-stop compensation

Both cameras have 5-axis in-body stabilization, both rated at 5 stops of compensation, so there's no clear winner here. The Sony A6700 does have Sony's Active digital stabilization mode to offer extra shake reduction, though this does come with a crop factor. The A7C does however, uses Sony's gyro stabilization system, and its own Catalyst video software can use this to apply digital anti-shake – though it does mean an extra step in your editing workflow.

6. Continuous shooting

• Sony A6700: 11fps, JPEG Fine/Standard: over 1000 frames , raw: 59 frames
• Sony A7C: 10fps, 223 JPEG, 115 raw

You probably wouldn't choose either of these cameras specifically for shooting sports and action, but they both do it pretty well. The A6700 can shoot slightly faster at 11fps, but the 10fps of the Sony A7C is so close you probably won't notice much difference.

But while the A6700 has a better buffer capacity when shooting JPEG images, the A7C has a higher capacity for raw files, with the potential to capture a 10-second burst without slowing.

7. Viewfinder and screen

• Sony A6700: 0.39-inch, 2,359k dot EVF, 0.7x magnification, 3-inch vari-angle touchscreen, 1,036k dots
• Sony A7C: 0.39-inch, 2,359k dot EVF, 0.59x magnification, 3-inch vari-angle touchscreen, 921k dots

There's no difference in the resolution of the electronic viewfinders on these two cameras, but a closer look at the specs reveals that the A7C has a significantly lower magnification, and many reviewers have commented on the rather cramped viewfinder. The higher magnification of the A6700's EVF is a definite advantage.

The rear screens are much more similar. Both cameras have 3-inch vari-angle flip-out touchscreens, and while the display on the newer A6700 has a slightly higher resolution, the 921k dot screen on the A7C is practically as sharp.

8. Storage

• Sony A6700: 1x SD UHS II
• Sony A7C: 1x SD UHS II

We're slightly surprised that Sony didn't included a dual-format SD/CFexpress Type A card slot in the A6700 to take full advantage of its processing power and video capabilities. As it is, both cameras use a single SD UHS II compatible card slot, so there are no differences here.

9. Power

• Sony A6700: NP-FZ100, Approx. 550 shots (Viewfinder) / Approx. 570 shots (LCD monitor) (CIPA standard), USB Type C PD
• Sony A7C: NP-FZ100 battery, 680 shots viewfinder, 740 shots LCD, USB Type C PD

There are no differences either in the batteries, as both models use Sony's high-capacity NP-FZ100. What is curious, though, is that you don't get quite as many shots on the A6700 as you do on the A7C – and we noted in our Sony A6700 vs A6600 comparison that Sony's new camera was down on battery life compared to its predecessor too.

550/570 shots on a full charge is still pretty good going for a compact mirrorless camera, but the Sony A7C is better still with 680/740 shots on the same battery. Filmmakers will probably carry spares anyway, but stills photographers may be convinced not just by the A7C's full frame sensor but by its longer battery life too.

10. Connectivity

• Sony A6700: Multi-Interface (MI) Shoe, USB Type C, HDMI micro connector (Type-D), 3.5mm mic, 3.5mm headphone, Remote, Wi-Fi, Bluetooth
• Sony A7C: Multi Interface (MI) Shoe, USB Type C, HDMI micro connector (Type-D), 3.5mm mic, 3.5mm headphone, Wi-Fi, Bluetooth

The Sony A6700 and A7C have the same set of connection options. These include Sony's bespoke Multi Interface (MI) shoe for attaching its digital mics, though you can connect regular analog mics to both cameras via their 3.5mm mic sockets. They both have 3.5mm headphone sockets for audio monitoring too.

The A6700 and A7C use modern USB-Type C connectors which support in-camera charging, but they also have smaller HDMI Type-D micro-connectors rather than full-size HDMI, which won't please everyone.

11. Size and weight

• Sony A6700: 122.0 x 69.0 x 75.1 mm, 409g
• Sony A7C: 124 x 71.1 x 59.7mm, 509g

As you would expect, the Sony A7C is heavier than the A6700, but not by much. The A6700 uses recycled plastics to keep its weight down to just 409g, but at 509g the full frame A7C is still something of a lightweight.

The physical dimensions are closer still. The A7C is a couple of millimetres wider and taller than the A6700 but has a much slimmer grip so the body is not as deep overall. Sony does claim that with the FE 28-60mm lens the A7C is the smallest full frame mirrorless camera in the world , and while that may be true, that claim relies more on the size of this retracting lens than the camera. Add a regular size full frame FE lens, and the A7C loses much of its claim to compactness.

12. Price

• Sony A6700: $1398/£1449 body only, $1498/£1549 with 16-50mm, $1798/£1799 with 18-135mm
• Sony A7C: $1798/£1699 body only, $2098/£1969 with 28-60mm lens

The Sony A7C is rarely discounted, and even when it is the savings are pretty modest. As a result, it's held its price well (a bit too well!) and remains around $400/£300 more expensive than the A6700. As a value proposition it doesn't look so good. But then you are getting a full frame sensor with all the advantages that brings. The A6700 certainly offers more tech and features for less money, but it does have a smaller APS-C sensor.

Sony A6700 vs Sony A7C: conclusions

The Sony A6700 is Sony's most powerful APS-C camera yet, and especially impressive for its hybrid stills/video capabilities. It's a pretty good stills camera too, with its new 26MP sensor, but it's even better as a video tool, with dramatically improved frame rates and capture options compared to its predecessor.

But it's also quite expensive, and quite close to the price of the full frame Sony A7C. This is an older camera with less sophisticated video features but with a full frame sensor, offering advantages in image rendering and lens choice.

If your primary interest is stills photography, the Sony A7C looks to us to be the better option. But if your primary interest is more advanced video techniques, vlogging and filmmaking, the A6700 is a lot more appealing.

See also Sony A6700 vs A6600
and Sony A6700 review or Sony A7C review

Announced back in 2013, the Nikon Df was a radical departure from modern D-SLR design of the time. It took its inspiration from Nikon’s classic film SLRs from the 1970s and 1980s, right down to the box-like body, chisel-edged pentaprism, leatherette panels, and even the old-style Nikon logo. 

Nikon’s pre-launch teaser ads built up the concept of ‘pure photography’, and the Nikon Df was aimed at those who want to rediscover the pleasure of the whole photographic process, not just the end result. The Df was not just a tool, it was an experience.

In the years since, the Big N has launched both the Nikon Zf and Nikon Z fc – mirrorless iterations of the Df, featuring the new Z mount with a full frame and APS-C sensor respectively. Check out our Nikon Zf vs Z fc comparison to see all the differences between these new models.

Specifications

Sensor: 16.2MP FX (36x23.9mm) full-frame CMOS sensor

Crop factor: 1x

Memory: 1x SD/SDHC/SDXC

Viewfinder: Eye-level pentaprism, 100% field of view, 0.7x magnification

Video resolution: None

ISO range: ISO100-12800 (expandable to ISO50 -204800)

Autofocus points: 39 (9 cross-type)

Max burst rate: 5.5fps 

Buffer capacity: 100 Normal quality JPEGs, 100 Fine, or 37 RAW (14-bit)

LCD screen: 3.2-inch, 921k-dot

Shutter speeds: 1/4000 sec-30 secs, bulb

Weight:Approx. 710g (body only)

Dimensions: 143x110x66mm

Power supply: Li-ion EN-EL14a battery

Less than spec-tacular?

The specifications was the main bone of contention for the doubters. On paper, the Df lags behind both Nikon's other full-frame DSLRs of the time - D610 and D800, while costing significantly more than both of them. The Df used the 16.2-megapixel sensor from Nikon’s then flagship pro SLR, the D4. It was a curious choice because the D4 was built for speed rather than resolution, sacrificing megapixels for the then impressive 11fps frame rate in continuous shooting mode.

The Df offered a more pedestrian 5.5fps. It’s not bad by consumer DSLR standards, but leaves us wondering whether Nikon’s 24-megapixel full-frame sensor would have been the more logical choice.

The Df does, however, inherit the D4’s extraordinary ISO range, which is ISO100-12800 in standard mode and ISO50-204800 in ‘expanded’ mode. It should produce excellent image quality in low light – but be warned, there’s no built-in flash, so it may need to.

There’s no movie mode, either. Nikon claims this capability has been left out entirely, and the Df can’t be hacked to reveal a ‘hidden’ movie mode. It’s clearly a deliberate omission, to fit in with the retro style, rather than a technical issue.

The autofocus could prove a mild disappointment too. The Df uses the 39-point Multi-CAM 4800 AF sensor found in the D610, which is serviceable enough but not quite up to the same standard as Nikon’s professional 51-point AF system.

And that’s not all. Fans of classic Nikons might have been hoping for an all-metal body, but the Df followed the design of the D7000, D7100 and D610, with a polycarbonate chassis and magnesium alloy top and back plates. It was not Nikon’s toughest camera, then, but in reality it was plenty tough enough for its target users, and it is dust and moisture-sealed to the same very good standard as the D800.

Back to the future

Concentrating on the specifications highlights a few of the Df’s potential shortcomings, but it has some considerable strengths, too.

The design was not simply a nod to a past era; the Df’s lens mount includes a collapsible metering coupling lever that enables old non-AI Nikkor lenses to be mounted directly onto the camera. Even Nikon’s pro DSLRs couldn't do this. Full-aperture metering is possible with non-AI lens when shooting in aperture-priority or manual exposure mode – just like AI lenses, which have full-aperture metering in all exposure modes.

Nikon also worked some special magic with the Df’s EN-EL14a battery, which is also used by the D5300. Where the D5300 gets a reasonable 600 shots per full battery charge, the Df could squeeze out an amazing 1400 shots before the battery needs a recharge.

Those who remembered the film SLRs of yesteryear loved the threaded cable release socket in the shutter button - and there was even a PC socket for connecting the camera directly to wired studio flash units.

Verdict

The specifications might be the principal point of comparison for most cameras, but the Df adds another dimension. It was designed to be enjoyed as an object in itself, a reflection of the pleasure people get from the whole process of photography, not just the end result.

If you find yourself brooding over the pictures of the camera on this page long after you’ve read the text, the Df has you in its spell.  

Try one out, and the handling lives up to its looks. The dials have a satisfying click-stop action and it is genuinely refreshing to be able to see and adjust the ISO, EV compensation, and shutter speed settings with external dials.

At the time of its launch this full-frame digital SLR certainly divided opinion amongst Nikon fans – with half complaining it looks like an overpriced, under-specified fashion accessory and the other half willing to sell their house, its contents, and their grandmothers to get one. 

The retro design has been more recently revisited with the APS-C mirrorless camera the Nikon Zfc - which offers a better compromise for many between old and new (it can shoot video, for starters). But it lacks the amazing lens compatibility of the now discontinued Df, and its full-frame sensor.

Lab tests

Not just a pretty interface, the Df delivers strong performance. It’s a  camera that shares a lot in common with the range-topping D4 of the same age. For example, it has exactly the same 16.2Mp image sensor and EXPEED 3 image processor, which team up to give beautiful image quality, even in very low lighting conditions at high ISO settings. 

Best retro cameras
Best Nikon lenses
Best Nikon flashguns

I bought a Canon EOS R8 and I'm very impressed. Straight off the bat, I think this is one of the best Canon cameras to buy right now. It's also backed up by a good range of lenses, many of which are very affordable. And then something in the EOS R8 blurb on the website caught my eye.

"MAKE THE LEAP TO FULL FRAME" was the heading. "Give your creativity a full-frame upgrade. Better bokeh, wider angles of view and image quality that will blow you away – even in low light." was the strapline.

The thing that caught my eye is "...wider angles of view..."

Now this makes sense with the current lens line-up. Canon is comparing the EOS R8 and other full-frame models with its smaller APS-C EOS R7, R10, R50 and R100 cameras. Right now, there are only three dedicated RF-S lenses for these smaller format cameras, and they don't include any ultra-wide optics. Worse, there's no definite indication these are coming.

It's possible that Canon will steadily convert its best EF-M lenses over to the RF-S format. There seems no technical reason why it couldn't. These include a neat little Canon EF-M 11-22mm f/4-5.6 IS STM which would be a great addition to the RF-S lens line-up, offering a handy 17.5-35mm equivalent zoom range – and there are plenty of other EOS M lenses which would be great to have in RF-S mount.

There's no clear indication from Canon, though, that it has any such plans. So what if its APS-C EOS R cameras are intended to get users into the Canon system, not as systems in themselves?

Further down the EOS R8 page it says:

"Shoot wider"
"Transform the way you see the landscape, and get up close for immersive documentary images."

And then, further on:

"FULL FRAME ANGLE OF VIEW"
"See how a 15mm lens looks on the full-frame EOS R8, compared with an EOS camera with a smaller APS-C sensor. Any given focal length gives a 1.6x wider angle of view."

So it could be that Canon's messaging is based on the current lens line-up – but it could also be that the company is using angle of view to its full frame upgrade pitch. That's how it reads to me.

In the old days, Canon EF-S lenses formed a complete and parallel APS-C DSLR lens system alongside its full frame EF lens range. That doesn't mean it's going to do it again with its EOS RF-S cameras. Right now, almost all of the best Canon RF lenses are designed for its full frame cameras.

Other opinion pieces by Rod Lawton

It's got a 24.2MP sensor, is capable of shooting at 40fps, features new AF tracking modes and captures video as oversampled 6K – this is the Canon EOS R6 Mark II. 

It was announced in November 2022 as a replacement for the first-generation EOS R6, offering Canon fans a more powerful full-frame mirrorless option with plenty of bells and whistles. It's an excellent option for anyone looking to upgrade from the now-ageing EOS RP and EOS R, or for someone wanting to get their hands on one of the best hybrid mirrorless cameras on the market today.

Despite its better spec sheet, the EOS R6 Mark II didn't come with a marked-up price tag, launching at the same price as its predecessor at AU$4,499.

Since November, though, it's seen a few discounts, dropping to AU$3,389 at Georges Cameras for the body only earlier this year. In March, Amazon Australia beat that price, offering a generous 25% discount on the camera to bring it down to AU$3,368 for a short time.

Amazon has beaten its own price ahead of Prime Day 2023, with a 29% discount on the EOS R6 Mark II body, now down to just AU$3,186.65.

That's not all! You can save an additional AU$200 after you make the purchase, thanks to Canon's current Travel Cashback Promotion. That will make the final price a very tempting AU$2,986.65. All you need to do is hold on to your receipt and register your purchase by August 19, 2023.

The EOS R6 Mark II is physically almost identical to the original R6, but there are some noteworthy changes that make this a better body to handle.

• Check out our comparison of the Canon R6 Mark II vs R6

The old power switch is gone from the left shoulder (long-time Canon mirrorless users will be familiar with this), now replaced by a dedicated stills/video switch. The power switch has been moved to the right shoulder, sitting just below the rear exposure dial – this allows stills photographers to handle the camera single-handed, something street photographers in particular will appreciate.

Those familiar with the joystick design on the EOS R5 and older R6 model will spot the difference here as well – the four notches at the cardinal points is gone, removing the tactile control when using the joystick.

Inside, the sensor resolution has been upped from 20.1MP in the older camera to 24.2MP. The sensor-based electronic shutter can now rattle off continuous shooting at up to 40fps, and Canon promises it has reduced the rolling shutter distortion compared to the R6. There's even a RAW Burst Mode that can capture raw images at 30fps with a 0.5 second pre-shooting buffer, making this ideal for sport shooters.

To complement the high frame rates, Canon has improved the AF performance here. In addition to the existing body, eye, face, head and animal recognition (now expanded to horses and zebras – yes, you read that right), the R6 II can recognise cars, motorcycles, aircraft and trains too.

In terms of video capture, the R6 II now shoots 4K/60p using the full width of the sensor (the Mark I R6 has a 1.07x crop). It can also output 6K ProRes RAW to select Atomos external recorders along with focus breathing compensation with compatible lenses, finally catching up with Sony.

That's a lot of camera for your money. We don't typically see discounts like this outside of big sales, so here's hoping the price might just dip further when Amazon Prime Day 2023 comes knocking on July 11. However, there are no guarantees and we think this is a great price to take advantage of, particularly with the additional AU$200 cashback redemption via Canon.

Read more:

Best RF lenses
Best full-frame mirrorless cameras
Best Canon cameras

There have been 50mm ‘macro’ lenses from the likes of Canon and Zeiss that, while giving a natural perspective with a full-frame camera, don’t deliver the full macro benefit. Instead they only offer a maximum magnification ratio of 0.5x at their closest focus distances. Like Sony’s old A-mount 50mm macro, this  E-mount optic boasts 1.0x magnification, reproducing small objects at full life-size on the image sensor. 

Build and handling

Although the lens is compact and light, it feels well-built and fairly robust. It lacks a weather-sealed mount but is dust- and moisture-resistant. The inner barrel doesn’t rotate during focusing but does extend at shorter focusing distances, revealing calibrated markings for focus distance and magnification. No lens hood is supplied, but the front element is deeply recessed within the inner barrel, helping to guard against ghosting and flare.

Unusually for a relatively short-focal-length macro lens, there’s a focus limiter switch that can lock out the short or long ends of autofocus travel. There’s also a handy focus-hold button.

Manual focusing is often preferable in macro photography, so the smooth-action, fly-by-wire manual focusing system is a bonus. It offers excellent precision with the availability of fine adjustments, aided by the magnified focusing view available in Sony compact system cameras.

Specifications

Full-frame compatible: Yes
Effective focal length:  50mm (75mm APS-C)
Image stabilizer:  No
Minimum focus distance:  0.16m
Max magnification factor:1.0x
Manual focus override: Yes
Focus limit switch: Yes
Internal focus: No
Filter size: 55mm
Iris blades:  7
Weather seals: Partial
Dimensions (dia x length) : 71 x 71mm
Weight: 236g

Performance

The autofocus system is highly accurate but rather slow. For close-up shots, AF speed can be further hampered by hunting, so the limiter switch earns its keep. Wide-open at f/2.8, there’s a little vignetting and a slight drop in sharpness, but the quality of bokeh is pleasing.

Sharpness is excellent from f/4 to f/11, but macro photographers might be disappointed that it drops off at f/16 – and that f/16 is the narrowest available aperture.

Lab results

Sharpness
Between the two extremes of the aperture range, these graphs show that the lens captures excellent levels of fine detail, with the sharpest results being recorded at f/8

Fringing
(scores nearer to zero are better)

f/2.8 0.36
f/5.6 0.52
f/16 0.75
Color fringing is negligible: it’s practically imperceptible across the entire image frame.

Distortion
(scores nearer to zero are better)
There’s the very slightest hint of barrel distortion, but it’s pretty much unnoticeable

Verdict

The full-frame Sony FE 50mm f/2.8 Macro works very well as both a ‘standard’ and a macro prime lens, with excellent handling and very good overall image quality. With its small size, it is equally suited to use with an APS-C sensor mirrorless camera - making it a more sensible choice than the larger, longer Sony FE 90mm f/2.8 Macro G OSS. Used with a Sony A6000 series camera or the more recent ZV-E1 and ZV-E10,  with the crop factor taken into account, it offers an effective focal length of 75mm, which is a useful angle of view for portraiture.

Read more: see our full guide to the best macro lenses

British tripod manufacturer, 3 Legged Thing, has just introduced two new dedicated camera L-brackets, the Alfie and the Ollie. The Alfie is designed for use on Sony Alpha cameras including the A7 IV , A7R V, A7 III, A7R III, A7R IV, A7S II, A7S III, A9 II and A1, while the Ollie is for the OM System OM-1.

The Alfie I tested is made from aerospace-grade magnesium alloy and is available in Copper (orange), Metallic Slate Grey, or Darkness (matte black). It’s supplied unassembled so the first step in using it is to remove two bolts so that the plates can be slotted together and the bolts re-threaded and tightened. Then it’s ready to be fitted to the camera. 

I used the 3 Legged Thing Alfie on the Sony A7R V and it fits perfectly around the contours of the camera even accommodating the strap lug and leaving the battery bay, memory card slots and cable ports accessible. Thanks to the 4-axis vari-angle mechanism of the A7RV’s screen and a cutout in the Alfie’s vertical plate, you can also tilt and swivel the monitor to give a good view from a wide range of angles.

Both plates of the Alfie are Arca-Swiss compatible to enable speedy mounting in an Arca-Swiss type tripod head (including 3 Legged Things' own range of tripods).

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Viltrox has announced a new ultra-wide lens for full-frame Sony E-mount cameras. Unusually for a third-party lens from a smaller manufacturer, the Viltrox 16mm F1.8 FE is an autofocus design, incorporating a stepping motor AF system that's also said to support face AF and eye AF. The optical stack consists of 15 elements arranged in 12 groups, including three aspherical elements for improving image sharpness, and four extra-low dispersion elements to help control ghosting and flare. A 9-blade aperture diaphragm can be controlled directly from the rear-mounted control ring on the lens barrel. With a fast f/1.8 maximum aperture, the lens looks ideal for low-light handheld shooting, and also astrophotography.

The new lens is the sixth in the expanding range of Viltrox autofocus prime lenses, joining the Viltrox AF 13mm F1.4, AF 23mm F1.4, AF 33mm F1.4, AF 56mm F1.4, and AF 85mm f/1.8 II.

Another neat feature is the built-in color information screen atop the lens barrel. Little information has been given as to what lens parameters can be viewed on the screen, but we're assuming it'll act primarily as a digital focus distance 'window', assisting with manual zone focussing and determining hyperfocal distance. Traditional focus distance windows used to be commonplace on DSLR lenses, but have become increasingly rare in the current era of 'drive-by-wire' focusing. We’ll have to wait and see whether Viltrox’s digital implementation turns out to be a useful alternative to an old-school mechanical distance scale. We do know that the display itself is an IPS LCD panel, with a 160x80-pixel resolution.

Sample images

Price and availability

The Viltrox AF 16mm F1.8 FE went on sale today for the Sony E-mount for $549 / £579. At this price point Sony itself doesn't really have a directly competing lens. Its closest alternative is the stellar FE 14mm F1.8 GM, but being from Sony's premium G-Master range, that lens will cost you around three times the price of the Viltrox - a lot for an extra 2mm of wide-angle range.

Read more:

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