To  photograph a full moon (or any moon) successfully, you first have to understand it. Although astrophotographers specializing in the moon usually photograph it through a powerful telescope, a telephoto lens of almost any focal length is good enough to get a good shot. Making the moon the sole focus of a shot, however, is only one way to approach lunar photography; another is for it to enhance a landscape photo, where it can provide a powerful addition to a wide-angle image.

While it can help, the fact that you don’t need any specialist equipment to photograph the moon makes it one of the most accessible celestial subjects out there. It’s a great starting point for those interested in astrophotography, whether you’ve only got a kit lens or even just a camera phone.

All full moons are given names, which often differ depending on the region or culture. Tonight’s full moon is most commonly referred to as the Full Strawberry Moon. According to Almanac, which cites The Old Farmer’s Almanac, full moon names can have Native American, Colonial American and European roots. And while Strawberry Moon might conjure images of a fiery red orb, its Native American origins link it to strawberries harvested in June.

According to NASA’s SKYCAL, the Full Strawberry Moon will peak tonight on June 29 19:57 EDT and 23:57 GMT. Because it’s the closest full moon to the summer solstice, it will hang lower in the sky than any other moon this year.

Equipment for shooting the Moon

The equipment you’ll need is the same as for wildlife or sports photography: a DSLR, mirrorless or bridge camera on a sturdy tripod, and either a wide-angle or any regular telephoto lens, such as one with a 70-300mm focal range. A remote shutter-release cable will also be useful so you don't introduce vibrations, although you can also use the timer in your camera.

Check out this article, if you want to know how to photograph the moon with a monster Nikon P1000 bridge camera. And if you're interested in picking up essentially the same camera with a few modern appointments, the Nikon P1100 has recently been launched.

The Moon is a moving target; the combination of the Moon's 2,288 miles-per-hour orbit and Earth's 1,000 miles-per-hour rotation makes our satellite a fast-moving target. However, it's usually bright enough for a relatively fast shutter speed to yield good results.

How to focus on the Moon

Although you can autofocus on the Moon as it rises, or as it becomes visible just before sunset, it's a good idea to focus manually. With your lens set to manual focus, set the the focusing ring to infinity. It takes some practice since most cameras can focus beyond infinity, and finding the exact point that works for your lens takes trial and error.

Take some test shots and zoom in on the result on your camera's LCD screen to see which one works best. Don't skip this step; only once you've done it correctly will your Moon photos be reliably sharp.

How to expose for the Moon

It's a common mistake to overexpose the moon but it's actually much brighter than you think. However, if you want to photograph the foreground and not just the moon by itself you will need to make sure your exposure works for both or use bracketing to take multiple shots with different exposures.

To get a great Moon shot and little else, set your camera to ISO 100 or ISO 200 and the aperture to between f/5.6 and f/11, and adjust your shutter speed to between 1/125sec and 1/250sec. The exact settings will vary depending on your camera and the brightness of the Moon, which depends on its exact phase, but these base settings will get you started.

Taking a landscape photograph that includes the Moon is more difficult because during that 'blue hour' after sunset the Moon is already too bright. So, if you take a longer exposure for the landscape, you'll overexpose the Moon, and if you expose for the Moon, the landscape with be under-exposed. So what do you do?

The answer is either to photograph the Moon just before sunset when the light levels are higher (they drop-off so quickly at the point of sunset), or to take two exposures and combine them in photo-editing software. The latter approach, however, often looks fake. Another way is to expose for the Moon, and use a flash to light the foreground.

When to photograph the Moon

The full moon is probably the lunar event that most beginner astrophotographers will want to photograph first - but it is actually one of the most difficult due to the glare that this creates. Some of the most impressive shots of the full moon are those where it is seen behind a building or a natural structure – which makes the moon look much larger than it does to the naked eye.

If you want less of a cliche, go for other phases of the Moon when you can see a line between the light and dark sides. This is called the terminator line, which is when the craters on the Moon throw shadows, particularly near its South Pole. You can see this most nights, but perhaps the most precious kind of Moon is visible only on the few days on either side of New Moon. At this time, you'll also see a waxing or waning Crescent Moon close to the horizon, and it comes with the bonus of Earthshine.

How to capture Earthshine on the Moon

Although 50% of the Moon is constantly being illuminated by the Sun, there are a few days each month when the Earth gets involved – and it's a beautiful event to capture.

Earthshine is a dull glow to the unlit area of the Moon that's the result of sunlight reflecting off Earth's surface and onto the lunar surface. Its subtle and mesmerizing, and easy to capture if you time it right.

Set up for the first (or, more likely, the second) sunset after a New Moon. Using a lens with as long a focal length as possible, and with your camera on a tripod, dial in a sensitivity of ISO400, an aperture of f/2.8 (or as wide as your lens aperture will go), and open the shutter for between one and four seconds.

See our guide to photographing earthshine

In fact, Earthshine is always being reflected onto the Moon to some extent, but it's only around the New Moon that the crescent of sunlight is small enough for the camera to expose for both the lit and unlit areas.

This is also a good time to combine Moon photography with night-sky photography because the Moon will set soon after you've photographed it. You can then go looking for stars and the Milky Way.

How to capture a moonrise or moonset

There are two exceptions to the advice to avoid photographing the Full Moon.

The first is when there's a total lunar eclipse, and the second is when a Full Moon rises or sets, as it's a great alternative to a sunset. The sight of a Full Moon peeking above the horizon and turning from deep orange to pale yellow to bright white during twilight is a spectacular sight. It also presents an opportunity to get the Moon in the context of a beautiful landscape.

The colourful spectacle lasts mere minutes and is easy to miss, but, like everything else in the night sky, a rising Full Moon is predictable down to the second. Simply find out exactly on what day the next Full Moon is going to be where you are, and exactly what time sunset is on that date, then look to the east for the moonrise. Start-off with your camera set to ISO100, f/10 and 1/125 sec.

If you've ever seen photos of someone or something silhouetted against a seemingly giant Moon, perhaps while standing on top of a hill, they were taken during a moonrise. They were also ruthlessly planned; The Photographer's Ephemeris and PhotoPills apps are ideal for this kind of project.

To make the Moon look so large in the background, photographers need to use superzoom telephoto lenses of at least 1,000mm while being positioned a mile or so away from the all-important foreground subject that introduces that sense of scale.

Composites, moon-stacks and super moons

It's possible to shoot the Moon and add it to another landscape shot using Photoshop. However, almost everyone who attempts this either makes the Moon look way too big, or they place it somewhere in the night sky that it doesn't occur (such as in the norther hemisphere's northern sky).

To anyone with a trained eye, most composites look like what they are: fakes. There is one exception; moonstacks, a lunar time-lapse, in which you take several photos of the moon as it moves through the sky, and then use Photoshop to composite them into a single image.

Read more: How to create a moonstack

Although it often grabs the attention of photographers and media alike, pay little attention to the term 'supermoon'. A recent term that merely means that the Moon is slightly closer to Earth than normal, it has little practical meaning or use. However, while a Super Full Moon does look larger as it rises above the horizon, it's only by about 10%-15%, so it's barely noticeable to eye or camera.

The very finest way of getting a close-up shot of the Moon – and the only way to get enough magnification for it to fill the entire frame – is to mount the body of a camera on a telescope using a cheap T-adaptor; it's like having a very large telephoto lens. Try to find a telescope with a focal length of over 1,000mm, but under 2,000mm to capture the whole of the moon.

Whatever kind of Moon-shot you try for, photographing our satellite provides a good lesson in the role of precision timing in composing unique landscape and nature images.

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If you enjoy photographing the full moon and want to take your astrophotography to the next level, take a look at the best camera for astrophotography. You may also wish to upgrade your optics via the best lenses for astrophotography. And if you want to take your astrophotography even further (literally!) for some deep-space imaging, then head over to the best telescopes for astrophotography.

I've been following the price histories of various cameras as part of my job here at Digital Camera World and I've been saddened to see that discounts haven't been as good in the last couple of years. Typical discounts have been under 20%, with the rare exception – and that's even during major sales like Black Friday and Prime Day.

That's why seeing a 23% discount on the Canon EOS R6 Mark II body on Amazon right now for Big Smile Sale in Australia has me chomping at the bit to spread the word. It's currently available for just AU$2,554 and is arguably one of the best prices I've seen on this model – in fact, it's the lowest Amazon price and, according to my research, no other retailer is currently beating it.

Admittedly there are newer cameras that perform better now – the Nikon Z6 III being a case in point which, despite a 27% discount that drops the price to AU$3,300 is a lot more expensive – but the Canon camera's age is what makes it a lot more accessible now.

And don't worry, I'm not pushing a camera that doesn't perform well. In our Canon EOS R6 Mark II review, we called it a camera that "makes mincemeat of other hybrids" and we still stand by that statement. It remains a stellar performer.

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.

Read more:

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

Viltrox will shortly launch an Indiegogo crowdfunding campaign for a tiny new pancake lens for full-frame Sony E-mount cameras. Called the AF 28mm F4.5 FE, the lens could well become the smallest lens available for Sony shooters, and is nicknamed 'Chip' on account of its potato chip-/crisp-like slimness.

Measuring a mere 15mm long and 60mm in diameter, the lens is barely thicker than a camera body cap and weighs just 60g. It closely resembles the design of Olympus's Fisheye Body Cap 9mm f/8 lens, although the two lenses have a very different focal length.

Naturally, Viltrox had to make some compromises to create such a slim lens. The primary sacrifice being there's no diaphragm, so the aperture is fixed at f/4.5. Another unusual omission is that the lens lacks a manual focus ring, largely because it's so slim there isn't really room for one. Thankfully Viltrox has managed to find space inside the barrel for a VCM coil autofocus motor, so despite the tiny dimensions, focussing is a breeze. Another nice touch is the integrated lens shutter 'cap', which can be flicked open or shut using a small lever on the front of the lens.

You'd expect that a lens this small and simple would be inexpensive to buy, and you'd be right. The Viltrox AF 28mm F4.5 FE is priced at $99, with early campaign backers said to receive a 30% discount.

If you'd like to see how the lens performs before you pledge your backing, we've just published our full Viltrox AF 28mm F4.5 FE review - we found it really fun to use!

Let’s kick off with a disclaimer – Nikon recommends that if your camera’s image sensor has any specks of dust that can’t be cleaned away with an unobtrusive waft of air, you should send it off to an authorized service agent for cleaning. Image sensors are very sensitive, after all, and you don’t want to cause any damage. But dust can be the curse of digital photography, and nobody wants to be without their camera on a regular basis. 

In contrast to using film, if specks of dust settle on your image sensor, they can be sat there for good. The unfortunate result comes in the shape of dark spots on your images, especially those taken at narrow apertures. How does dust creep in to spoil the digital party? The biggest culprit is motes of dust in the air being ingested by the camera every time you swap between different lenses on the camera body. 

The dust dilemma

But that’s not the only reason. If you use a zoom lens that physically extends and contracts when zooming in and out, dust can be sucked into the lens during each extension, and then blasted towards the image sensor during each successive contraction. It’s a messy business.

So what’s the answer? Most Nikon cameras have the option of an automatic cleaning cycle, which can go a long way towards keeping the image sensor neat and tidy. That’s true of recent DSLRs but, surprisingly, not so for DX format Z system mirrorless cameras. 

In the Nikon Z30, Z50 and Zfc, where the image sensor isn’t shielded behind a reflex mirror and shutter assembly, there’s no auto cleaning option, despite the sensor being fully exposed to the elements every time you swap lenses. So from making the most of automatic options, where available, to crafty tricks and manual cleaning with the likes of air blowers and wet swabs, let’s take a closer look at how you can keep the important things clean.

Clean now

In most recent DSLRs and all full-frame Z system mirrorless cameras, there’s an option in the Setup menu named ‘Clean image sensor’. The upper sub-menu item is ‘Clean now’. Press the OK button and the camera will vibrate the image sensor to shake off any loose dust. Hold the camera sensor facing down while cleaning is in progress, and don’t turn off the camera until cleaning is finished.

Automatic options

Some DSLRs give you the option to automatically clean the sensor at startup or shutdown, or both. In full-frame mirrorless cameras, there’s typically only an automatic option to clean the sensor at shutdown. A little confusingly, the icon is labelled as ‘Off’ when automatic cleaning is enabled, but this means that cleaning will occur when switching the camera off.

A reference point

If you’ve got specs of dust that won’t budge, one option is to use the ‘Image Dust Off ref photo’, also in the Setup menu. This is available in many cameras including DX format Z system bodies that don’t have a sensor cleaning menu option. A photo of a blank white wall or other surface is used as a reference to remove spots in full-sized Raw files, when processing them in NX Studio.

Clean and start

For cameras with sensor cleaning, you can preform a cleaning routine before taking a reference photo. Hold the camera with the lens about 10 centimetres from a blank white surface, autofocus will be at infinity. If the surface is too bright or too dark, you’ll get an error message, so change the lighting. You can’t use the reference data if you subsequently perform image sensor cleaning.

Blow it away

An easy way to clear most loose dust from the image sensor is by using an air blower, but don’t use a pressurised air can or other high-pressure source. With a DSLR rather than mirrorless camera, you’ll need to ‘Lock mirror up for cleaning’ in the setup menu. Use an air blower, taking care not to let it touch the sensor, and hold the camera facing downwards to help dust fall out.

Swab for success

If all else fails, the last resort is to use a specially-made image sensor cleaning kit that comprises swabs and cleaning fluid. Add a few drops of liquid to the swap and, with a very light pressure, drag the swab from one side of the image sensor to the other, then angle it the other way and drag back again. To be clear, Nikon recommends that you don’t do this yourself, to avoid risk of damage! However, if you wan to do it yourself, watch our video tutorial.

Find out more about the best camera sensor cleaning kits

Intrepid Camera is a specialist manufacturer of large-format film photography equipment, and it has almost single-handedly resurrected the medium, developing retro analog cameras with modern features.

Surfing the wave of the film photography resurgence, Intrepid is among the few manufacturers that offer new large format cameras with 4x5, 5x7, and 8x10 options. Users would ordinarily need to source an existing vintage lens to use with the camera, but a new Kickstarter has just launched for the first Intrepid Camera lens and electronic shutter.

Intrepid's fifth Kickstarter launches today, marking the company's tenth anniversary – and its most ambitious product development yet, with two new product lines: the Intrepid I-0 Shutter and the Intrepid 150mm f/6.3 Lens.

The Intrepid 150mm f/6.3 Lens is a compact and portable optic that has a Cooke triplet design. Its focal length and maximum aperture may not sound that wide, but in full-frame terms that equates to 35mm at f/1.8.

The Cooke triplet design is vital in correcting for the main optical aberrations. Shooting above f/11 provides excellent sharpness throughout the image, and when used wide open at f/6.3 it creates a smooth bokeh that is accentuated by the nature of the larger format camera.

"We went through so many design variations and so much research before settling on this lens," says Intrepid. "We are so happy with the results. It really is a beautiful little lens with a classic character we know you are going to love".

In addition to the lens, and 18 months in the making, the Intrepid I-0 Shutter is an electronic shutter that enables the user to dial in settings via the controller instead of manually, and is described by Intrepid as "a super smart cable release with a screen".

Compatible with all Copal 0 size lenses, shutter speeds from as long as you want to 1/125th, and a self-timer it provides live EV readings so you don't ever have to waste another sheet of film again.

When it comes to large-format film photography, one of the main concerns is getting the settings wrong and throwing away film – especially if you're new to the format. The new shutter provides enhanced security so that what you see after development is the same as when you tripped the shutter.

The shutter is also compatible with flash via the 3.5mm jack, and it can be controlled by PC / Mac.

I have been a huge fan of Intrepid Camera's approach to creating new and accessible film cameras, and launching these products is a stroke of genius. Now users, most importantly new users, can purchase every aspect of the large format shooting experience from Intrepid without having to source and take a risk with an expensive, older, second-hand lens.

The Kickstarter campaign is live now, and you can head over to show your support and get an earlybird discount of 10% off RRP. The lens and shutter combo is priced at $575 / £429, just the lens at $215 / £159, and just the shutter at $385 / £289 (US pricing has been converted from the UK price, Australian pricing to be confirmed).

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign.

You may also be interested in our guides to the best film cameras and the best medium format cameras.

Insta360 has just released two new webcams – both with AI subject tracking as their central feature. 

The Link 2 is an updated version of the 4K AI camera which can literally follow you around the room using its tracking tech and gimbal, while the Link 2C does more or less the same thing without moving parts to make it even more portable.

The AI also powers noise cancelling features and a 'Smart Whiteboard Mode' which auto-detects a real whiteboard and makes adjustments to square it off and keep it in focus. 

Both devices sport a 1/2-inch image sensor capable of delivering 4K at up to 30fps (and 1080P at 60fps) and an HDR pipeline. To cater to the ongoing needs of the social media market, they also offer landscape and portrait modes – meaning live-streaming and social content generation for phone consumption should be smoother.

The larger image sensor than that in most laptops and phones should offer a potential boon to people working in lower light, though I'll confirm that when I've finished my reviews (we have the devices in hand at DCW). Other key features are Smartphone remote control, background replacement (though, to be fair, a lot of apps have this covered for you already), DeskView mode for overhead presentations, "One Click Makeup" and Privacy Mode.

“Link 2 and Link 2C represent our ongoing commitment to making virtual connections more engaging and seamless. We've listened to user feedback and pushed the boundaries of what's possible in a webcam, combining premium 4K imaging, crystal-clear audio, and intuitive AI-powered features. Link 2 and Link 2C empower you to present your best self online, no matter where you are,” shared JK Liu, Founder of Insta360.

Specs list ±3 EV exposure compensation, ISO 100-3200, a shutter speed of up to 1/8000 and an aperture of f/1.8. The EFL is 26mm and digital zoom up to 4x.

Only the Link 2 – not the 2C – bosts a 2-axis gimbal, but both work entirely from power drawn from their USB-C connection. They can be mounted on a monitor (with a stand included) or a tripod.

The Link 2 is priced at $199 and the Link 2C $149 and both are available from today from Amazon:

🇺🇸 Link 2 - Amazon.com
🇺🇸 Link 2C - Amazon.com 

While you're waiting for reviews of these to come live, you can read about some of the other best 4K webcams we've seen.

A conventional camera shutter works in an entirely mechanical way. The shutter is fully closed before taking a shot. At the start of an exposure, the ‘first curtain’ opens, traversing the image sensor in the process. At the end of the exposure, the second curtain slides across in front of the sensor.

But at very fast shutter speeds, the second curtain starts to close before the first curtain has fully opened. That can cause a dark band in images when using a flashgun. The solution is to use ‘Auto FP’ (Auto Focal Plane) or High-Speed Sync’flash, which fires a short burst of flashes rather than a single flash. 

Nikon Z-system mirrorless cameras with mechanical shutters offer other options with pros and cons, but curing the flash sync problem isn’t one of them.

Going electric

Almost all Z-system cameras default to an ‘Auto’ shutter mode. This uses a conventional mechanical shutter most of the time, automatically switching to an ‘electronic first curtain shutter’ when it would be beneficial. As its name suggests, this uses electronics to initiate the exposure, but a mechanical second curtain to end the exposure. As well as letting the camera choose which type of shutter to use, you can select either option for yourself in the Custom Setting menu. In the Photo Shooting menu, you’ll also find a ‘Silent photography’ option. This enables a fully electronic shutter, making the mechanical shutter redundant.

The Nikon Z8 and Z9 are exceptions in that they ditch the mechanical shutter for stills exposures. Thanks to the super-fast data readout of their fully stacked image sensors, these cameras rely purely on an electronic shutter. 

The Z6 III has a partially stacked image sensor, which is much faster than conventional sensors but not quite as fast as in the Z8 and Z9. The Z6 III therefore has a mechanical shutter and offers the same range of options as most other Z-system cameras.

Shutter type

To select shutter types, head to the Custom Setting menu of Z-system cameras. You’ll need to go to the Shooting/display section and select the option showing as ‘d4 Shutter type’ in the Zfc camera that we’re using here by way of example. And lest we forget, some Nikon DSLRs also have an electronic first curtain shutter option, including the D7500, D500, D810 and D850.

Auto shutter mode

Cameras with a mechanical shutter default to it automatically. As detailed in this image, the camera automatically selects the most appropriate shutter mode for the shooting conditions, usually sticking to the mechanical option but swapping to electronic first curtain shutter when this would be beneficial. Leave the camera in Auto mode unless you have particular needs.

Mechanical shutter

As defaulted to in Auto mode, the Mechanical shutter option usually works best. The mechanical shutter takes a snapshot of the scene, which is read out from the image sensor to the image processor. The full range of shutter speeds is available whereas, in Electronic first curtain mode, the maximum shutter speed is often limited to 1/2000 sec. However, the latter mode can be beneficial.

Electronic front-curtain shutter

At shutter speeds of around 1/60 sec or slower, mechanical movement, often referred to as ‘shutter shock’, can degrade sharpness as it can destabilize the camera. The effect can also be problematic when shooting with long telephoto lenses and in macro photography. Shutter shock is reduced in Electronic front-curtain mode, as the mechanical shutter only moves at the end of the exposure.

Silent photography off

There are options for switching the Silent photography mode on or off in the Photo Shooting menu, rather than the Custom Setting menu. When switched off, the camera uses Auto, Mechanical or Electronic front-curtain shutter, as set up in the Custom Setting menu. If you want to use a fully electronic shutter, disabling the mechanical shutter altogether, switch on Silent photography.

Silent photography on

The Silent photography mode uses a fully electronic shutter, as well as disabling flash, long exposure noise reduction, flicker reduction and the beep speaker. There’s no shutter shock but, due to the relatively slow line-by-line readout of conventional image sensors, moving subjects change their position throughout an exposure, causing lateral distortion (rolling shutter effect).

Learn more about the pros and cons of electronic shutters 

Sometimes twice as much really is twice as good. Compared with the high-end Nikon DSLRs before them, the first mirrorless Z6 and Z7 cameras were criticized for only having a single memory card slot. That removed the safety net of being able to create instant backups on a second memory card every time you press the shutter button – as well as denying a whole lot of other options we’ll come to later.

Another problem for many of us was that the single slot of these cameras only took the relatively uncommon XQD memory card type, which are comparatively expensive to buy and completely different to the SD (SecureDigital) cards most of us have amassed. Fortunately, the Mark II editions of these cameras fell into line with the majority of other high-end Nikon DSLRs and subsequent mirrorless cameras by featuring dual memory card slots, including an SD slot, which enable you to enjoy a wealth of useful functions.

Two cards, many options

If you have two memory cards in your camera, the first thing to do is to choose which slot to use as the ‘primary’ or default card. You can do this separately for stills and video. There are then three main choices for use the secondary card, which we’ll cover on the following page.

One factor to bear in mind is the speed of your installed memory cards. One of the reasons that Nikon went with XQD for its mirrorless full-frame cameras was that it was faster than SD Card; so XQD was better suited to the likes of shooting 4K UHD video, and could clear the memory buffer much faster when shooting stills in high-speed continuous drive mode.

However, the latest UHS-II class of SD cards can deliver similarly fast speeds. Indeed, while the top-flight Nikon Z9 has dual XQD/CFexpress card slots, the Z5 has dual SD UHS-II slots, and the downsized Zf has the unusual arrangement of one SD UHS-II slot alongside a smaller microSD slot.

Load up

XQD cards (and CFexpress memory cards, which typically work in the same slot) are expensive compared with SD cards. Even so, they’re an essential purchase for many cameras if you want to take advantage of using both slots. Sony XQD and Lexar SD cards, pictured here with a Z6 II, both click in securely, and require a secondary push to release the catch for extracting them.

Format all areas

It’s always a good idea to format your memory cards in-camera, rather than in a card reader. When you go to the Setup Menu in a Nikon with dual card slots, you get options for formatting each card individually. You’ll get a warning message saying that all images will be deleted. When you format a card, do not remove the card or turn off the camera until the process is completed.

Pick a card

Go to the Photo Shooting Menu and select ‘Primary slot selection’ from the list. Here you can choose the card slot you want to use as the default for saving still images. Use the up/down sections of the Multi Selector to highlight your chosen card and press OK. If you later remove the memory card from your primary slot, the camera will save stills to the alternative card slot instead.

Secondary slot options

Just below ‘Primary slot selection’ is the ‘Secondary slot function’ option. With ‘Overflow’, the camera will start saving images to the secondary card if the primary card becomes full. With ‘Backup’, images are saved to both cards at the time of capture, creating an instant backup. With the third option, Raw files are stored to the primary card, while JPEGs are stored to the secondary card.

Movie destination

Head to the Movie Shooting Menu and you’ll see ‘Destination’. This works in a similar way to ‘Primary slot selection’ in the Photo Shooting Menu, but for video instead of stills. You’ll notice that, as well as choices for selecting either card, the camera displays the total recording time available. If you often shoot stills and video, it can be useful to use a separate card slot for each type.

Photo copies

If you’re travelling or on location, it can be useful to back up your stills and video to additional cards, without having to bring a laptop or other device. In the Playback Menu, there’s an option to ‘Copy image(s)’. Select the source memory card from which you want to create copies, then select specific images or video files, or simply select ‘ALL’ to back everything up.

Don't miss our guide to the best memory cards

Astrophotographers will be treated to a celestial smorgasbord this evening, when a partially eclipsed harvest supermoon will appear over various territories including North and South America, Europe, Africa and large parts of Asia. It's the headline event for astrophotography in September, so it's worth staying up late with your camera to watch the four-hour spectacle.

When is the lunar eclipse happening?

The event will take place over Tuesday, September 17 and 18. In North America it will be visible today at dusk, with a clearer view from Europe during the early hours of tomorrow morning. You can use this map to gather information on your exact location. For example, New York will witness the partial lunar eclipse from 20:41 tonight until 00:47 tomorrow morning, with London’s celestial showing starting early tomorrow at 01:41 until 05:47.

What's a partially eclipsed harvest supermoon?

If you're new to celestial events, tonight you'll get to see many moons rolled into one. The Harvest Moon – aside from being the title of an excellent Neil Young track/album – is the name given to the full moon that occurs closest to the autumnal equinox. This coincides with a supermoon, as the natural satellite's orbit strafes the Earth near to its closest point. And of course, while all this is happening, you’ll be treated to a partial lunar eclipse as the sun casts the Earth's shadow over a small portion of the moon's surface. 

How to photograph a lunar eclipse

Astrophotography is arguably the most complicated and technical genre of photography, but capturing a lunar eclipse is surprisingly simple. Firstly, you need to think about your composition. You could capture a frame-filling shot of the moon, a wider field of view with some kind of foreground interest or capture multiple images to form a jazzy lunar eclipse multiplicity.

The former will require you to get as close to the moon as possible. So, grab your longest lens and make use of a compatible crop-sensor camera or teleconverter to get even closer, if you have one. And if you happen to own the mighty Nikon Coolpix P1000 and its jaw-dropping 125x optical zoom – or any of the best bridge cameras for that matter – now would be the time to use it. 

A wider composition will of course require a wider focal length, as will a multiplicity, since you’ll be capturing the moon as it moves across the sky, while maintaining a constant frame.

Your camera settings will depend on the light conditions in which you're shooting. However, even with a low ISO and middling aperture, you may find yourself yielding a shutter speed above 1/100 sec. If you’re using a telephoto or super-telephoto lens, even in these favorable lighting conditions, the reciprocal rule dictates you'll need to use a tripod to avoid camera shake. 

I'd recommend using the best tripod you can afford regardless, since you'll be able to set up your composition, sit back and wait for the lunar eclipse to reach its photogenic peak. Additional camera shake prevention methods involve setting a self-timer, using your camera's exposure delay mode (if available) or attaching a remote shutter release. And if your long lens has a tripod collar and foot, ensure you attach this to the tripod and not the camera body for additional stability.

If you're shooting with a longer lens you won't be able to use the super wide apertures many astrophotographers are accustomed to. But this shouldn't be a problem. If you're forced to push your ISO, the best cameras for astrophotography boast great low-light capabilities, and noise-reduction software has gotten so good nowadays, even noise-ridden images can be saved in post-production. 

Finally, using your camera's intervalometer or a dedicated intervalometer may prove useful if you're capturing a multiplicity. And don't forget to bring a spare battery – and a warm hat – if you're operating out in the cold.

UPDATE: Sony has now resumed downloads for the latest Sony A7R V firmware, after suspending it over fears that it could brick cameras.

Along with pulling the A7R V firmware, Sony also suspended the day-and-date update for the Sony FX30 fearing that the same issue might affect both cameras. However, the FX30 firmware is now available again alongside this one.

"We suspended the Ver. 3.00 software release on 09-13-2024 due to some products failing to update," notes Sony.

"However, after taking the necessary measures, we resumed the release on 10-09-2024. We apologize for any inconvenience this may have caused. If your camera successfully updated to Ver. 3.00, you may continue using it without issue."

Personally I would advise waiting a week or two before updating your camera, just in case there are still issues that need ironing out. However, the full release notes are below and you can download the new firmware here.

…

UPDATE (Sep 16 2024) Sony has suspended firmware Ver 3.00 for the Sony A7R V, which was released last week. If you have downloaded the firmware do not install it, as the manufacturer warns that your camera might become inoperable.

"We confirmed that some ILCE-7RM5 cameras may not start up after installing the version 3.00 update," wrote Sony in an update on its A7R V support page, titled Important Notice. "We have suspended the update while we investigate the cause."

Sony has also suspended its recent Sony FX30 firmware (which launched day and date with the A7R V update) that added much-requested shutter angle control to both cameras.

This is another black eye for the company when it comes to firmware, after similarly suspending a new update for the Sony A1 in March. The issue of firmware bricking an FX30 also made the rounds last month, when a YouTuber was told he would need to pay $700 to fix his camera after a firmware update apparently rendered it useless.

ORIGINAL STORY (Sep 13 2024): A chunky new firmware update has been released for the Sony A7R V that unlocks a slew of new features for the camera – including some supremely helpful connectivity and cloud functions.

Crucially, the latest firmware (Ver 3.00) means that you will no longer be able to connect to the Imaging Edge Mobile app and will have to migrate to the Creators' App (for which you'll need Ver 2.5.0 in order to avail the new firmware features).

Here's the full list of benefits and improvements you can expect.

Firmware update Ver. 3.00

• You can now continue shooting while transferring captured photos and videos to a smartphone or tablet

• Transfer to smartphones and tablets can now be resumed even if interrupted in the middle of a transfer

• You can now transfer only the differences that have not yet been transferred to your smartphone or tablet, or add videos to be transferred during the transfer process

• Allows you to upload camera images directly to the Creators' Cloud app
Notes: Settings must be adjusted in the Creators' App in advance

• Adds support for the Network Streaming function
Notes: Settings must be adjusted in the Creators' App in advance

• Adds support for the Monitor & Control app [Ver 2.1.0 or later]

• Adds a function that automatically creates still images with Shot Marks from movie frames after recordings
Note: You can add a Shot Mark while shooting or playing a movie and use it as a mark for selecting, transferring, or editing the movie

• Increases the maximum number of images that can be recorded in one folder to 9,999

• Displays the Wi-Fi signal strength when the Wi-Fi function is On

• Allows the use of Focus Magnifier and Auto Magnifier in MF while using the Bright Monitoring feature

• Allows notifications to be displayed when the latest software is available for your camera

• Adds support for the Custom Grid Line feature
Note: The Custom Grid Line feature is available as a paid license. Availability depends on country and region.

• Fixes an issue where Auto Review is not displayed on the camera during HDMI output

• Improves the functionality and operational stability of the camera

To download the latest firmware for the A7R V, along with instructions on how to install it (as well as important information to be aware of before you do), visit the Sony support page.

You might be interested in the best Sony cameras, along with the highest resolution cameras on the market.

You shouldn’t crop in software.
Always choose the focal length to get the right shot at the time of capture.
Only use prime lenses, a zoom lens dilutes your image quality.
Nail your exposure. If you underexpose or overexpose you’ve missed the shot.
Set your sharpening correctly for a pinsharp image.
Make sure your shutter speed is enough to prevent camera movement.
Always use a tripod. 
Real photographers shoot black and white only as it’s the most direct link to historical photography.
And those primes? They should be vintage lenses.
You should never stage a photo, you should always capture the scene as you find it. 

Honestly folks, can you imagine how boring and suppressed photography would be if you had to stick to rules like that? We’re blessed in a world where 40+ Megapixel cameras allow us to crop in to get photos within our capture, allowing you to tailor the crop to both the subject and the destination. Be that for print (and you should print), Instagram stories, posts, or going into videos like reels, shorts, or longer form. 

Use the lens that gets the shot. Many a shot has been lost swapping to the right prime. Put the zoom lens on. Sure, using one fixed length is great practice – I recently shot a festival with the fixed 23mm (35mm full frame equivalent) on a Fujifilm X100VI, but being able to choose a length leads to a far greater variety of images from a location. Get the best one you can afford. Modern zooms are easily as good are older primes for sharpness. 

If you shoot Raw, you have an amazing amount of leeway in exposure. You can easily bring back around two stops of lost highlights, or open up dark shadows with underexposure. These are just tools to enhance your photo. You may have been shooting against overcast skies and nailed your subject’s exposure at the sake of the sky. So you bring it back in raw processing. Good for you. That’s a choice based on experience. 

You don’t need a tripod all the time. Sure, if you’re looking at back-to-front depth of field, which can require long exposures, but handheld photos can work well in other situations. You could even use a tripod with motion. There’s a whole brigade of amazing Intentional Camera Movement photographers using motion during exposure to create unique pieces of art. 

Black and white photography is beautiful. That classic, pristine, look of form and tone. Often breathtaking. But that doesn’t take from the jaw-dropping shot of an amazing sunset. Or the creative use of color. Understanding how colors interact allows you to take photos that have an immediate and lasting impact, often more than with black and white. 

Sharpness is overrated.  As Ansel Adams said "There’s nothing worse than a sharp image of a fuzzy concept". Film photography was often not perfectly sharp and the grain of the film prevented really sharp edges. Digital sharpness can be a bane for portraits where the depth of pore detail means a lot of retouching to create a more flattering image. Can you ignore it altogether? No, of course not. Shallow focus photos need the subject to be sharp enough for the subject to be obvious. Better to capture a great photo and fix sharpness later than miss it. 

Ignore the purists and use your creativity and gear to the fullest to create photos that represent you, your views, values and likes. 

More opinion pieces by Sean McCormack:

• This is why I hate being a photographer
• I switched camera systems, and this is the lens that really surprised me
• I can't believe I actually bought this camera
• These two lenses could do 90% of your photographic work
• You don't always have to shoot Raw as a photographer, but you probably should
• No, you don't need to get on a plane to take great travel photos

Hasselblad has dropped a new lens that marks two big firsts. The Hasselblad XCD 20-35E is both the company's first ever ultra-wide zoom lens, as well as the first in its flagship series of 'Exclusive' lenses (the "E" in the product name). 

Its 20-35mm f/3.2-4.5 focal range truly lives up to the ultra-wide billing, delivering an effective 16-27mm range in full frame terms. As the widest and fastest lens in the lineup, the XCD 20-35E is an ideal option for genres like landscapes and architecture that the medium format X System is so adept at. 

The lens is beautifully designed, as you would expect of an XCD optic, and features an internal focus mechanism so that the 117mm length stays fixed and the 805g weight remains perfectly balanced whether you're using a Hasselblad X2D or the 907X & CFV 100C (or one of the 50MP bodies of the previous generation). 

The optical formula comprises 16 elements in 12 groups, including 3 aspherical elements and 4 extra-low dispersion elements. It is able to focus as close as 0.32m, and features a 77mm filter thread. As with all XCD lenses, the 20-35E features a leaf shutter that offers flash sync speeds of up to 1/2000 sec.

Hasselblad's goal for this new Exclusive flagship class of optics is to deliver the same degree of optical performance as its outstanding prime lenses. Remarkably, it actually delivers center sharpness on par with a Hasselblad prime – and given that the XCD 90V is literally the sharpest lens we've ever tested, that's saying something! 

You can check out the lab tests along with my full thoughts in my Hasselblad XCD 20-35E review. I've been using the lens for a while now and I've been absolutely staggered by the shots I get from it. 

From the review:

"Hasselblad's first ever ultra-wide is another home run for the XCD lineup. Whether you're looking for the fastest and widest lens possible, you're trying to replace a few wide-angle primes, or you simply want a fantastic tool for all-purpose wide-angle shooting, the XCD 20-35E is what you're looking for."

The Hasselblad XCD 20-35E is available now, priced $5,929 / £5,699 (Australian pricing to be confirmed).

You might also be interested in the best Hasselblad cameras, including my Hasselblad X2D vs 907X CFV 100C comparison, along with the best Hasselblad lenses.

The iPhone 16 generation's new Camera Control button – not AI – stole the show at the "Glowtime" launch event, but what EXACTLY does it do? Photographers and video makers will be excited by the idea of a dedicated button, but what will it offer photographers?

Perhaps, most importantly, will the camera button make the iPhone 16 be worth the upgrade?

First things first, the button appears on all four new phones – both sizes of the iPhone 16 and the iPhone 16 Pro which will be available to pre-order on 13th September and ship on the 20th, and it works in exactly the same way.

How the Camera Button works

The button is a physical button that can actually move a little way into the case when pressed, but is flush with the device before it is pressed.

The top of the button features capacitive touch sensors, a little like a trackpad. It can detect the amount of pressure applied and can use the phone's software to provide haptic feedback, via Apple's "Taptic Engine". In practical terms, that means it can provide a two-step process – like a traditional camera shutter might be half-pressed to focus, then pressed further to release the shutter (we'll get to that, by the way!)

So, you can use it to fire off the 48MP camera, but because it's software controlled, apps can use it in their own way – in Apple's launch demo Snapchat had its own additional functions – but the core functionality in iOS and the camera app is key!

What the iPhone 16 Camera Button does

It's not 'just a shutter button' but there are some key uses that most people will be putting it to from day one:

• Opens Camera app – One press outside the camera app launches the camera app

• Shutter – One press in the app 

• Record video – Press and hold in the app

• Zoom – press very lightly to bring up zoom control, then swipe (so, not focus then!)

• Photo Styles – A double light press brings up the photo styles (some are on the Pro only) you can then swipe the top of the button between. (A harder press would take a photo).

• Visual Intelligence – Not on day one, but you can tap and hold to bring up an AI (Google-lens-like) search tool (find out what kind of flower you're looking at, that kind of thing.

Is there a two-stage shutter?

There is no two-stage shutter on day-one, but Apple have already said this feature will come as part of a software update which shows how versatile the device is.

Some commentators are already asking what percentage of people will want to do that for focus because modern phone cameras have programmed us out of it, but I'm willing to bet that most of the few that want it are DCW readers.

What is the camera like?

That depends on whether you choose the iPhone 16 or the iPhone 16 Pro; the former offers 48-megapixel fusion camera and wide-angle lens, while the iPhone 16 Pro has those and a 12MP 5x telephoto (on both models).

The iPhone 16 Pro can also capture 4K120FPS video – muscling in on action camera territory – and, finally – the playback speed can easily be adjusted after.

Cynics will be quick to point out that the camera specs aren't massively different on the Pro Max (though there is a bigger sensor on the wide lens), though the smaller pro gains the 5x optical zoom – it could even be argued that the button is a distraction, but usability is probably at least as crucial for photography in the pocket.

When can I get the iPhone 16?

You can pre-order the phones from the Apple Store on September 13, though to get ahead of the queue Apple already allow you to browse the specs on the Apple Store online. The phones will ship on September 20.

The iPhone 16 costs 'From $799' while the iPhone 16 Pro 'From $999', rising to $1199 for the Pro Max and $1599 for the Pro Max with 1TB storage (which will come in handy if you start recording a lot of ProRes video!)

The iPhone 16 event is coming in a matter of minutes, and – even though I'm a professional and have owned every single iPhone since launch – I'm still excited. I wish I wasn't. I'm trying to contain myself. I've promised myself this will be the year I skip a year, so what happens in the presentation will affect not only my decision, but those of many others, and you can view it right here – just scroll down to the live window.

UPDATE: You can watch the whole event below, and ready my astute comments, but I've also had both phones in my hands – check the best iPhone for Photography guide.

The iPhone 16 event is coming in a matter of minutes, and – even though I'm a professional and have owned every single iPhone since launch – I'm still excited. I wish I wasn't. I'm trying to contain myself. I've promised myself this will be the year I skip a year, so what happens in the presentation will affect not only my decision, but those of many others, and you can view it right here – just scroll For an idea how many others, the iPhone 15 – introduced September 2023 – was the best-selling smartphone in the fourth quarter of 2023; just the Pro Max accounted for 4.4% of all smartphones globally. It is estimated that there are more than 1.3 billion active iPhone users worldwide, and 60% of US market share belongs to Apple.

This time the rumours have pointed to some significant changes in both the 'standard' iPhone 16 models – which we expect to have their two cameras re-arranged so that they can shoot Spatial Video (the 3D video you can view on Apple's Vision Pro, the headset I tried recently). We're also hearing talk of bigger screens (but not bigger phones, so that sleek black edge might have to go?)

We're also expecting a new button to be added to the frame – not actually a button, but a sensor which will have haptic feedback (a vibration from inside) – which might serve as a shutter button. This will be on top of the multi-function button added to the iPhone 15 Pro series.

In terms of software, of course, all the excitement is around Apple Intelligence which was first announced to developers (and anyone who cared to watch) at the WWDC 24 which I covered in June. It'll be exciting to see just what Apple is keen to show to their biggest customer base – iPhone users.

Oh – though as photographers & video makers the iPhone is iconic, other key tools might get a mention, including the AirPods and Apple Watch 10. Don't expect to hear about the best MacBooks for photo editing though; any M4 computers will likey get their own event (although you never know). to the live window.

Our coverage has begun, but the actual event starts at 10:00am at Apple HQ, Cupertino, Pacific Time – or 18:00 UK, 1:00 pm EDT.

The Apple Store online has the 'Be right back' message we've come to associate with a major product launch, so there's no need to buy the latest phone only to kick yourself. Well, not from Apple's store anyway!

So, while we're waiting for anything more exciting, I find myself wondering, "Do I actually want more buttons on my iPhone?" If you call something a 'shutter button' then it's very appealing to the photographer in me, and there are definitely times that I find it very difficult to get a good grip on the phone when attempting a family selfie, but the other reason I can't do that is because I'm in my 40s and I'm too old to think cameras should be used like that!

More places you can touch the device on the edge and cause issues seem to offer as much potential for problems as benefits though, of course, the magic of the rumored touch sensor is that the software will be able to choose to ignore it whenever it likes. Will it be smart enough? 

Now I don't know how many DCW readers have also experienced PS5 controllers's adaptive & haptic triggers, but that kind of tech would be amazing – a shutter button that could be adjusted in software to suit your style, and give that perfect retro click if you wanted! A shame it'd also be a tragic waste of power and space on a phone!

So, the button. the most photographer-centric of the rumors have this to say about it: it'll be a 2-stage button that you press gently to focus and squeeze all the way to take a photo. OK, no PS5-level feedback, but that is definitely the core of what appeals to any serious photographer. 

By 'serious' I mean the kind the general public still peg as "DSLR users" even though it is long since mirrorless swept in. It's also worth remembering that most folk with a compact camera from the early digital era onward will also be familiar with the semi-press to focus approach. Bridge, and all sorts. It's also been on phones before too – nod to Sony Xperia phones – and if you can remember the odd hybrid devices that existed pre-iPhone, like the Nokia N95, some also had camera-like 2-step buttons.

If Apple can replicate all this without harming usability they'll be a long way to winning me over.

If you're upgrading your phone, I'd be super interested to hear what you do with your previous one? I know for sure that I won't be using webuyanyphone.com – and, personally, I'd advise anyone else against using them based on my personal experience last year.
Is it best to hand them down to friends and family, donate them, or do you have a preferred online selling site? Tell our social (Twitter).

Sadly I've not made up an iPhone 16 bingo card, but things that we could have put on it to spoil everyones day include:
iPhone Fold Everyone says Apple are working on it, but we're NOT expecting one, and not just because sales of the iPad are worth protecting!
Apple Vision SE Cheaper goggles for all – no doubt an idea in Apple's far future, but for now the future of home cinema is going to stay the wrong side of $3000
iPad Mini Here's betting they save this for another day, though we'd like to see a refresh of the innards.

OK, I think we're off... the music has come to life all over the place!

So, right after the video of happy looking people enjoying the features of the iPhone, Tim Cook kicks off with, you've guessed it, Apple Intelligence. He mentioned it even before telling us how many lives Apple Watch has saved. Yep, it seems we're starting with the watch that's celebrating it's 10th anniversary!

Ooo... "beautiful new design..."

Jeff Williams (COO) tells us the new Series 10 gets an even bigger screen than the Apple Watch Ultra. You'll be able to type onto the screen. 

I'm feeling glad I never bought the Ultra now. That watch has cool shiny new "Jet Black" and a silver aluminium finish, and I think we're about to find we actually can wear it day and night... oh, no, wait, it'll be thinner. So will there actually be enough battery to last long enough? (I know my Series 6 doesn't last so I can't actually measure all the sleep stuff it says it can).

New features include a speaker (so you can annoy people in public, as many do with phones.

Oh, and polished titanium is replacing stainless steel – it does look pretty cool, much more James Bond than I'd expect, at least in Apple's video, thanks to the background which simulates metal. Bet it won't look quite so convincing IRL!

I'm chatting with fellow journalists about whether the new watch will look that good in real life. Let's just say that I'll bet Apple have just made at least one sale!

I've got to admit that I'm wondering about the strap fittings. Will it work with the traditional fittings? Will it work with the Wristcam strap (that lets you add cameras)? I ask since there is still no camera in the watch!

"From $399" Pre-order today for September 20th.

Wow, so they weren't kiddinng about the Apple Watch Ultra getting basically nothing. Ultra 2 is still called Ultra 2. It's got a new black color and the features of Watch OS 11. But then the other watch has watch OS 11 at doesn't coast $799!

So ends the watch line up...

I said we'd be talking headphones – specifically AirPods – and we are. These are very useful for all of use – especially photographers. So much so that many devices from the likes of GoPro (see the best action cameras) and Insta360 have gone out of their way to add compatibility to use the microphones in them for vloggers.

The addition of active noise cancellation to the non-Pro AirPods – plus Transparency mode - might make the AirPods Pro a little less appealing for some (I'm certainly starting to grumble, especially as I have to cope with the old pre-USB-C case.

Oh, and the case has magnetic charging. Come on. What was the point of Pro?

Ah, so they are talking about the AirPods Pro. Apparently there will be profound new benefits... health features (groan). but it's going to be health benefits (I'm trying to suppress my inner "Boring" complaint as basically, an algo, is going to turn the noise down)

OK, if you're not bored by Hearing Protection (or at least have faith Apple can help with it), apple will apparently be able to provide 48,000Hz passive noise protection which they expect people to wear at gigs so they look like they're listening to something else. There will also be a "clinical grade" hearing test feature in Apple's Heath App (which might mean more, or less, work for doctors).

Finally the AirPods Pro can turn into hearing aids automatically based on what the app learns – and they share your ear profiles across all your devices (let's hope you don't share your Apple TV with anyone).

We 'expect' to receive clearance from the FDA "soon" they add. Hmm. (Not listing the UK in countries expecting the tech. Interesting.)

Finally, iPhone!

Again Tim Cook goes straight for Apple Intelligence, before the video confirms all we expected about, er, where the two cameras would be – a great nostalgia trip for iPhone X lovers but of course it's a "Vibrant new look"

And wow is it covered with buttons! Well, OK two more (and one fewer switch). The iPhone 16 is only just getting the Action button, and it's also getting the new button... which is called THE CAMERA CONTROL.

Yeay!

Wow, so now we're learning about the A18 chip – yes, we've missed a generation apparently, though that sounds like a clever trick with naming to me. There are 6 CPU cores, 5-core GPU (involved in some of the camera features).

Efficiency is key too – now the iPhone 16 (not just the Pros) are getting 3nm chips

Ah... Craig  Federighi's man-stance as he explains the Apple's AI was something we knew was coming at some point in the presentation.

So what does Apple Intelligence mean for us? I'll ignore the dinner party invitation example (not something I do a lot). I'm more interested in the fact that I'll be able to search for photos and specific moments in videos by typing something like "Candice doing a flip"

Sadly this is followed up by some examples that look like Apple's existing auto-generated albums which are only so-so, so let's hope this search is better.

Craig continues to talk about a lot of things Siri will be able to do, which makes me think "Shouldn't Siri be able to do this already".

Then he says "Will be abailable" and "Starting next month" and apparently even English-speaking countries that aren't America will have to wait a few extra months – like England (you know, where English comes from!) – other languages, that could be longer.

AI is already sounding less 'awesome' (no matter how much emphasis Craig puts on the word) but like a massive experiment that we can't afford not to be part of!

Yeay - Camera time again.

So the button is recessed, and it does seem to have a pressure sensor and the ability to sense touch gestures – so yes, it can do the touch to focus thing.

Of course Apple have come up with a lot of other possibilities for multiple taps which will need learning with all these sensors that may need a bit of re-watching!

And apps can use it their own way, so be prepared to need to remember a lot of features / get very confused!

Main camera is now 48MP on the iPhone, not 12MP as before. The wide camera is 12MP, but boasts a wider aperture and macro (as some had anticipated).

"The equivalent of 4 lenses in the pocket" aparently (and yes, Spatial Video and – now – Spatial Photos).

A quick refresher of the Photos app AI features seen at WWDC to sort images was seen, before we dive into a discussion about how the phone works for gaming (quite well, say Apple, apparently).

There is an Ultra Graphics Mode with a lot of the ability to run games that only the iPhone 15 Pro could handle before. "Console level" is a phrase Apple likes, but it is pleasing that they segway it into battery life.

Now it's a cool wrap up video and the main event must be coming...

iPhone 16 Pro... and yes "Apple Intelligence takes us even further"

OK, that's Tim's bit... and there's that cool new button again.

Thin Borders are 6.3 and 6.9 inches are there, so bigger screens, and now we're being told how the whole thing is being designed for AI and that AI will help photographers – specific examples were given, like helping dress a location!?

Oh, we get an A18 Pro chip with the Pro phones!

A 16-core neural engine to help, as part of "The fastest CPU in any smartphone". Still 6-core CPU, and ProMotion / ProRes encoding tools are discussed.

Apple are leaning even harder than I expected on photography. It's odd, since the main camera specs aren't changing, though we do get a 48MP wide angle sensor. We're still stuck with 12MP on the tele, but the 5X is on both Pro and Pro Max (as expected).

That new button won't work straight away - the two stage button will be updated later in the year, apparently – but we're seeing a lot of very 'photographer-driven' stuff in the app. It just looks a LOT more camera-like. 

They even suggest it is possible in video and 'like professional color grading, in real time' – hmmm....

4K 120fps – taking on action cameras – made possible by the 'faster sensor' apparently. And 4K Dolby Vision 120fps slow mo is possible.

Finally you can change the speed after capture without resorting to FCPX, too!

Then we get to see an app using the new camera button. It does seem like this is an area Apple have a huge advantage, because there is enough market share to introduce a feature like this and get support.

New audio abilities look very exciting to filmmakers, though obviously it remains to be tested – apparently the mics and AI can detect background sound and isolate the voices of the subjects with studio or cinematographic feel. How cool is that? Very, very impressive (if true). While it's filling the phone with ProRes video too!

The fact Apple specifically indicate they have new cases which work seamlessly with the new camera button suggests to me that there might be a lot of problems with that button's sensitivity and cases. We shall see!

OK, Tim is wrapping up with the rainbow behind him. He seems pleased.

I think he should be – photographers are going to find the iPhone 16 series so much more enticing than 'just a button' might have been thanks to a brilliant bit of software design more than anything. I'm already counting the days to holding one and a couple of hours ago I was convinced this would be the year I didn't get a new iPhone for the first time!

So, we ought to round off with the basic factual:

The iPhone 16 will release on September 20th.

I've managed to weigh up a quick refresher of some of the best aspects of the Pro phone especially, and generally, how much love there was for photographers in the whole event, in a separate news story – iPhone 16 Pro is ALL about photography – with some more images of the features including that awesome sound reduction feature I hope works as well as implied.

In answer to my question about selling older phones, only eBay has been suggested by my friends – even though Apple seem to be offering pretty tempting rebates of up to $1000 (though I'm guessing that's for a lot more memory than my iPhone has!)

My colleague Leonie has noticed that the internet is going wiled about one of the presenters not so well known to Apple followers – Piyush Pratik – who showed us all the new Camera Control Button.

In a world where we long-time Apple followers are all still missing Jony Ive's part in Apple events, is he our man – albeit it a bit more cheerful? I kinda hope so!

Is the iPhone 16 Pro "Desert Titanium" Gold or Copper or Pink? More and more people who have actually touched it are weighing in, but none of the videos seem to show the same shade!

So, today is the day for ordering your phone. If it is like previous occasions the popular shades will sell out (at least for a few weeks) but Apple are letting people skip ahead by pre-pre ordering (yes, I know).

In other words, you can go to the pre-order page before pre-orders start at 13:00 and specify the model you want and have the company run your credit card before you actually go through the process on when the time comes in a few hours, enabling a faster pre-order at the time!

It could make all the difference if you want to show off that Desert Titanium first!

https://www.apple.com/iphone/

According to our friends at TechRadar, the most popular colors for pre-order on the iPhone 16 Pro were going to be the Black (50%) and the Desert Titanium (32%) by a long margin.

If you want to pre-order now it isn't color but size that is the issue in the USA – as you can test on the Apple Store configure tool.

🇺🇸 All iPhone Pro Max shipping dates 3-4 weeks, regardless of memory size or color

🇺🇸 All iPhone 16 Pro Still available for 20th Sept.

🇬🇧 Some iPhone 16 Pro (smaller) are going to 2-3 weeks including Black and 'natural' – others still available

🇬🇧 All iPhone 16 Pro Max shipping dates 3-4 weeks, regardless of memory size or color

On the day Apple Store pickup is already looking unlikely for the iPhone 16 Pro Max too. Do try the Apple Store UK configure tool to test the days.

For the time being, all the iPhone 16 phones – even the sexy new blue, teal, and pink ones, seem to be shipping on September 20 or available for collection, so the madness has mostly targeted the iPhone 16 Pro Max and (specifically in the UK) the black and gold iPhone 16... for now...

If you're not excited by the possibilities at Apple, with no on-launch-day delivery of the iPhone 16 Pro models available any more – any color, any size – you could take your chances with Amazon. I'm not seeing shipping dates – just the release date, but it's worth a try where you are, right?

You can pick color and memory options on the page – but in the US they're locked to Boost mobile.

🇺🇸 iPhone 16 Pro ✅(Boost mobile locked)
🇺🇸 iPhone 16 Pro Max ✅

In the UK the phones are available unlocked but – just like the Apple store – the Max models have all been taken already.

🇬🇧 iPhone 16 Pro  ✅
🇬🇧 iPhone 16 Pro Max (😢 Already listed as 'currently unavailable' in UK) 

The wait is over—Apple iPhone 16 pre-orders are now live worldwide. After the initial announcement, Apple and various carriers have made their flagship models available for purchase, with some fantastic promotions for those ready to upgrade.

Below, I've listed the main carriers for both the US and UK, along with key details you need to know before making your purchase. While I don't expect iPhone 16 preorders to sell out, it’s wise to grab one during the initial launch period, as the early deals tend to be better than those offered later.

iPhone 16: US Pre-order

• Apple: up to $650 off with a trade-in
• Verizon: up to $1,000 off with a trade-in and unlimited plan
• AT&T: up to $1,000 off with a trade-in and unlimited plan
• Best Buy: up to $1,000 off with a trade-in and unlimited plan

iPhone 16: UK Pre-order

• Apple: up to £650 off with a trade-in
• EE: up to £480 off with a trade-in
• Sky: iPhone 16 from £26 per month, no upfront
• Vodafone: save up to £736 with a trade-in

So, a week after collecting my iPhone 16 Pro Max in Desert Titanium I'm still not sure what color it is! I've canvassed opinions from friends and family and been told that the back is 'orange' and 'peach', though very much lighter than the dramatic tone in Apple's press images, while the rim does vary im all lights from copper to bronze to gold to even occasionally 'rose gold' (which, let's be fair, is code for pink).

I've got to say I do like it though – and the one thing we can all agree on is that it doesn't look the same color as a large expanse of sand.

I've also had a good play with an iPhone 16 and the camera and camera control button, so we've added reviews to our best iPhone for photography guide while we await the full reviews.

There, too, Apple's colors are much more exciting in their pictures than in the hand but they are still the best colors. Seriously, why are the 'Pro' phones the more boring?

I spent nearly two decades being a professional sports photographer, traveling the world for my job and shooting at many different shutter speeds to capture the action in full swing.

Now, as I've changed gears and tried to capture the beauty in the mundane through street/documentary photography 1/500sec seems to be my limit, well not even my limit more an "always-on" approach, and while that might sound odd this exposure triangle hack really works in any setting!

Now I know that 1/500th shutter speed isn't going to suit everyone, and there will be times when you need something much slower to let in more light, or faster to freeze every millimetre of motion, but for some reason I have all my cameras set to 1/500th and it always just seems to work out really well.

The type of things I'm shooting for street requires that I either move quickly to get the shot or things out in the open that are stationary and don't need anything faster to stop motion.

All my cameras, film or digital, have these two settings fixed: Shutter speed and ISO; Shutter speed being 1/500sec and ISO set to 400. The only thing I ever change is my aperture, and you know what? It just works so well for me that I'd highly recommend trying it yourself.

I guess you could say I'm manually adjusting with a "Shutter priority" mindset when I go out shooting, by just adjusting the aperture to my environment, but knowing that I have 1/500th set on my camera means I'm confident that any situation that comes my way I can capture it and my images will be motion free. Personally I see no need for shutter speeds of 1/4,000 and above because, honestly, 1/500th just works so well, it's like my own 'gold standard', and the setting I first change on any camera.

While this might be a very 'primitive' way of capturing images, it is also the way many photographers shot in the film days when nothing had a light meter built-in, and people might not have one to hand. The technique is called the 'Sunny 16 rule' and focuses on changing your aperture to the available light around you, but keeping your shutter speed the same as your ASA film speed or ISO.

Most common films in the day were rated at ASA 400 and ASA 800, so according to the Sunny 16 rule, you'd set your shutter speed at 1/500 or 1/1000, respectively. The rule is that the number under the fraction is the nearest to the ASA/ISO – since shutter speed steps tend to be 1/500sec rather than 1/400sec the numbers aren't quite perfect reciprocals.)

While we now live in the digital age, and I still shoot analog and digital, this rule still applies, and it is the best technique I learned in my photography. Would it be nice to change shutter speeds once in a while? Yes. But do I really need to? Not in the slightest!

1/500th is my 'go-to' shutter speed for everything. Knowing that my camera is set to that speed, I can capture any shot I want and know what I am going to get, be that on film or shooting digital.

It frees my mind to think about other things in the image, composition for example, how the light is hitting a scene, etc. Having one less thing to think about when taking images is such a feeling experience that I recommend giving it a try, it will certainly work for most things and you might be surprised!

Sony's ZV-E10 may be three years old, but is being given a new lease of life thanks to a free firmware update. 

The Sony ZV-E10 was launched back in 2021 - and its replacement the Sony ZV-E10 II went on sale recently - so it is great to see Sony providing improvements to the now obsolete model. The last firmware update for this camera was released in December 2021

Aimed primarily at vloggers and other content creators, the ZV-E10 was designed like an compact camera - but had the advantage of a large APS-C sensor, and interchangeable lenses. In essence, it was the replacement for the legendary Sony A6000 - one of the best-selling mirrorless cameras ever.

So, what do you get from the update? As ever with firmware, the description is pretty vague – but definitely sound like useful improvements. Sony USA describes Ver. 2.01 firmware as offering these benefits:

• Improves the stability of transferring images to smartphones

• Improves the other operational stability of the camera

• Makes the Eye AF feature compatible with animals when recording a movie

• Fixes an issue where the Touch Shutter may not work

Detailed instructions for downloading the firmware and installing on your own camera can be found here (note, there are different links available depending on whether you use a Windows or a Mac computer):

• ZV-E10 System Software (Firmware) Update Ver. 2.01 (Windows)
• ZV-E10 System Software (Firmware) Update Ver. 2.01 (Mac OS)

See our guide to the best lenses for the Sony ZV-E10

Canon issues a firmware update for the Canon EOS R5 C, adding some interesting new features and fixing those pesky bug issues.

The Canon EOS R5 C is Canon's full-frame hybrid camera and its smallest cinema EOS camera. Featuring 8K video capture and 45MP stills capabilities it's features place it in our guides among the best hybrid cameras and the best Netflix-approved camera guides.

The update may have surprised users, as firmware updates so often do, but this update includes more than just big fixes. It adds some rather useful new features that enhance the user's control and ease of use.

The update notes can be found below:

Canon EOS R5 C (Ver 1.0.8.1)

"Firmware Version 1.0.8.1 incorporates the following enhancements and fixes:

• Adds the following size option to the Focus Guide function:

-Normal/Large

• Enables the display of Markers during playback.

• Enables the following functions to be assigned as options to the Select Dial:

-Iris, Shutter, ISO/Gain, White Balance Mode, White Balance Mode (K), White Balance Mode (CC), Select Subject

• Enables the Shutter Speed option to be assigned to the Top Grip control dial, the Top control dial, and Control Ring.

• Enables the AF frame position to be reset by pushing the Joystick. (Video Mode)

• Adds the following thickness option to the Continuous AF frame:

-Normal/Slightly Thick/Thick.

• Adds support for the lens correction function that is included with EOS VR Utility Version 1.4 or later.

• Fixes minor issues.

• Fixed an issue in which, when quickly switching from Video mode to Photo mode without stopping with specific lenses attached, the LCD monitor may go black for approx. 30 seconds, during which the camera becomes unresponsive."

The updates focus mainly on the cinema aspect of the camera, improving video control and ease of use features for playback.

However, I think the pick of the bunch is enabling the 'Select Dial' to control several useful functions on the fly, including ISO, IRIS, Shutter, and more.

It has previously been noted by users that the dial didn't enable the selection of anything and stood out to be a wasted opportunity, however, thanks to this update it now has a valuable function.

The update can be found on the download page (linked above) along with a helpful step-by-step guide on the updating process.

You may also be interested in our guides to the best Canon cameras, the best cinema cameras, and the best hybrid cameras.

Another year, another flagship GoPro Hero Black camera. But with much of the specs sheet reading the same as the previous generation, it's unsurprising to hear many out there arguing that we might have hit peak action camera in the last few years.

GoPro obviously still believes there is space to grow, and this year's model, the GoPro Hero13 Black, does come with a whole heap of new features and upgrades, including new lenses, accessories, a new battery pack, and an awesome new slow-mo mode.

But is there enough to tempt new users, or existing users to upgrade? And with the GoPro Hero12 Black frequently discounted, how do you decide between the two? I am here to guide you through how the two cameras compare and help you pick the right one for you. Let's dive in...

Lenses

GoPro Hero13 Black: HB-Series lenses (Ultra-wide, Macro, ND Filters, Anamorphic)
GoPro Hero12 Black: Max Lens Mod 2.0

The Hero13 Black is all about lenses, with four new ones to play with including an Ultra-wide lens for up to a 177º field of view, a Macro lens for close focusing to 4.33in/11cm, ND filters to slow the shutter speed for more creative blur in videos, and an anamorphic lens (on the way in 2025) for a cinematic look to footage straight out of the camera.

These lenses also have a clever trick where the Hero13 Black can detect what lens is attached to the camera and adjusts all the settings automatically for optimal footage – especially important for the ND filters where the camera can guide you through which is the best of the four strengths of filter based on the light available.

The Hero12 Black only has one lens – the Max Lens Mod 2.0, which is equivalent to the HB Ultra-wide lens, although lacks any of the auto recognition smarts. Unfortunately, none of the HB series of lenses are backward-compatible with the Hero12, but the Max Lens Mod 2.0 is compatible with the Hero13 Black, however, settings will have to be dialed in manually.

If the possibilities of what the HB series of lenses could do for your footage has you intrigued then it's a straightforward pick of the Hero13 Black, however, even if you aren't sold on lenses right now, might you be in the future? The Hero13 Black might be a way to future-proof yourself.

Video Specs

GoPro Hero13 Black: 5.3K/60, 4K/120, 720p/400 Burst Mode
GoPro Hero12 Black: 5.3K/60, 4K/120

Unless you are into very very slow footage then there isn't much to separate the two Heros when it comes to video specs. Both cameras share the same sensor, and the top output for both is 5.3K/60 or 4K/120 (although a huge range of options are available). Otherwise, available aspect ratios are the same, and most features like Hindsight and 24.7MP frame grabs are found on both models. A slight advantage for HDR fans – the Hero13 does feature the latest HLG HDR video, which can give even more detailed highs and lows.

Slow-mo is the biggest difference between the two. It all comes down to a new burst speed mode on the Hero13 Black which allows you to shoot for up to 15 seconds in a huge 400fps in 720p, 360fps in 900p – or even 120fps for 5 seconds in 5.3K. If you film a lot of super slow motion, then this might be an essential new tool.

But, how interested you are in the HB Series of lenses might be the key differentiator between which one to buy. The new lenses offer an opportunity to get creative that you don't get with the Hero12 Black – new options like the anamorphic lens should provide cinematic footage that you'd expect to get from far more expensive lenses, or the ND filters can create more cinematic blur with slower shutter speeds whilst maintaining HyperSmooth stabilization.

Photo specs

GoPro Hero13 Black: 27MP
GoPro Hero12 Black: 27MP

As standard, the GoPro Hero13 Black offers the same imaging experience as the Hero12, with both cameras featuring the same sensor, generating 27MP photos in standard, SuperPhoto, or RAW formats.

But alas, it again comes down to lenses – the new HB-Series of lenses offer new opportunities to take better shots and are only compatible with the Hero13.

The new macro lens gets closer than what is possible with the standard lens on either camera, which has always been a GoPro weak point. The lens, while not a true macro, offers focus up to 4.33in/0.11m versus the standard lens’ 12in/0.31m. The lens also has a manual focus ring and highlight peaking for ultimate focus precision. The longer throw of the macro lens also works to improve subject separation to make the photos look more like they were taken on a larger camera without resorting to any AI trickery.

When it comes to ultra-wide shots, it's a little closer between the two, with the GoPro MaxMod 2.0 going head to head with the HB Ultra-wide, both have a field of view (FOV) of 177° and not much else to separate them. The ND filters offer new opportunities for long exposures like light painting and star trails.

Stabilization

GoPro Hero13 Black: HyperSmooth 6
GoPro Hero12 Black: HyperSmooth 6

Both the Hero 13 Black and Hero 12 Black use GoPro's Hypersmooth 6.0 stabilization, or can access Hypersmooth Pro with a subscription to GoPro’s Premium+ service. So not much to separate them here.

Power

GoPro Hero13 Black: 1900mAh Enduro Battery, Contacto Battery Door
GoPro Hero12 Black: 1720mAh Enduro Battery

For the Hero13 Black, GoPro has both resigned the thermals inside the camera and included a 1900mAh capacity battery, which is a 10% bigger capacity. These combined mean the Hero13 can record in 5.3k30p for around an hour and a half and 1080p for around two and a half hours in good conditions, however, both figures are with GPS turned off.

The average battery life improvement over the Hero12 with airflow is 13.5%, while in situations with no airflow, the improvement is an even greater 26.7%. Generally, the biggest improvements are found with the highest frame rates, so for anyone who really likes to push their GoPro to its limits, you should find the Hero13 goes for longer.

The Hero13 Black can also be used with the new Contacto battery door and magnetic cable for MagSafe-style charging and continuous power either from a power bank or DC supply. The cable is fully waterproofed, even for continuous power while submerged (although the power supply should remain somewhere dry). This is a simpler and more elegant solution than the optional USB-C pass-through on the Hero12. The downside – the Contacto kit is an expensive add-on at $79.99.

Mounting

GoPro Hero13 Black: Fold-down finger mount, Magnetic latch mount, 1/4-20 thread
GoPro Hero12 Black: Fold-down finger mount

Both cameras have GoPro's built-in mounting fingers that flick down from the base of the camera to mount securely onto accessories.

However, the Hero 13 also has a new optional magnetic latch mount for quick and easy snap-on and off accessories like the new magnetic ball mount. There is also a 1/4-20 thread in the base of the Hero13 for mounting on tripods or gimbals that use this common connection.

An easy win for the new model.

Connectivity

GoPro Hero13 Black: WiFi 6, GPS, Bluetooth Audio
GoPro Hero12 Black: WiFi 5, Bluetooth Audio

Both cameras work alongside the GoPro Quik app for offloading content to your other devices, but the Hero13 Black adds WiFi 6, which offers four times faster transfer speeds than the WiFi 5 found in the Hero12. If your shoots demand fast turnarounds then this can make a big difference to your workflow.

Both cameras also feature Bluetooth microphone compatibility, which can connect to any microphone with Bluetooth – including the microphones in Apple's AirPods. However, the Hero13 adds audio tuning which can set audio recording to a standard ambient pickup, or isolate your voice.

Finally, after its strange omission in the Hero12, GPS has made a comeback in the Hero13, with optional overlays of location and telemetry data on videos to make them more immersive and contextual. If you are the type of person who likes to geotag all your content or does a lot of high-speed action, the latest model is your best bet.

Price

GoPro Hero13 Black: $399.99 launch price
GoPro Hero12 Black: $399.99 launch price

There is no change in the launch price of the Hero13 Black, although you can now find regular deals on the Hero12 Black for around $100-150 off, which makes the older model much more of a bargain.

The big selling points of the Hero13 Black are also all additional extras, which can jack up the price significantly. The lenses range from $69.99 to $129.99 each, the Contacto battery door is $79.99, the magnetic latch mount is $24.99, and a magnetic ball joint mount is $39.99. So you easily rack up the costs if you get carried away.

Conclusion

Based on the camera alone, it is really hard to separate the Hero13 Black and Hero12 Black. GoPro hasn't made any revolutionary changes inside the camera where I can say that the Hero13 Black is definitively better, with minor updates like WiFi 6 or the new high frame rate burst mode, being quite niche updates for only people who really need them.

The choice comes down to how interested you are in GoPro's new ecosystem of lenses and accessories, and how much additional money you are willing to spend beyond the purchase of the camera itself. Although you of course don't have to get it all on day one, and the Hero13 Black will be more future-proof for adding lenses and accessories later down the line.

What is your camera shutter count? It's the number of actuations on the shutter mechanism on your camera – in other words, it records the number of shots a camera has taken. 

Accordingly, it's also a representation of the life of your camera. In the same way that an odometer measures the miles racked up by a car, the camera shutter count measures the "mileage" on your body. And this is important because, like car motors, mechanical shutters have a life span. 

Different cameras have different shutter life expectancies, anything from 100,000 on a midrange camera to over 500,000 on a pro body – which is part of the reason that the best professional cameras and the best cameras for sports photography are so expensive, because they are built for far higher shutter actuations.   

Electronic shutters are changing the game, because there is no mechanical shutter and therefore no physical mechanism to perish. However, the camera shutter count still records the number of shots that have been taken. 

So even though bodies like the Nikon Z9 and Sony A1 have no mechanical shutter, if they've taken 500,000 shots there will still be plenty of wear!

Why does camera shutter count matter?

Finding out your camera shutter count is not only interesting (you'll find out how triggerhappy you really are!), it can also be an important thing to know for practical reasons.

If you’re looking to sell your camera, it’s a good idea to find out your camera shutter count – which is how many shots your shutter has racked up. Even if you don’t want to get rid of your camera any time soon, it’s an interesting figure to know, as it shows how much use your camera has had – and it might surprise you. 

Some brands make it easier to find out your camera shutter count than others – but no matter which brand you own, there should be a way to find out. This is by no means an exhaustive list, but at least one of these platforms should work for your camera. 

Some trade-in retailers will require you to provide the camera shutter count in order to receive a quote or trade, although if you really can’t work out how to do it they will have the correct software to do so.

Professional DSLRs such as the Canon EOS 5D IV and Nikon D850 have a shutter life expectancy of 150,000 and 200,000 respectively. That might seem like a lot but, if you’re a sports or wildlife photographer shooting with a fast burst mode, you can quickly rack up the number of photos you’ve taken.

Mirrorless cameras work a little differently, since they don’t have a mirror to flip up and down, which means they should theoretically have a longer life expectancy. You can also shoot using an electronic shutter, which doesn’t affect the shutter count at all. Fujifilm advertises the Fujifilm X-T4 of being able to take around 300,000 shots while the Canon EOS R5 has an expected lifespan of an enormous 500,000 actuations. 

Shutter count information is stored in your EXIF data just like ISO, shutter speed and aperture is. There are a few different ways to work out what your shutter count is depending on what camera you have, but most cameras will be compatible with camerashuttercount.com . You can use tools.science.si if you're a Sony user or Apotelyt.com if you shoot Fujifilm.

If you're lucky enough to own a Nikon and one of the best MacBooks, finding out your shutter count couldn't be easier. Simply open an unedited JPEG in Finder, click 'show inspector', select the Nikon tab and there it will display the number of actuations.

Some cameras don't embed the shutter count information into the EXIF data, which can make it slightly trickier to find, but when there's a will there's a way. Olympus cameras, for example, have a secret menu and a particular set of steps to follow to reveal the shutter count, while the Fujifilm X100V actually displays it in the menu. 

If you want to keep track of your shutter count it might be worth investing in some shutter count software such as ShutterCount from Dire Studio, which is really cheap and it's compatible with most cameras. When I worked at Wex it was the program we used to test all cameras being traded in, as shutter count can obviously affect the value of the camera.

Don't worry too much – even the best cameras for beginners and the best cheap cameras still have a good shutter life expectancy! 

I have been shooting primarily with the Fujifilm GFX 50S II since its release in 2021 and have had no desire to upgrade anytime soon. That was until I spent the day using a 100MP medium format beast!

I recently attended a portfolio-building event in the UK sponsored by Fujifilm. At the event, guests had access to the best Fujifilm cameras and GF lenses, and I chose the Fujifilm GFX 100 II as my companion for the day – I was instantly hooked!

The GFX system is Fujifilm's medium format range of cameras, and upon its release, opened medium format photography to the masses. The GFX 100 II was released late last year featuring a new processor and sensor combo, further pushing the boundaries of what medium format can do.

I am used to the exceptional colors, film simulations, and image quality of the GFX system, and as far as the final image output, it has been my favorite system to use in my work. The GFX 100 II steps this up further by improving processing speed, faster AF, and adding video capabilities unheard of on a medium format stills camera.

My sticking point with the GFX 50S II has always been focusing, especially in low-light situations. As it was my first medium format since switching from DSLR, I chalked this up to the nature of medium-format cameras and adapted my way of shooting to be a slower-paced and more considered approach to hitting the shutter. I needn't have bothered as if that was the nature of the medium format, it has now evolved.

I used the GFX 100 II coupled with the outstanding GF 110mm F2 for the majority of the day, and despite working with Elinchrom's off-camera flash in dark environments, it never failed to nail focus. I shot in High-Speed Sync (HSS0 in a fast-paced environment with no issues, something I often struggled with on the 50S II.

In addition to the larger sensor performing better in low light, the image quality on the GFX 100 II is unlike anything I have ever seen on the back of a camera. It is exceptionally sharp, and for those pixel peepers among you, the thrill of zooming in to 200% and seeing so much detail is unmatched.

The level of detail captured makes post-processing a dream and enables an almost unrelenting amount of cropping after the fact, however, with high detail comes high file sizes so do be wary if thinking of purchasing.

The final nail in the coffin, or rather my wallet, was the EVF. Since switching to mirrorless, I am ashamed to say that I rarely use the EVF and instead opt for the screen. However, the EVF on the GFX 100 II is a beast and saved me no end while shooting in bright daylight.

Featuring 9.44 million dots and a 1.0x magnification, it is hands down the most impressive EVF I have ever used and had me shooting like I did in my DSLR days.

The Fujifilm GFX 100 II is on the pricey side, fetching $7,499 / £6,999 / AU $12,000, but if you are a working photographer, investing in the best tools for the job pays off – at least that's what I'm telling myself!

You may also be interested in our guides to the best medium format cameras, the best Fujifilm cameras, and the best Fujifilm GF lenses.

A student at the UK's Nottingham Trent University has designed an innovative modular camera that can be used by right- and left-handed users alike. Called the MC-1, this one-off design features a central 'hub' section which looks as though it can function by itself as a standalone camera. It has two large red shutter buttons, one on the top panel and another on the bottom, enabling right- or left-handed use by simply flipping the camera over. We assume the rear screen is touch-sensitive, as there doesn't seem to be any other physical controls on the main camera, apart from those shutter buttons.

To improve ergonomics, an additional grip module can be clipped to the side, and this also houses extra physical buttons to aid camera control. If the camera is to be used by a left-handed shooter, it can be rotated through 180 degrees, and a bespoke left-handed grip module then clips to the left side of the main camera unit.

Flipping the camera over for left-handed use rules out a conventional, built-in viewfinder. To solve this, the camera's designer, Rowan Baxter, came up with a separate viewfinder module that can be clipped onto either the top or bottom of the main camera, depending whether the camera is in left- or right-handed orientation. Rails on the top and bottom surfaces enable the viewfinder module to easily hook into place.

As this looks like a prototype camera, we don't know much about its internals, only that the sensor size is APS-C, and the core 'hub' module is "pocket-sized". The lens fitted to the MC-1 we see in the Instagram Reel is a TTArtisan AF 27mm F2.8. This APS-C lens is only available in Sony E, Nikon Z and Fujifilm X mounts, so we assume the MC-1 is fitted with one of those mount options.

Though a left-handed camera may seem unusual, this isn't the first time we've seen such a product. Back in 1987, Yashica launched the Samurai Z-L; a real, mass-produced left-handed film camera. It was essentially a flipped version of the company's right-handed Samurai Z, with the grip and camera controls mirrored for left-handed users. We've got a separate story about that camera if you'd like to know more.

Story credit: Rowan Baxter Design

AI is quickly becoming present in all-new technology in one form or another, and there are many ways in which it can be utilized, it now seems artificial intelligence has made its way to the youngest generation toys.

Leading kids camera manufacturer myFirst has just announced the myFirst Camera 50, a new camera aimed at 5-12-year-olds that includes AI features. 

myFirst has a track record of making some of the best kids' cameras on the market however its previous releases focus on photography first and foremost, with little to no bells and whistles, whereas the Camera 50 has them all.

The camera is equipped with a 20MP rear camera featuring a wide-angle lens and a 20mm macro lens, enabling the capture of wider scenes and intricate details. A new shutter has been introduced that enables half-press focusing, much like standard cameras enabling an easier experience when the inevitable step up to a more advanced camera.

In addition to the front camera, there is a selfie camera with adjustable LED lighting that offers three warm lighting modes.

The myFirst Camera 50 is super thin at just 80mm and lightweight weighing only 150g, ensuring it is manageable ergonomically for its tiny users. Constructed from PC ABS and TPU plastics it is shockproof, scratch-resistant, durable, and strong handling most drops and bumps with ease. It has a 16GB internal memory, and a microSD card slot to expand the number of stills and video you can recorded.

MyFirst states that the AI features of this camera aid with "turning everyday moments into creative masterpieces". AI assistance is used in curation and editing tools, enabling the enhancement of photographs and videos. Unlike what we may be used to in Photoshop and Luminar, to the best of my knowledge this does not mean retouching, but rather adding stickers, drawings, and voice notes.

"The AI intelligently analyses content, recognizing facial expressions, scenery, and colours, to create perfectly curated stories with minimal effort," we are told.

The design of the camera leans more towards that of a smartphone than a camera, and additional features also follow this trend. The myFirst Circle App enables kids to share their creations within a 'controlled environment', with full parental controls and added security, as this can also be used with the built-in Wi-fi.

myFirst Camera also aims to aid with children's mental health by adding a myDiary feature, which enables kids to record diary entries as a form of journaling. Also using AI to generate prompts and 'encourage self-expression'.

An AI camera for kids sounds worrying, but myFirst is billing this as a camera for a new generation of content creators. "This camera is designed to help the kids document their life and make it easier for video editing through our all new AI-assisted curation", says myFirst founder G-Yay Young. "We want to make it easier for the next generation storytellers to create content easily, share the content safely in a safe environment and express themselves with one click of a button."

The myFirst Camera 50 is available to preorder now for release on September 19, will cost $129.99 / £109 (Australian prices to be confirmed).

You may also be interested in our guides to the best kids' cameras, the best waterproof cameras, and the best selfie cameras.

Hobolite is a subsidiary of AEC Lighting Solutions, a company who have over two decades of expertise and has won numerous design awards. And its in relation to design that the Hobolite range of LEDs stands out from the crowd when compared to the LEDs produced by other companies such as Godox and SmallRig. Many LEDs are designed to be functional - whereas the Hobolite range - with their retro curves and faux leather panels - are designed to be noticed and admired while they illuminate your subject. I’ll dwell more on their distinctive design looks in the Build and Handling section of this review.

I reviewed (and highly rated) the Hobolite Avant and the Hobolite Mini back in March 2023. In 2024 Hobolite revealed revised versions of the Avant and the Mini - The Avant Max and the Mini Max. The name ‘Mini Max’ makes me smile as it sounds like a contradiction in terms, but at 40W the Mini Max is twice as powerful as the older 20W version. The Avant Max can boost its intensity by 3.5 times when you magnetically attach the Avant Lens, converting its 80W to the equivalent of 280W. The Avant Lens is supplied in both the Standard and Creator kit versions of the Avant LED. The Creator Kit versions of both the Avant and Mini Max lights cost more than the Standard versions, but you get a host of extra accessories and modifiers as we’ll explain.

Hobolite Avant Max and Mini Max: Specifications

Hobolite Avant Max and Mini Max: Price

Hobolite Avant Max and Mini Max: Design & Handling

I’ve tested and reviewed a range of Hobolites, from the 8W Hobolite Micro that fits into the palm of your hand to the 5W Hobolite Iris that looks like a vintage camera. At the other end of the power and size spectrum, there’s the larger and more powerful 100W Avant . All of these lights share the same attractive 1960s-inspired retro look with curved aluminum bodies adorned by brown faux leather panels on the sides.

The new Avant Max and Mini Max also share the same vintage design aesthetic, though the Avant Max can also be purchased with Midnight (very dark blue) faux leather paneling and that’s the version I tested for this review. The Mini Max that I tested had the standard brown faux leather panels that I’m familiar with from using other Hobolites. While the Midnight Avant Max looks very chic I prefer the brown-colored version as it sits better with the overall 60’s look (and it will match other Hobolites that you may own).

Both the Avant Max and the Mini Max can be powered from the mains, but they also ship with a detachable 99Wh V-Mount Battery that has the same faux leather paneling that features on the light’s body. With 99Wh/6900mAh of lithium-ion energy, the battery frees you up to shoot in any location without being tethered to a mains supply.

Both Max versions ship with a silver ergonomically designed handle that you can hold while lighting a subject on location. In the studio, you can mount the handle onto a light stand. I was lent two Hobolite branded tripods so we could attach the handle-mounted Avant Max and Mini Max onto these hands-free stands. The stands were quick and easy to deploy thanks to a series of sturdy and tactile twist-to-extend rings. The silver Hobolite stand that sits on top of the light stand can be angled through 180º with precision thanks to a ratcheting mechanism that can be locked firmly into the desired angle to light your subject.

Both the Avant Max and the Mini Max are bi-color lamps, so they only emit light between the color temperature range of a warm 2700 degrees K to a cooler 6500K. Therefore an essential feature of the Avant Max and the Mini Max Creator Kits is the inclusion of a collection of coloured gel domes. These colored gels can be magnetically attached to each light in an instant to creatively change the light’s color (and alter the mood of the shot). Both lights also ship with magnetic ‘barn doors’ that enable you to control the spread of light being emitted. You can still attach a colored dome to the lights when they are sporting a barn door.

Hobolite Avant Max and Mini Max: Performance

To test both the Avant Max and the Mini Max I took them into a studio and mounted them on Hobolite light stands. I popped the larger Avant Max on the 250 cm Hobolite Light Stand (90’’). and extended it to head height. The Avant Max’s supplied metal clamp enables me to attach its power unit to the light stand (rather than have it dangling loose).

I attached the Mini Max to the slightly shorter Hobolite Adjustable LED Light Stand 210 cm (82.7’’). I powered the Avant Max by plugging it into the mains. During the shoot, the onboard fan did kick in but it was so quiet that it didn’t register in my recording - check out our supplied test video. I powered the Max Mini using its attachable battery, which I had previously charged via a USB-C cable. The batteries on both kits have a little screen that indicates their level of charge when you press a button.

Both lights have the same method of adjusting their output. There are two knurled dials on the side that also function as buttons. One dial enables you to adjust color temperature between a range of 2700K - 6500K so that you can complement other light sources (such as daylight from a window or tungsten light from a bulb). The other dial enables you to adjust the intensity. To speed things up you can press both dials like buttons to jump between a range of settings in larger increments (such as going from 50% brightness to 75% in a click). An OLED screen on the same side as the dials enables you to see the Intensity and Color Temperature settings. A smaller button on both lights jumps to Effects mode. This enables you to trigger a wide range of creative lighting effects such as the flashing of paparazzi cameras (using a suitably cool color temperature) to the warmer flickering light of a fire (using a lower CT of 2700K).

As with most LEDs these days both the Avant Max and the Mini Max can be controlled remotely via a Bluetooth-linked smartphone app. This enabled me to experiment with different color temperature settings and special effects while I talked to the camera.

After my studio test shoot, I traveled to interview cinematographer Andrew Rodger about his work on the Amazon Prime chart-topping ‘sharks on a plane’ movie - ‘No Way Up.’ I decided to take the Hobolite Mini Max with me as I was filming in Andrew’s home and didn’t know how much space I would have to work in. While I was setting up the Hobolite Mini Max as a key light (on the 250 cm Hobolite light stand) Andrew commented on the Hobolite’s distinctive design as being reminiscent of a classic Hasselblad camera (which was a compliment to the Hobolite’s retro aesthetic look). Andrew also pointed out that LEDs such as the Hobolite have high CRI ratings, so flesh tones look faithful and accurate. (The Mini Max and the Avant Max have a CRI of 96, which is very close to the maximum value of 100).

Because Andrew’s movie is set in a sunken (and shark-infested) plane there’s lots of moody LED lighting in the movie (See our interview here…). So I decided to stick the green magnetic dome onto the Mini Max to cast a moody sub-aquatic green key light onto Andrew’s face to echo the creative lighting in his movie. I recorded the interview on my iPhone 15 Pro Max shooting in Cinematic mode to get a nice blurred background. Check out the interview extract in this review’s supporting video.

Hobolite Avant Max and Mini Max: Verdict

The Hobolite Avant Max and the Mini Max are beautiful LEDs, but they’re more than their stylish good looks. Thanks to both Creator Kits’ magnetic gel modifiers you can change the mood of your footage. Both lights have 8 video effects that you can trigger from the Hobolite app to enhance dramas. Thanks to the app you can change the color temperature of both lights with ease while standing in front of the camera, making these lights great for self-operating performers or documentary makers. You can sync both lights to the Hobolite app and then control both lights remotely. The main difference between the two is the Avant Max’s 7000 lux output compared to the Mini Max’s 4000, but I often had to dial down the intensity of both lamps as 100% wasn’t required.

Alternatives

UPDATE: We have spoken to Canon UK and the EISA Awards who have indicated that due to unfortunate timing, the Canon EOS R1 and Canon EOS R5 II missed the cutoff time for EISA awards 2024-2025. 

The deadline for the EISA awards this year was May 20, however, the new Canon cameras were not officially released until July 17. 

I did find it strange that the new Canon flagship cameras were not included as they boast some exceptional new features and are among the best mirrorless cameras on the market at the moment – this explains why!

ORIGINAL STORY (Aug 15 2024): The EISA Awards has announced the winners for the best cameras and lenses for 2024-2025, with Nikon and Sony scooping a total of 10 awards between them.

Every year EISA (the Expert Imaging and Sound Association) deliberates over the best cameras and lenses released over the past year. Its photography category honors different formats of cameras and various styles of lenses – and this year, 20 awards were given to the best of the best.

Six cameras were announced as winners, with the Sony A9 III scooping the biggest honor of Camera of the Year. It is no surprise by now that the A9 III has taken the photography industry by storm, winning multiple awards since its release and setting a new benchmark for pro sports cameras.

The camera introduces the first global shutter sensor on a photography camera, enabling lightning-quick flash sync speeds, minimal distortion, and the ability to capture your scene at 120fps in full 24MP RAW.

The A9 III was not the only Sony camera to win an award, however, as the much loved Sony A6700, won for best APS-C Camera.

Nikon continued a great award-winning year by picking up two camera awards, the Nikon Zf winning best Full-frame Camera and the Nikon Z6 III taking home Advanced Full-frame Camera.

The Zf has delivered on being a great hybrid option between retro and modern, offering users the looks and style of a film camera with the conveniences of modern technology. This EISA Award will sit on the camera's mantlepiece along with its Red Dot and TIPA Awards.

The other cameras picking up trophies include the Panasonic Lumix G9 II for Micro Four Thirds Camera and the Fujifilm X100VI for Compact Camera.

There does seem to be an obvious exclusion from the list of camera winners; considering it has released two brand new bodies in 2024, Canon is conspicuous by its absence. That being said, it is likely that the Canon EOS R1 and the Canon EOS R5 Mark II were released after the judging period. However, as the award is for 2024-2025, it does raise questions.

Cameras weren't the only photography product to win awards, with no less than 14 lens category winners.

The categories covered everything from telephoto to super-wide angle and everything in-between. Among the top picks was the Lens of the Year, awarded to the Sigma 50mm f/1.2 DG DN Art. A major win for Sigma and a great representation of how third-party lens manufacturers are producing some exceptional glass.

And the EISAs weren't a total write-off for Canon, as it picked up awards for two of its best RF lenses: Photo/Video Zoom Lens and Ultra-wide Angle Zoom Lens for the Canon RF 24-105mm f/2.8 L IS Z and Canon RF 10-20mm f/4L IS STM respectively.

The final award was that of Creator Smartphone, which was awarded to the Sony Xperia 1 VI. Smartphones are becoming a more and more viable option for photography, and the Zeiss optics and triple camera setup of the Xperia saw it take the gong.

The full list of winners can be found on the EISA website, and it makes for some interesting reading.

You may also be interested in our guides to the best mirrorless cameras, the best lenses, and the best smartphone for photography.

Have you ever wanted to play with Lego, but have been torn away from your fun for photography? Well, now you can take the Lego with you thanks to this amazing creation – a real-life, working Lego camera that can shoot 35mm film.

We've seen plenty of Lego cameras before, including official models such as the Lego 3-in-1 Retro Camera and the Lego Polaroid OneStep, but if successful this Lego Idea would be the first camera that actually takes film photographs. 

The Lego ZH1 takes its looks from old vintage cameras and has a functional viewfinder, film advance and shutter button. This masterpiece can be seen on the Lego Ideas page where creatives showcase their works made entirely of Lego.

The Lego ZH1 is the brainchild of Zung Hoang, aka Zung92, and has so far reached 8,387 supporters towards its 10,000 target. 

Zung92's primary goal was to create a fully functional 35mm film camera using only existing Lego parts. They prioritized affordability and portability, aiming to make the camera as compact as possible. The result is constructed from 595 Lego pieces.

One of the significant challenges they encountered was ensuring that the camera body was lightproof. In the initial stages, early film rolls were fogged due to light leaking through the bright, colorful bricks and gaps between the pieces. It took several days to perfect the sealing process without sacrificing portability.

The camera also proudly features the classic Lego logo from 1934, adding a nostalgic element to its design. The main lens is based on an existing magnifying piece, and they developed a special pinhole lens that produces unique and stylish effects, as demonstrated in these sample images:

"Check out the incredible improvement in the sharpness of my Lego Camera photos!" Writes Hoang about his latest revision to the camera.

"And the added light leaks have made them even more stunning. When I talked about fixing it, my friend Jay suggested leaving it as is to maintain the unique aesthetic."

While it's currently a half-frame film camera (like the recent Pentax 17 and Alfie Tych+), it can be modified to full frame. 

If you'd like to know more, or see this creation realized as a full retail product, head to the Lego Ideas page and show your support!

You might be interested in the best film cameras not made of Lego, along with the best 35mm film to use with them. 

Although the best camera phones have done irreversible damage to the compact camera market as a whole, there are still some sectors that continue to perform fairly well and are even bringing out new models from time to time. 

The bridge camera is an example of that. Generally, they have the classic form factor of a “proper” camera, while also giving you a much longer optical zoom than any smartphone, as well as traditional handling and manual control.

With the Kodak PixPro AZ405, you get a 20.6MP 1/2.30-inch CMOS sensor. Many smartphones nowadays actually have bigger imaging sensors, but, the key differentiator here is the AZ405 offers a 40x zoom. That’s equivalent to 24-960mm in 35mm terms. The corresponding apertures are f/3 at the wide-angle end and f/6.8 at the telephoto end.

While it’s true that this camera is unlikely to end up on our list of best bridge cameras, it does have a lot of appeal considering its super-low price point. It’ll set you back just £199 / $199 / AU$399, making it a bit of a bargain in camera terms.

Perhaps if you’re brand new to photography, or looking for something to extend the capabilities of your smartphone, it could be a tempting proposition. But let’s find out how well it works…

Kodak PixPro AZ405: Specifications

Kodak PixPro AZ405: Price

The Kodak PixPro AZ405 is available to buy in multiple territories right now for $199 / £199 / AU$399. There are sometimes deals and discounts to be found in various locations, which are usually time-limited. Shipping costs vary depending on your location. 

Launched in 2022, the AZ405 is a couple of years old, but it’s still a current model in Kodak’s line-up. You’ll struggle to find much else new for under £200, except for others in Kodak’s range, including the AZ255. You might be able to find other comparable bridge cameras for a similar price second-hand.

For those just starting out in “proper” photography, something like this can feel like a tempting idea at its low price. However, it might also be worth considering spending a little bit more to get something that you won’t outgrow so quickly if you can.

Kodak PixPro AZ405: Design & Handling

As is the way with bridge cameras, the AZ405 uses a ‘miniaturized’ DSLR type form factor, which is probably one of the reasons why this sector of the market continues to appeal. It has a chunky grip and employs a traditional control layout.

It’s not what you’d call heavy, but it feels solidly built and sturdy in your hands. The grip has a textured coating with moldings to fit your fingers appropriately. 

The shutter release is found at the top of the grip, with a zoom rocker switch around it. With this you push left to zoom out, and right to zoom in. If you carry on pushing in the right direction, you’ll use digital zoom once you’ve reached the full 40x optical option.

Around the zoom lens is a textured ring. However, this is static and doesn’t do anything – it’s there for looks only, which is a shame. At its full extension of 40x, the lens sticks out quite a bit from the camera body, but it’s fairly light so it doesn’t make it feel unbalanced.

Buttons on the top of the camera include an on/off switch, a button for changing the drive mode, and an exposure compensation button. There’s also a mode dial, where you can choose between different automatic and scene modes, as well as manual and semi-automatic modes like aperture priority. A flash is released by pushing a button on the side of the flash housing.

On the back of the camera, all of the buttons are grouped on the right-hand side for easy one-handed use. There’s a video record button, a menu button, a macro button, and others that are mostly self-explanatory. The menus themselves are a bit tricky to get to grips with – at least at first. Some aspects of operation are also a bit odd, for example, to change the aperture in aperture priority requires a press of the exposure compensation button, then moving between the different options presented, and finally using the up and down arrows to make a change. Besides this, there are only two apertures to choose from at any given focal length, too.

Using the camera in other ways is quite a laborious process at times. Switching it on you’ll find you need to wait 2-3 seconds before it is ready, and there’s also a short delay between pushing the shutter release button and the image being taken.  

There’s no viewfinder, but I wouldn’t really expect to find one at this price point. The screen is a decent size, but it has an average resolution and it’s not particularly bright. In sunny conditions, it can be difficult to see the screen well for composition, so you may often find yourself shooting ‘blind’. 

The batteries used are AA, which on the plus side means you can pick them up anywhere – that can be useful when traveling for example. However, it can also add a lot of cost to the operation of the camera, unless you invest in some rechargeable AAs. The ordinary batteries I used as part of this review lasted a couple of days of reasonably heavy use though, which is a positive.

Kodak PixPro AZ405: Performance

In general, image quality from the Kodak PixPro AZ405 is worse than that which you’d find from even a mid-range smartphone in 2024, much less one of the flagship models. However, when it comes to zoom, it still beats even high-end smartphones, so really it depends on what you’re looking for – and what you’re willing to work with to get it. 

When the light is very good you can get some lovely pleasing shots. When light is either too dark or too bright, the results aren’t great, with blown-out highlights and loss of detail a common problem. The lens also shows a fair degree of noticeable chromatic aberration when shooting in high-contrast situations. If you want to look at, or print, your images at A4 or above, you’ll notice these problems, but if you tend to only look at them at small sizes, it’ll be less of an issue. 

In indoor and very low light situations, detail is even worse, and although you can turn on the flash, that will leave you with very harsh and garish tones which aren’t particularly appealing. 

When not using the flash and shooting in a pleasing light, colors are otherwise pretty good in most situations. You might find that you get yellowish tones when shooting under artificial lighting, but you can adjust the white balance manually if you’re finding that to be a problem. 

With the zoom, you can get some half-decent shots at mid-range focal lengths. Perhaps even sometimes at the full reach of the zoom. To do this, you’ll need to have a lot of patience, hold the camera as still as possible, and hope that your subject isn’t going to move very much, preferably at all. Oh and of course shoot in good, but not too bright, light. It’s good for buildings and other static subjects, but anything that moves is very tricky. I did manage to get a couple of reasonable shots of some calm geese at the local park, but I stood no chance with my erratic dog. There is a tracking focus option, but this couldn’t keep up with anything at all so it essentially may as well not be there. 

Above: you can see the full zoom range of the Kodak PixPro AZ405.

Digital zoom is not worth using, not unless you really do want to get closer than 40x – which is unlikely in most cases. Macro performance is not too bad, with the possibility of capturing some nice frame-filling shots, again, so long as the subject remains still and you steady yourself too.

Full HD video recording is possible with the AZ405, but, as with images, in many situations, you’ll get better results with your smartphone.

Detail isn’t great, stabilization doesn’t work too well and autofocus struggles to keep up if you zoom in (or out again). For quick video clips it might be OK, but if you want anything of any kind of quality I wouldn’t use the AZ405 for video.

Kodak PixPro AZ405: Verdict

Overall, there’s not a huge amount to like about the Kodak PixPro AZ405, except for the price, which makes it very appealing. 

It’s slow to use, doesn’t have particularly good image quality in a lot of scenarios, and can be clunky to get to grips with. If you’re used to anything better it will definitely feel second-rate, but even stepping up from a smartphone it’s likely to underwhelm compared to the ease and high performance of modern devices.

The form factor is pretty solid, and the chunky grip does give you the feeling of shooting with a “real” camera more than your smartphone will give you. But the fact that you can’t properly change settings, such as aperture, will perhaps leave those looking for a step up in their photography pretty disappointed.

Albeit not at this price point, there are much better alternatives to the PixPro AZ405. If you’re prepared to accept low image quality it’s something you might consider, but, generally, I’d recommend saving up for a little longer and spending more on something that will produce much better results. Don’t forget to check out the used market if the budget is tight.

Alternatives

There is no question about it, film photography is back, and from the recent exponential growth in popularity, it's here to stay. The majority of the best film cameras are tools from the past and have not seen much modern development since the migration to digital cameras. That is however until recently.

Alfie Cameras is a family-run business and after a successful Kickstarter, started producing small half-frame compact film cameras with modern digital elements – providing a truly hybrid shooting experience. The cameras have all the feeling of shooting film, with the added benefit of electronic light metering and a rechargeable battery – I personally see this hybrid nature as the future of film photography.

It would be remiss if I didn't mention the other modern compact film camera, the Pentax 17, which also happens to be a half-frame. Having not used one it will be difficult to compare my experience to it, however, from my understanding of each camera, they were built to serve two different purposes.

Although technically a compact camera, the Alfie Cameras Tych+, and Tych models offer several creative lens options on a fixed rotary board.

The Tych+ offers a premium, meniscus, zone plate, and pinhole lenses, which create unique images making the camera a little more niche and experimental than cameras such as the Pentax 17.

Alfie Cameras Tych+: Specifications

Alfie Cameras Tych+: Price

The price of the Alfie Cameras Tych+ is something that I keep challenging with, as priced at $642 / £500 / AU$987, it is a steep investment for a creative camera. On the flip side, the camera is extremely well designed and each one is built by hand by the in-house team, so in that regard a more than fair price (It is also only available to purchase through the Alfie Cameras website).

The Pentax comes in at a similar price, potentially a little cheaper, so would prove stiff competition, for users looking for a more traditional shooting experience rather than the experimental.

I think the unique nature of the four lenses can be both a draw and a turn-off, as without trying the camera out for yourself, it can be a tough ask to put down the money without knowing if the lenses work for your way of shooting.

For users who enjoy pinhole style and meniscus camera aesthetics, having a compact camera such as the Tych+ would be more than worth the money, plus think of the money you can save on film when using double the amount of shots!

Alfie Cameras Tych+: Design & Handling

The first thing you notice with the Tych+ is that it is tiny! Measuring just 90mm x 79mm x 45mm, it takes the term compact camera to a new level as it can easily be slipped into your pocket and carried around daily without even noticing it. This is however a double-edged sword as those with slightly larger hands may find it a bit fiddly to grip for long periods.

The construction of the body is very durable and secure and provides a sense of confidence that it won't be easily broken if bumped or dropped. The body is made from an anodized aluminum / MJF hybrid construction, keeping light yet sturdy.

The lens rotary board is easily adjusted and clicks when the lens is in place. The viewfinder is also well constructed, and offers a clear view when used although does make it difficult to frame images, but more on that later.

The camera has an LCD screen that displays the camera menu and enables the user to select settings such as ISO, exposure comp, and shot count. The screen is well designed and constructed.

The USB-C charging is a stroke of genius and after a full charge, the battery lasted all three days I used it, in fact, I don't think it ran out the whole time I had it and remained with a charge when returned two weeks later.

Where I do feel the construction fades slightly is with the film spool and winder mechanism inside of the camera body. I never felt safe that my film was fully safe and attached and hadn't unhooked from the small gear to the point where I had to rewind my film halfway through the roll to make sure there were no issues. When manually rewinding the film, the tension was also inconsistent, and I often felt like I had gone too far.

Alfie Cameras Tych+: Performance

Having never previously used a half-frame camera I didn't know what to expect, and once I got my head around the fact that portrait and landscape had switched alignments, it was an absolute blast!

I decided to test the camera by shooting some street photography on my commute to the office. The Tych+ lent itself wonderfully to shooting street as it is so discrete, that no one realized I was shooting.

The camera was extremely simple to set up once the roll of film was loaded. Using the digital LCD screen I was able to set my ISO and reset the shot count. I also had the option to shoot in manual or auto mode. Being the first time using it I opted for auto and let the electronic light meter do its thing, and provide me with a perfect exposure.

The electronic light meter is one of the best things about the camera, as it enables new users the feeling of shooting digitally. Metering can often be an obstacle for new film shooters so having this taken care of, is very useful.

The viewfinder was clear although it was a bit hit-and-miss after receiving my film scans back from the lab. As someone who heavily relies on composition, it is very difficult to know what you're going to get as a result. My advice in this regard is to shoot wider and crop.

The camera's 4 lens options offered something different from each, although other than for test purposes (below), I exclusively used the premium lens. This was down to personal preference, and the shooting conditions.

As mentioned earlier, this was my first time shooting half-frame and the concept was a great creative challenge. As the 35mm film frame is essentially split into two, it enabled me to play around with diptychs, and as a photo editor, I enjoyed forming relationships between the two images in the frame.

I shot on Ilford FP4 at ISO 200, so pushed it a little bit as I wanted to lean into the grain and contrast.

For the most part, I was extremely pleased with the results. Removing the composition through the viewfinder, which may also be down to user error, the images came out exactly as I imagined when shooting, which is all you can ask for when shooting film!

Alfie Cameras Tych+: Sample images

Alfie Cameras Tych+: Verdict

Overall the Alfie Cameras Tych+ was an extremely enjoyable camera to use, and depending on your style of photography, creates some really interesting results. I think it is a fantastic option for those looking to experiment with film photography and create exploratory images that utilize the four lens options.

By having digital elements such as auto mode with the electronic light meter, it's less of a jump into the unknown for film novices and I think it's a great combination of digital and analog worlds – future film cameras should take note!

My only sticking point is the price. It's a lot of money to put down on an artistic camera without trying it, and subsequently knowing if it's right for you. Alfie Cameras does attend events such as this year's Photography & Video Show, so it might be best to see one in the flesh first.

However, I think for a film photography enthusiast who enjoys the process and is looking for an everyday carry option that can slip into your jacket pocket - the Alfie Cameras Tych+ is the perfect option!

Alternatives

I'm sure you've all clicked the headline ready to roast me. Maybe to say what the heck am I talking about, as you have been using image stabilization or vibration reduction for years and it saved your images.

But in nearly 20 years of being a pro sports photographer, I have not once used IS or VR on any of my lenses – be that 28mm up to my 600mm f/4. And throughout my career I photographed horses going 30mph across all terrains, in all weather conditions, all around the world.

Now, I'm not going to say that I'm a better photographer than anyone who was and is using image stabilization on their lenses. I used a monopod for most of my shots above 400mm, and yes I did handhold everything from 300mm and below. But what made me not use IS / VR was that it limited my ability to capture motion.

That might sound like an ironic message, when stabilization is meant to enable you to take images at lower shutter speeds and capture motion. But when I was taking images nearly 20 years ago, Nikon's VR was rubbish. I recall activating it on my Nikkor 70-200mm and doing a quick pan, and the VR motor would move so much that it could not keep up with my own movement to capture a solid image.

I also used Canon's IS system on its 400mm lens back in the day (when I debated switching systems) and still, that would not be able to nail a secure image when I would swing with the movement of the horse – even with a little motion when the IS was set, it just would not work for me at all.

Of course, I will admit that image stabilization has got a lot better than the early days when it arrived on pro-grade lenses – and I was shooting way before in-body image stabilization was even a thing!

So turning IS / VR off taught me that I needed to be still, steady and control my breathing – especially if I was shooting my 600mm f/4 at 1/200 sec. While this all might sound rather dated in today's world of modern tech, it did teach me a lot about lens technique, body movement and how it can affect the overall image.

One thing that I always hate to hear is how many stops of stabilization the latest and greatest lens has. Think about some of the best sports photographs you've seen from the likes of Chris Smith, Nick Walker, Leo Mason or Mark Sutton – these guys didn't have IS / VR back in the day, they had a bean bag at best or a strong arm!

There is something to be said for a good handheld technique that can save you if you're in a pinch. So after nearly reaching that 20-year mark, I have still to this day never used stabilization in my professional career. I'm quite possibly a bit "old hat" about it, but I'm certain that I don't need it – and I bet some of you would be better without it, too.

You might be interested in the best lenses for sports photography – and the best cameras for sports photography, too. 

Just weeks after the launch of the Canon EOS R1 and R5 Mark II, it's being reported that the Canon EOS R6 Mark III is "pretty much ready to go". 

If true, it would complete the refresh of Canon's headline full-frame mirrorless cameras. Crucially, the R6 Mark III would bring the company up to speed in the competitive hybrid space following the recent launch of the Nikon Z6 III. 

The timeline of the R6 family has been an interesting one. The original Canon EOS R6 launched in 2020, in tandem with the original EOS R5. However, it was replaced soon thereafter by the R6 Mark II in 2022 – one of the quickest product refreshes I can recall seeing. 

Now it is being reported by Canon Rumors that the R6 Mark III could continue that two-year cycle, launching by year's end.

"A December announcement is the latest possible announcement date that we have been told," writes the outlet, conceding that reliable launch dates have been harder to pin down recently.

"The 2-year product cycle is likely to continue for the series. It is Canon's best selling full-frame mirrorless camera and sits in a competitive segment, so it shouldn't come as a surprise."

The site shared the following specs and, while noting that there are usually inconsistencies with early information, said that it has been told by sources that the R6 Mark III is "pretty much ready to go". 

Canon EOS R6 Mark III specs (unconfirmed)

• 24MP sensor ("related to the stacked EOS R3 sensor")

• Mechanical and electronic shutter

• No Digic Accelerator or Eye Control AF (both seen in the R1 and R5 Mark II)

• 5.69 million-dot, 120fps electronic viewfinder ("same EVF as the EOS R5")

• CFexpress and SD UHS-II card slots

• 4K 120p / FullHD 240p

• Same 3-inch LCD

• "Improved IBIS performance"

• "Improved focus sensitivity"

• "Slightly heavier body (Nothing you're likely to notice)"

You might be interested in the best Canon cameras in the EOS R lineup, along with the best Canon RF lenses for them. You may also want to check out our Canon EOS R6 vs R6 Mark II comparison.

Sigma has announced a firmware update that enables several of its E-mount lenses to be compatible with the maximum 120fps burst shooting rate of the Sony a9 III. Three lenses have been given the update:

• 50mm F1.4 DG DN | Art Ver.02 (Sony E-mount)
• 105mm F2.8 DG DN MACRO | Art Ver.04 (Sony E-mount)
• 14-24mm F2.8 DG DN | Art Ver.04 (Sony E-mount)

Read more: Sony a9 III full review

We were stunned by the a9 III and its incredible global shutter that enables 120fps full-resolution RAW continuous shooting, with no strings attached. Except that last bit was only true providing you were using the camera with a supported Sony lens - third-party lenses from the likes of Sigma were not compatible with the maximum 120fps burst shooting rate. Whether or not that was because of legitimate technical reasons, or just because Sony was intentionally restricting this stand-out feature for use with its own lenses, is up for debate. But now it is available with select Sigma optics, albeit still with a rather large caveat!

While these Sigma lenses are now compatible with the a9 III's 120fps mode, this is only when used in AF-S, DMF or MF focussing modes. You can't use AF-C; the very focussing mode you're most likely to want when shooting a continuous burst of stills. Granted, you'll still be able to track subjects moving across the image frame at a consistent distance from the camera, but you won't be able to maintain focus of a subject like a cyclist or racing car that's approaching you.

Of course it is plausible that only Sony lenses have the necessary processing ability to facilitate AF-C autofocus at 120fps. But on the other hand, Sigma is more than capable of producing world-beating optics with top quality AF, so we can't help but wonder if this is just Sony artificially reserving uncompromised 120fps a9 III burst shooting for use with its own lenses.

For a lot of people, their first camera is their phone. They take a lot of photos, so much so that they think about getting a dedicated camera. They ask friends and research online to pick one that suits them and their budget. They start shooting and realise that the photos don’t match those from the phone. Phones do computational photography. They do HDR, basic editing and even give haptic response when the phone is level. Mirrorless cameras? Not so much. So here’s some tips to help on that journey. 

1: Forget about Manual, for now

Sure the pros use Manual exposure,  but there’s an old joke that Canon’s Program mode was ‘P for Professional’. Auto exposure in modern cameras is really good. Get used to the camera before worrying about refining your exposure mode choices. Move to the semi-automatic modes like Aperture and Shutter Priority while allowing Auto ISO to keep the shutter or aperture reasonable. 

2: Composition is king

Let the camera do the hard work and concentrate on the compositional elements. Learn the Rule of Thirds and start using the intersections to place your focal point or subject. There are, of course, other compositional rules like the Golden Spiral or intersecting diagonals that you can look up. Use leading lines, curves and triangles to improve your photos. Look for unusual angles to show common things in a new way. 

3: Keep it level

Cameras love to tilt. Holding them one-handed is a good way to make sure you don’t get a straight horizon. Use the camera’s display options to have the digital level visible at all times. It’s the number one mistake made by beginners. It’s easy to correct in software, but try get it right in camera.

4: Raw wars

It’s tempting to stick with the JPEG files and their baked in good looks, but sooner or later you’ll want to go to Raw for more longevity of editing. A good compromise in the meantime is to shoot Raw and JPEG. You get to use those JPEGs now, but have Raw files for when your editing improves. I’ve so many regrets from not having Raws from old files that would greatly benefit from new tech like Lightroom’s Denoise. 

5: It's a system

One thing that you don’t realize at the start is that you’re not buying a camera; you’re buying a system. The cameras don’t matter in the long run. Your real investment over time will be in lenses. Buy the ‘for now’ camera, knowing that you’ll replace it every few years. Get the lenses that suit your work. Now that the world has shifted to mirrorless, you’ve no fear that your lenses will become obsolete. Even older DSLR lenses can be adapted to mirrorless, which could mean cheaper second prices. So think about your requirements. These could be things like weight, low light performance, focus speed, continuous focus, availability of long lenses..anything that ties to the work you want to shoot. 

Bonus tip: The kit lens is okay

Yep, it’s slower than a professional zoom lens, but it’s still fine for everyday use. Exhaust your use of it before spending more money. If you want another lens, consider getting a 50mm f/1.8, or the 35mm f/1.4 if you’re on an APS-C (crop) body. This gives you access to shallow depth of field. Third-party makers like Viltrox and Sigma make cheaper versions for the budget-conscious. 

Check out the best cameras for beginners

It's February 2020 and Nikon has just released its most powerful and best DSLR of its time, the Nikon D6 with a massive 20.8MP sensor, 14 frames-per-second, and 4K UHD that tops out at 30fps - it was 'revolutionary' in its day.

However, after four years and the mirrorless revolution has taken over the Nikon D6 is looking a bit long in the tooth when compared to our mirrorless flagship today, the Nikon Z9 - so why is the Nikon D6 still on sale at $6,496.95 - $1,000 more expensive than the Nikon Z9 at a 'reasonable' $5,496.95, it just doesn't make sense!

When looking at these figures, you have to remember that the Nikon D6 represented the pinnacle of the Nikon DSLR lineup (even though I stand by my opinion that the Nikon D850 is the best DSLR ever made), designed for unmatched speed, performance, reliability, and precision. 

Centered around a 20.8MP FX-format sensor and the Expeed 6 image processor, this camera excelled in both photography and videography. It boasted a then remarkable 14fps continuous shooting rate, a native ISO range from 100-102400, expandable up to ISO 328,000, and UHD 4K video recording at 30 fps. The D6's advanced high-density Multi-CAM 37K autofocus system featured 105 cross-type points for enhanced focusing precision and speed, offering at the time a 1.6x greater frame coverage to minimize the need for recomposing shots. This system also included the  17 customizable Group Area AF patterns, perfect for shooting in crowded or dynamic environments - or making the AF motor work a little quicker when selected between 9 and 21A|F-point in low light, a little tip for anyone out there still using one!

Built as Nikon's flagship DSLR in 2020 the D6 was and still is incredibly durable, I know many pro who still have one, just in case their Z9 fails - Its magnesium alloy body is extensively weather-sealed to protect against dust and moisture, while the reinforced shutter mechanism was rated for 400,000 cycles, but I've personally seen then with near to a million on the first shutter, so they really where built like tanks.

The camera featured a large pentaprism optical viewfinder with 0.72x magnification and a 3.2" 2.36m-dot touchscreen LCD on the back. The D6 also offers numerous user-friendly features incorporating several configurable function buttons and an integrated vertical grip, allowing comfortable operation in both horizontal and vertical orientations. 

This camera was tailored for professional use, providing comprehensive tools and connectivity options to meet the demands of fast-paced, high-stakes photography. 

But now, in 2024, with the Nikon Z9 offers a massive 45MP sensor, 8.3K60p N-RAW video or 8.3K30p internally, and an eye-watering 120fps high capture mode, or 20fps RAW. While also being able to shoot at 1/32,000 with advanced 3D tracking with 493-Phase-Detection AF point, the Nikon Z9 is now the true king for Nikon professional users, and at $1,000 / £1,700 / AU$1,000 cheaper!

Why the Nikon D6 is still on sale when compared to the Z9 I don't know, and I love DSLRs, but even I have to question Nikon's motives. Furthermore, as Ecommerce Editor of Digital Camera World, I can't remember the Nikon D6 EVER being on sale either...

The Nikon D6 as a second-hand purchase is a great buy, but brand new I just can't recommend it - especially $1,000 more than the Nikon Z9. How the mighty have fallen!

I was keen to buy the Nikon Z 9 to photograph bullets after seeing a Nikon advert of a biathlete with a rifle round visible leaving the muzzle of a match rifle taken by a Z 9 armed photographer. It was given in these pages as a reason the image showing the bullet seen near Trump was real.

I was not expecting the task to be the easiest that I had ever undertaken, but I had still underestimated the effort involved. 

5.56mm NATO ammunition has a muzzle velocity of around 900m/s.

Thus in 1/125 sec the rifle bullet travels around 7m – using the slowest shutter speed to get 120 frames in one second. In 1/250 sec the bullet travels around 3.5m

In 1/500 sec the bullet travels around 1.7m and so on up to 1/32000 sec where the bullet travels 0.026m.

It needs skill and planning, allied to a huge dollop of luck, to succeed.

I spent my first day on the range, with no real expectation of being able to get anything useful. I varied my distance from the shooters, using the NIKKOR Z 70-200mm f/2.8 VR S lens. I had the luxury of time and lots of ammunition, varying shutter speeds for each sequence, starting from 1/500th sec and going all the way to 1/32,000th sec. All shots were hand-held from a prone position.

I shot 20,922 images and things didn’t look too hopeful, but I was able to track back to the visible point of firing, the smoke exiting the muzzle – the bullet being long gone by then. By tracking back and keeping an eye on the firer’s trigger finger, I was able to distinguish images that exhibited what I was looking for and found that I had captured ten bullets. The most obviously ‘bullet looking’ images were taken at speeds faster than 1/10,000th sec.

More than a day...

On my second day, I was able to isolate the shooter against a neutral background, using the NIKKOR Z 24-70mm f/4 lens – because my proximity allowed for no other option. (Do check the guide to the best Nikon Z lenses.) 

I took 51,598 shots of 300 rifle rounds expended, obtaining 36 images of bullets. Most were taken at 1/32,000th sec. (That is about a 0.07% success rate.)

A longer lens is preferable if the situation allows, as photographing at right angles to the line of fire means that the bullet will always be in focus during its flight, with a shallow depth of field allowing the bullet to be seen more clearly.

I had assumed that the Norwegian biathlete on Nikon's example used a 7.62mm NATO round travelling at around 2,900m/s, but after one contacted me I discovered that they use .22in LR ammunition which ‘only’ has a muzzle velocity of 350-500m/s. So I had succeeded beyond my wildest dreams, managing to capture bullets in flight in 46 frames out of 71,922 frames taken.

Without a Nikon Z 9 I would have achieved nothing, but I can say no longer is a photo of a rifle firing defined only by showing the empty cartridge case ejecting.

Richard wrote this summary of his experience for DCW, but if you crave more detail you'll find it on his site.

The new Canon EOS R5 Mark II is causing a lot of excitement. In fact we've even seen it being called the "most pre-ordered camera," according to @canonrumorsguy. (We'd take that with a pinch of salt though – some companies manage their ordering processes differently – Fujifilm X100VI anyone?)

Still, if you're on the fence – or already sitting waiting for yours – Canon have released the manual so you can start exploring every tiny little detail of the operation already.

The Canon R5 Mark II manual can be viewed online here  (external link).

It feels like this could be very useful if you've still not decided if the R5 Mk II is the device for you as you will have the most granular detail you can imagine, though of course – like many camera manuals – there are some aspects of the notes which might feel a little unnecessary to the experienced (in Program mode, for example, AE, the tip is offered "If a slow shutter speed and low aperture value blink, the subject is too dark. Increase the ISO speed or use flash.")

There are more interesting bits to be found, like the detail that the eye-tracking could struggle to follow your eye if you're squinting. Indeed the manual is a great opportunity to learn about less familiar concepts in a very matter-of-fact way. (See the Using Eye Control page.)

If your camera is already in the metaphorical post, this is probably a double opportunity. Not only will you be able to make sure you're out of the gates as quickly as possible on day one, but it will arm you with the info you need before deciding what of the best memory cards and best Canon RF lenses you might want to consider.

Or, you can simply use the extra information to decide you 'might' cancel your pre-order like YouTuber Moving Matt (but then he was a Nikon guy anyway...).

Whatever your purpose, the detail is there and you can drill down.

With the arrival of the Z 6III, there are now no less than seven full-frame mirrorless Z-series cameras, giving buyers something of a bewildering choice. 

So what are the prime differences between them? Here's our quick and dirty guide, with a competitive guide to the best prices you can currently find on each of them…

Nikon Z 5 

The Nikon Z5 is the cheapest of the seven options. It lacks a top-panel display, has a pedestrian 4.5fps burst rate, and a slightly lower-res 24.3Mp sensor than the Z 6 II/III, while its rear LCD is only 1.04Mp rather than 2.1Mp. But it still has IBIS and card dual slots.

Nikon Z 6II

With a 14fps max burst speed and 200-shot buffer, the Z 6II is a much better choice for capturing action than the Z 5.  It’s a better video performer too, with uncropped 4K video, whereas the Z 5 has a 1.7x crop. 

Nikon Z f

The retro-look Z f may look like a classic film SLR from yesteryear, but inside it packs the latest tech including an EXPEED 7 processor, and better ISO, AF and subject tracking than the Z 6II.

Nikon Z 7II

It looks and feels like a Z 6II with double the number of megapixels, but the 45.7Mp Z 7II is not as good a low-light performer and has a slower 10fps burst rate. It has more AF points, at 493 rather than 273. 

Nikon Z 6III

Packing much of the tech of the Z 8 into a more compact body, its 24.5Mp partially stacked sensor enables it to shoot with an electronic shutter much of the time, and it has the best EVF of any Nikon camera. Headline specs are 120fps burst rate, 1/16,000 sec shutter speed and 8-stop IBIS.

Nikon Z 8 

With a fully stacked 45.7Mp sensor offering blistering readout speeds, the Z 8 does without a mechanical shutter entirely. It has many direct access controls, can shoot at up to 1/32,000 sec and has a 120fps burst rate. 

Nikon Z 9

Aside from the bigger body housing a higher-capacity battery and duplicated controls for easier vertical shooting, there’s very little specs or tech-wise between the significantly cheaper Z 8 and Z 9. 

Check out our guide to the best Nikon Z lenses

The Pentax Film Project has been in the works since 2022, inspired by the resurgence in the popularity of film, Pentax decided to once again start producing new film cameras. Instead of dragging some blueprints out of storage for one of its old legacy models (of which there are a lot of incredible entries), Pentax decided it was going to call on all its engineering history but develop something brand new to the market.

The first camera to come from this project is the Pentax 17. Maybe not what many photographers envisioned as the first model based on the iconic cameras Pentax is most renowned for, the Pentax 17 is a half-frame 35mm film camera with a rangefinder-style design. 

Although today this makes total sense. The resurgence of film can almost certainly be credited to social media, especially Instagram, where vertical half-frame images perfectly fit Instagram’s favored 4:5 vertical style. Film has also become breathtakingly expensive compared to its heyday, with a roll of 36 Portra 400 now costing anything from $25-50 each to buy, develop and scan. Half-frame at least stretches this to 72 frames, so half the frame, double the value.

But are film cameras coming back just as AI takes over editing? The new Pentax 17 comes just at the same time as AI editing is taking off, and with dozens if not hundreds of apps trying to convince you that iPhone photos can look like they were shot on a range of vintage film cameras. While right now, I think film still has an authentic edge that can’t be beaten, and iPhones can’t replicate the experience of shooting film, if costs keep spiraling and no one online can tell the difference, then how long will new film cameras last?

With a lot riding on its shoulders as the camera to usher in the new age of film, does the Pentax 17 rise to meet the challenge?

Pentax 17: Specifications

Pentax 17: Price

I keep going back and forth on the value of the Pentax 17. On the one hand, it takes damn good photos, but on the other, whenever I pick it up, neither the build nor features sell me that it is $500 worth of camera. Obviously, substantial development costs went into creating a brand new film camera, but when it is possible to get a digital camera like the Canon EOS R100 or a phone like the excellent Pixel 8a for less money, it is hard to feel fully satisfied with the price.

This isn’t the only production film camera in town though, you can pick up a new half-frame Kodak H35 film camera for a fraction of that cost (around $50), although the image quality from the Kodak lens isn’t nearly up to the Pentax, the Kodak certainly still takes charming retro images that'll look good on your Instagram. 

If you are willing to play the second-hand market then there are plenty of great condition cameras from the film era for under $100 like the ever-popular Olympus Trip 35 (at the time of writing there are 1,600+ matching listings on eBay).

There is a reliability risk with buying old camera gear, and while the new Pentax 17 is, in theory, more reliable and can be repaired by Pentax should you damage it – repairs cost money, and in the end, it might be cheaper to just buy multiple copies of your favorite second-hand cameras. I have bought three Canon AE-1 cameras over about 10 years – and only spent around $250.

Pentax 17: Design & Handling

Pentax has done an excellent job styling the 17. There must have been a real temptation to just recreate a beloved design from the past, but instead, Pentax has developed a camera that looks every bit like a classic from the film era, yet with its own distinct imprint. It looks great, and it is easy to see why it has captured so much buzz online. 

However, appearances can be deceiving. While the Pentax 17 might look the part, when you pick it up the feel is underwhelming. The whole design just feels quite toy-like. The magnesium-alloy material could easily be confused for silver-painted plastic (which it was by several people I showed it to). There are also a few choices I am not sold on like the faux-leather finish on the front not stretching around onto the back of the camera. Some of the mixed textures across the camera like the raised diamond pattern just feel cheap.

The thing is, I don't think the camera needed to be so light and plastic-y. The resurgence of vintage clunky and heavy film cameras has shown that people are happy to carry around what is maybe not the most practical camera if it looks and feels right. Pentax, if you're going to design a vintage camera – go all the way.

However, despite my reservations around the feel of the materials, the camera does feel robust. The wind lever has a nice solid clunk to it and the dials feel precise with a nice click, but the mode dial really needs a lock. I managed to turn it accidentally quite a few times, and I don’t think it came out of my bag once in the same position as it went in. 

The film loading process is incredibly easy and I didn’t have any issues – just pop the canister in the back, line up the end with the marker, and close the case. This is blessed relief from some of the horrendous film-loading designs I have endured over the years. It takes about 5-6 photos to get to the official beginning of the roll, but I found that I could squeeze in a few shots before the counter hit zero. While there is no film advance indicator, the wind mechanism will spin as you advance the film using the lever. 

You are also able to rewind the film manually mid-way through the roll if you need to change the film mid-way. There is no double exposure mode, but if you want to attempt some double exposures you can use the old trick of fooling the camera into thinking it has been wound on by popping the rewind button to disengage the wind as you crank the lever. 

Winding the film back in was smooth, with a clear difference in resistance once the film was off the spool which should reduce any premature openings (I've done this before on other cameras, and it's devastating).

The viewfinder is one of my favorite aspects of the Pentax 17 design. As this is a half-frame camera, the viewfinder is vertical when the camera is held horizontally, and you can turn the camera portrait to take landscape photos. Which surprisingly didn't take much getting used to.

The viewfinder is not particularly big, but it is clear and easy to compose through, with framing lines that seem to be very accurate (from my recollection of desired framing at the time vs the final image). You can also see which focus zone you are in which is really handy for not taking your eye from the viewfinder. The viewfinder also goes slightly beyond the frame, which is handy for watching for a subject to enter the frame.

Next to the viewfinder, there is a red and blue LED that flash when something is wrong, although since I wasn't carrying the manual around with me, I wasn't always sure what the issue was. Some are obvious like the lens cap is still on, or I hadn't wound the film. Although some of the warnings were about lighting conditions or being in a certain zone which weren't immediately clear. What if I was in poor lighting and in the close-up zone? It would be nice to get a little clearer feedback than just an incessant flashing.

Powering those LEDs is a CR2 lithium battery, which are very widely available and I don't think should be going anywhere anytime soon. There is a note in the specifications that rules out rechargeable versions of the CR2 (likely due to the different voltage), which is an environmental disappointment but you shouldn't be churning through these batteries. The battery also powers the light meter and the flash and Pentax thinks you should get through 10 rolls of film if you use flash 50% of the time. (Unfortunately, I did not manage to shoot 10 rolls, i.e. 720 photos, in the week I had the camera to test this).

Pentax 17: Performance

In practice, I think the Pentax 17 is more simplistic to use than I hoped when it was first announced. But whether this is a good or bad thing for you depends on your expectations for how you want your photographic experience. Sometimes I was glad to just be able to slip the camera into auto and let it do its thing, but more often, I wanted the option to do more with my settings.

Pentax has chosen to prioritize the type of photographer who is going to want the highest proportion of immaculate shots, which in the economy of film today is a smart move – film photography is expensive and no one wants to waste money on rolls where they didn't quite nail the settings. But because of this lack of freedom, I found the camera a little less fun to shoot with.

You can play with the exposure using the compensation dial, but I found with no feedback from the camera there is a lot of guesswork based on your own assumed center-weighted average about how much compensation to apply. I have a decent sense of when I should be applying compensation, but without vital settings information, I can't even employ a light meter to help me out. I tended to just leave the exposure compensation dial untouched for just applying small changes and letting the camera decide what was best.

The film ISO is also manual, which means you can set it to a different ISO from the box speed for alternate looks to your images. There are some options for slow shutter speed if you're carrying a tripod, or a 'Bokeh' more maxing the aperture (more on these in a sec). Otherwise, apart from choosing if you want to have the flash on or off, there isn't much else to do.

For others though, I am sure this ease of use will be the biggest selling point – as with minimal input, the Pentax 17 didn't fail to take consistently good shots. Out of the four rolls of film I took with the camera, it achieved the highest proportion of "keepers" I think I have ever had with any film camera. The ones that were missed were mostly down to my own dumb human errors (remember to check your focus zone everyone). 

I also didn't think I would be, but I am now a half-frame convert. Having only played around a little with half-frame before to not always the most ideal results, I was skeptical about Pentax going down this route, but the Pentax 17 has really won me over with its impressive results.

Scanning the images with one of the best film scanners (I used the Plustek OpticFilm 135i) gives plenty of resolution for display online or on social media, or even small prints. The below examples were scanned at 3600dpi, you can hit the icon in the corner to view them in full resolution. 

With the price of film and development continuing to climb, getting 72+ frames on a roll really makes a difference when you are shooting a lot of them.

I think the Pentax 17's half-frame success comes down to its lens. With its compressed appearance, and plastic-y design, it might not look like it's capable of much, but the lens is incredibly sharp. Although what did I expect when the lens is based on the Ricoh Auto Half and the Pentax Espio Mini lenses? The lens also has an HD coating for sharpness and an SP coating for easier cleaning, which are taken from Pentax's DSLR lenses.

The zone-focusing system is also a wonder. With having to eyeball estimate so many distances, I was absolutely certain that I would have missed quite a few, yet there is enough leeway in the focus zones that you really don't have to get it exactly right. The camera automatically adjusts the aperture for different focus zones, so it maximizes the depth of field possible in each zone while keeping things pin sharp.

Unsurprisingly as the Pentax 17 does so well at nailing the perfect exposure in good light, this also extends to the camera's flash modes. There is a separate area on the mode dial for the flash with two options. The regular P mode is for your everyday flash shooting – either utilizing the flash as a fill light on a backlit subject or shooting in low light. The flash isn't powerful enough to light much beyond a group picture, but for these shots and portraits, it does a decent job, although as the flash is direct and has no diffusion, the light takes on a harsh quality.

There is also a separate mode for forced long exposure with flash, this is slightly harder to get to grips with but is useful in situations where you might want to light a subject, but also create light trails or keep some of the ambient light in the background. Like with any long exposure, you're going to need to carry a sturdy tripod and have a static subject.

The Pentax 17 also includes a 'BOKEH' mode, which increases the aperture to the maximum permissible size to still expose the photo correctly. If you want to get technical, bokeh is actually the shape and quality of specular highlights, not depth of field, but I guess that didn't look as good on the dial. 

Despite the smaller half-frame size the Pentax 17 can achieve some pleasing results, although with a maximum aperture of f/3.5 and a focal length of 25mm (or 37mm in full frame), the camera isn't going to be creating any super creamy backgrounds. 

The bokeh mode also only really becomes effective the closer you get to a subject. I think it's best to think of this like an iPhone's portrait mode, and it is only really worth slipping into this mode once you move into the portrait zone of the lens' focus options.

The Pentax 17 also has a macro mode, although the word macro may not be the right word to use here. The camera can focus down to 0.24m in this mode, which is pretty close for flowers and insects, but it's not macro and not going to reproduce life-size detail as you would get from a true macro lens. A 25mm focal length would also not be my first choice, although it can create an interesting perspective. 

Due to the rangefinder design of the camera, the Pentax 17 has a parallax compensation frame in the viewfinder for lining up macro (and tabletop) shots which I found to be effective. From what I can recall, the framing matched perfectly with the final shot, and I managed to get a few close-up shots that were sharp and detailed. You can see in the image below that the camera managed to capture some bees feeding on a flower. 

Pentax 17: Sample Images

These images (as well as those above) were all shot with the Pentax 17 on a mix of color Kodak Ektar 100 and Kodak Portra 400, and black-and-white Ilford HP5 Plus film. 

Development was handled by my local lab. I then scanned the film using a Plustek OpticFilm 135i film scanner and VueScan software to create RAW.dng files – before converting the .dng scans using Negative Lab Pro.

You can, of course, get your lab to produce scans for you as well.

Pentax 17: Verdict

The Pentax 17 is a solid first entry into Pentax's film project, and despite any reservations I had with the camera, I am very excited to see film cameras being produced once again.

On one hand, I appreciate the simplicity of the Pentax 17. With minimal skill, the Pentax 17 delivers reliably good photos nearly without fail. The lens is exceptional in producing incredibly sharp images, the viewfinder is bright and makes it a breeze to line up shots, and the zone focusing feature pleasantly surprised me with its accuracy. The half-frame design also makes some efficient use of film rolls, stretching their capacity further as film and development become increasingly expensive.

However, I found the camera's simplistic nature to be a double-edged sword. It is clear that this camera is designed to cater to a social media-savvy audience, with its straightforward approach being a deliberate choice to appeal to those who will prioritize the camera for its film aesthetic over its technical photography abilities. Yet because of this, I didn't find the point-and-shoot photography experience all that fun, and I found myself yearning for more manual controls.

When it comes to the price tag, the build quality is just underwhelming for what it costs. The plastic-y toyish feel of the camera body did not align with my expectations based on the exceptional design of the camera, and while as a fashion accessory, the design is an absolute classic, it doesn’t feel like good value.

Alternatives

Despite the fact that the Automat looks and sounds like something from the Communist-era Soviet Union, Lomography has replaced the camera’s Cold War aesthetic in favor of a dead painter from a hundred years ago. That means the Gustav Klimt special editions come wrapped in the visually attractive signature artwork of the Viennese Secession movement painter. This is the Gold Leaf version, complete with gold logos. Whether that makes it any more fun is for you to decide, but it certainly livens up what is a very square and boxy format. 

This is, of course, an instant camera, which means you slot Fujifilm Instax Mini cartridges in the back and tiny, self-developing prints emerge out the side, with an accompanying squeak and a rumble of the infernal internal mechanism. The box it comes in is attractively designed and has all the accessories you could ever want, from three lens attachments (close-up, wide angle, fish eye) to useful things like a remote control and a creative option with a rotating lens blocker for crazy multiple exposures. Even the manual comes in the form of handy and colorful tip cards. It’s an entire ecosystem in a box. 

Lomo’Instant Automat Gold Leaf: Specification

Lomo’Instant Automat Gold Leaf: Price

You can get Instax Mini cameras for $80 / £70 / AU$99, so for $200 / £179 / AU$270 this could be considered fairly pricey, but it does come with a range of lenses and extras.

Lomo’Instant Automat Gold Leaf: Build and handling

It’s built like an East German block of flats so it isn’t ergonomic by any means, but at least the fire button is well placed. Turning it on and off is a little bizarre though - you turn the focussing distance ring on the lens to your preferred setting of 0.6m, 1-2m or Infinite. To turn it off requires holding down a button on the other side of the lens and rotating it back to the off position again. Of course, actually judging focus distances when you come to take photos is pretty hit and miss anyway. 

Going back to the start though, loading the Instax Mini film is very straightforward, just open the back, slot it in, turn the camera on and take an initial photo to eject a dummy first frame. Then you’re ready to go. It works with automatic exposure, so there’s not too much brainpower required, but if the photos are overexposed, which happens with any kind of bright sky, then a trip to the controls on the back is required. These are tiny and crammed in, like the typical proletariat family in the aforementioned East German housing development. There’s a button to turn the flash on and off, one for the multiple exposure function, plus and minus 1 EV exposure compensation, and then a button that toggles between Auto exposure and Bulb (30 seconds).

It’s slightly surreal to find a screw thread for a tripod mount on the base, but consider this something for group selfies out in the open - in combination with the remote control shutter release.

The three additional lens attachments are fairly easy to screw on and off but the effect they have can really only be guessed at as the view through the viewfinder remains the same regardless. In a nod to modern sensibilities, the fire button itself is shiny chrome, making it useful for composing the shot for selfies.

Finally, each Instax Mini cartridge offers 10 prints so there is a series of small LEDs down the side corresponding to the number of shots still left. This is very handy so you don’t lose track of how many shots you have left.

Lomo’Instant Automat Gold Leaf: Performance

Once you get past the arcane method of turning the camera on, then judging the photo distance - anything past 2m is in the Infinite range, then it’s simple and fun to find something to photograph and shoot. With only 10 shots per film it’s easy to run out though, so it pays to be a little more prudent than shooting digitally. A twin pack of 10 prints cost around £15, which works out at 75p per developed print. They are small - the overall print is 54x85mm with an image area of 46x62mm, but this does mean you can build up collections of images in a compact book.

Now, the apertures the camera uses are f/8 and f/22, might have been a recipe for camera shake, but the Instax Mini film is rated at ISO 800 so that helps enormously. The narrower than expected apertures also mean that there’s more depth of field so once you get further than 2m away from the camera, there’s little chance of anything being out of focus. Closer than that, however, and it can be hit and miss, though the little icons on the lens of a single person (0.3m) and two people (1-2m) are handy prompts. The main issue with the prints is not camera shake, but over exposure. On a day with a bright, white sky the photos look like someone poured bleach over them. In those cases, definitely use the -1EV exposure compensation.

The default lens focal length of 60mm means it’s set up for portraits more than anything, so if you want to photograph scenery or a building then the wide angle converter is required, but it’s a case that it’s wider than the default lens than actually being a wide angle. The fish eye lens does give a round, fish eye view, but this crops into what is already a small print. Then there’s the close up lens, which makes things a bit closer, but don’t think it’s a macro lens because, obviously, it isn’t. 

Lomo’Instant Automat Gold Leaf: Verdict

If you have managed to get your shot in focus, not overexposed and the like, then the results are retro and quirky, which is really the market for this kind of thing. It’s fun to be able to see the prints pop out and develop fairly quickly, making them ideal for scrapbooking and the like. 

Alternatives

Want a different flavour of Lomography, then have a look at these Lomo cameras. Alternatively, check out this Instax Mini option. If, though, you just want some film-based nostalgia, see what our writer thought of the movie Kodachrome.

Canon's two new professional cameras, the Canon EOS R1 and Canon EOS R5 Mark II, possess an incredible technology that enables you to move your focus point simply by moving your eyeball. 

Yes, when you look around the viewfinder, the cameras will follow your gaze and place your focus point on whatever you're looking at. This amazing tech is called Eye Control AF, and I know it sounds like a gimmick but it really isn't. 

Lots of photographers swear by back button focus, and just can't imagine going back to the crudeness of half-pressing the shutter button. Well, once you've started using Eye Control AF, it's the same thing – it's really hard to go back to a camera that doesn't have it! Take a look at this video to get an idea of how it works:

This tech isn't new to the R1 and R5 Mark II; it actually debuted on the Canon EOS R3 (though it's significantly improved in the newer cameras). Going back even further, the original version of this wizardry debuted in 1992 on the Canon EOS A2E (known as the EOS 5 in some territories) when it was called Eye Controlled Focus.

It's based on measuring corneal reflection, but back then the system was pretty hit or miss – particularly if you wore glasses. With just one infrared LED to create measurements, many users found that it wasn't good enough to select an autofocus point – even though the camera only had five total AF points. Today, though, the system harnesses Canon's bleeding-edge technology to make it work almost seamlessly. 

The modern electronic viewfinder is outfitted with eight infrared LEDs (including dedicated units for monitoring eyeglasses), all emitting light at different directions and frequencies. The reflected light is measured by an eye-focus sensor that creates a retinal scan, mapped to the image in the finder, and high-speed computation calculates where your eye is looking.

Of course, with every human eye and face being unique, the system is entirely reliant on calibration – in fact, multiple calibrations are required, including recalibration when there's a change in scene (such as going from indoors to outdoors) as this completely changes the light being measured.

Calibration doesn't take long; it's just a matter of looking at dots in different positions in the viewfinder so that the system can start tracking your eye. And this is why not everyone gets great results, as some people only calibrate the system once (if at all) and expect it to work immediately. But come on – you can't do one test at the optician and expect your glasses to work properly! 

In case you can't tell, I'm a big fan of the technology – and have been, ever since using it in the R3. It's a different way of working, for sure, and we photographers can be pretty stuck in our ways and dismissive of crazy new things. But trust me, do yourself a favor and give it a try if you have the chance – you might just fall in love with it like I did. 

You might be interested in more of the best professional cameras, and particularly the best cameras for sports photography – along with some of the best lenses for sports photography. 

Lomography is renowned for its quirky colorways adding maximum fun to some of its best analog cameras. Lately, in addition to the bright pastels and acid trip colors, it has been harnessing classic art history with collaborations from some of the greats.

Two of the best Lomography cameras the Lomo'Instant Automat and the Lomoapparat 21mm Wide angle will be adorned by the classic artworks of Austrian artist Egon Schiele.

Egon Schiele was a leading figure in the Austrian expressionist movement and is considered one of the most influential artists of the 20th century. His artwork was bold, daring, and ahead of its time and the works on these cameras look as contemporary today as when first created.

Schiele worked very closely with Gustav Klimt and you can see influences in both artists' work. Lomography recently issued the Gustav Klimt Collection, much in the same way, and featured some of his most renowned work.

The Schiele Collection features two separate cameras, each offering something different as a camera but also in aesthetics.

Lomo'Instant Automat camera and lenses

One of Lomography's best instant cameras, it features Schiele's intricate sketches Seated Woman with Bent Knees (1917) and the striking Self-Portrait with Striped Shirt (1910), each detailed with gold.

The Automatic instant camera is designed for even the most novice of photographers to experiment creatively and have fun while doing so. Automatically adjusting the aperture, shutter speed, and flash output, each shot is accurately exposed for the given scene.

A great feature of the camera is that it comes with a selection of different lenses offering a more versatile instant camera experience. The camera comes in a box with fisheye, wide-angle, close-up, and splitzer lenses for further experimentation as well as a remote-control lens cap for self-portraits much like the emblazoned artwork.

Lomoapparat 21mm Wide angle

The exciting and bold red-colored camera is adorned and complimented by two of Schiele's most famous works, Self-portrait with Chinese Lantern Plant (1912) and the captivating Portrait of Wally Neuzil (1912), inspiring a playful approach to shooting.

The perfect camera for taking those sunny holiday snaps, the lightweight camera features a 21mm lens and fixed settings for 'perfect exposures every time'. Multiple exposure and bulb modes enhance the playful experience, along with the interchangeable lenses and colored filters.

Above: A gallery of sample images

The Lomography Schiele Collection is available to purchase now – the Lomo’Instant Automat & Lenses Schiele Edition for $199 / £179 / AU$219, and the LomoApparat 21 mm Wide-angle Camera Schiele Edition $99 / £99 / AU$109.

The works chosen to adorn the cameras are exquisite, and act as a reminder to experiment, push boundaries, and have fun while doing so!

You might also be interested in our guides to the best Lomography cameras, the best Lomography lenses, and the best instant cameras. 

If you prefer your camera system to make a statement while it takes photographs, an intriguing new entry into the world of modular medium-format cameras might just set your pulse racing. The Gibellini DCG66 is a precision-machined aluminum-and-gold body that’s designed to operate with Hasselblad camera backs and Rodenstock lenses. Made at Gibellini’s factory in Moderna, Italy, each part is checked by Gibellini to ensure it’s within tolerance.

The DCG66 connects the back and the lens, using a delicately engineered calibration system to ensure that the lens’s infinity-focus point and the camera back are perfectly aligned. The DCG66 accepts Hasselblad CFV50c II and CFV100c backs, as well as A12 and A16 film backs; if you’re familiar with Hasselblad systems, it’s essentially designed to be a bespoke alternative to the 907X body – one that enables you to use non-Hasselblad lenses.

The body’s GC (Gibellini Camera) lens mount is compatible with Rodenstock’s acclaimed HR Digaron lenses. The company fits a flange to each lens that enables it to lock swiftly into place on the DCG66 body. For each additional lens you want to use, you can order a lens mount flange; Gibellini can make custom-sized flanges for selected other lenses on request.

Once the lens is attached, the GFC (Gibellini Focusing Calibration) system enables you to fine-tune the distance between the lens and the sensor plane in the camera back. If you opt to buy the lens and back from Gibellini as a complete kit with the DCG66, the company does the calibration for you.

There’s a choice of materials for the handle if the default black polymer and leather design doesn’t suit: you could instead select aluminum, walnut, clear polymer, or titanium, each with an integrated shutter button for use with digital backs or a shutter cable release for film-based backs.

Celebrating its 10th anniversary in 2024, Gibellini is best-known for its large-format cameras, including a limited-edition bellows camera it made in collaboration with luxury car designer Horacio Pagani. The complete Launch Edition package of DCG66 body, Hasselblad CFV100c back and Rodenstock HR Digaron 50mm f/4 lens is available for €15,100 plus sales tax (around $16,460 or £18,060) for your country of residence. 

If you already own a compatible Hasselblad back and prefer to assemble your own configuration, the DCG66 body with black polymer handle is €2,990 plus sales tax (around $3,260 or £2,500); each flange for a Rodenstock HR Digaron lens is €494 plus sales tax (around $540 or £415), with prices for custom lens flanges available on request.

Explore the world of medium-format photography with our guide to the best medium-format cameras

The world was stunned by a picture by Doug Mills, a New York Times photographer, which appears to show a blurred trail of a bullet having passed President Trump or clipped his ear at a rally on Saturday.

Many will be asking themselves "Is it possible to take a picture of a bullet in flight?" The short answer is "Yes", so there is no reason to assume Mills image is a fake.

Taking a photograph of a bullet has been done before, but typically it's done in controlled circumstances – Sweedish photographer captured a picture of biathlete Hanna Öberg, using a Nikon Z 9 which shows the bullet leaving the muzzle of a rifle.

Strand used a "spray and pray" approach with the camera's 120fps stills mode and a shutter of 1/32,000sec, but it was still the result of a good amount of timing and practice getting to grips with the timing of the athlete's firing so the bullet was fired while the image buffer had from to write to.

At 1/32,000sec, however, the 'frozen bullet' – despite some motion blur – is more or less visible for its shape....

Mills, being a professional, will also no doubt have used his burst and full image buffer to capture as many images as possible the moment it became clear something was happening.

With the bright conditions and the camera closely focussed on the President, a nearby passing bullet would be in sharp focus if passing close enough.

The only remaining question as to whether a blur is visible is how fast it was going compared to the shutter speed.

The shooter, identified by the FBI as Thomas Matthew Crooks, used "an AR-style rifle" – which would send a bullet at around 3000ft/sec as it leaves the gun.

A bullet loses speed as it flies, and the shooter was around 600ft from the former President. 

According to Politiko, Mills was taking photos with "a Sony camera capable of up to 30fps and 1/8000sec" (though they don't say which one or what setting he was using).

Mills is known to have spoken about why he switched to the Sony a9 (from Canon) in the past (the interview is on the Sony site). We now think he's using a Sony A1 – a full frame camera with up to 50.5 megapixels 

(Not the A9iii – a camera we actually covered last year with the heading This camera can literally stop bullets.)

UPDATE:  As Jeff Heyman pointed out, the NYT interview screen capture suggests Mills was using an ILCE-1 at 2424 x 1474 – ILCE-1, better known as a Sony A1. It boasts a mechanical shutter limit of 1/8000 or 1/32000 burst rate. 

The Metadata reports f/1.6 at 1/8,000sec (it was a bright day). The camera can capture 30fps in a burst and up to 400 before the buffer is full depending on settings. That's a lot of chances.

Mills has since described the event to the New York Times (subscription required for full story).

The point being that the shutter speeds and ballistic math seems to suggest there is no reason why, in this photo, we're not seeing air displacement from a passing bullet – though since 5 shots were fired it's not clear if it's the one which clipped Trump's ear.

One might expect to see debris in that case, and according to Politiko again, Michael Harrigan, an FBI retiree agress that is could be a bullet but "the angle seems a little low" to be the one to go through the ear.

For more reading, check our guide to the best Sony cameras and we've added another story about what is becoming "the photo" from the shooting: Who is Evan Vucci? The Pulitzer prize winning photographer who captured the image of Trump that will probably alter the course of history.

Sony’s ZV series of vlogging cameras is a little convoluted, but my personal favorite is the Sony ZV-E10, a camera that strikes the perfect balance between affordability and features. However, that isn’t to say that the camera wasn’t without its faults, criticized for its poor menus and limited streaming resolutions. Now Sony is hoping to address any shortcomings in a brand new update – the Sony ZV-E10 II.

A glance at the exterior of the ZV-E10 II, and you might not notice anything has changed from the previous version, with just a subtle update to the photo/video/S&Q button, becoming a three-way switch, and the on/off switch moving to underneath the shutter button. Yet, Sony engineers have also found a way to squeeze a Z-battery inside the grip, giving an additional 50% power improvement over the previous model which equates to 610 images or 130 mins of video. We praised the ZV-E10’s tiny vlogging-focused body with its decent grip and 3-in vari-angle screen, so no complaints here that Sony hasn’t tried to reinvent the wheel for its sequel.

Inside, the ZV-E10 II now features a 26MP sensor (up from the 24MP sensor in its predecessor), this is actually the same sensor that is used in both the Sony FX30 and Sony a6700 and has been shown to be a very capable sensor in both those models. The sensor features 759 focus points that cover 94% of the sensor, which is a significant jump from the 425 and 84% from the original ZV-E10.

The ZV-E10 II is capable of producing video footage up to 4K60p in 4:2:2 10-bit with data oversampled from 5.6K, or 4K40p from oversampled 6K, however, there are no options for 6K recording or open-gate footage. You can also go down to FHD120p to get 5x slow-motion video.

The sensor is paired with a Bionz XR processor, however, the camera misses out on the AI co-processor that has been featured in other more pricey Sony models like the Sony ZV-E1 which enables some of the more fancy AI-powered auto-framing options and subject recognition.

However, despite not featuring a separate AI processor, the ZV-E10 II is still capable of tracking human subjects including faces and eyes, as well as animals, but misses out on insects, vehicles, and planes. The processor also enables the use of Sony’s ‘Active’ image stabilization for steadier handheld filming although at a 1.4x crop (or 1.5x when shooting in 4K60p). Sony is also promising the new processor is going to reduce the effects of rolling shutter versus the prior model.

Of course, this wouldn’t be a ZV camera without featuring advanced sound recording capabilities. The ZV-E10 II has a three-capsule stereo microphone on the top of the body with options for directional recording either in front of the camera, behind, or all around. There is also digital wind noise reduction, and the ZV-E10 II comes with a dead-cat microphone cover in the box.

The ZV series is made for getting footage that is instantly sharable, and the ZV-E10 II continues in that tradition with Sony’s usual options for cinematic vlogging modes, with different creative looks including S-cinetine from Sony Venice cameras, or looks to mimic “film”. Users can also import their own LUTs onto the camera for a consistent or unique look to footage. The ZV-E10 II also features Sony’s background blur mode, which artificially enhances the blur behind a subject to give a more cinematic feel, and ‘product showcase’ which identifies and focuses on products that are held up to the camera during recording, which is a useful feature for product and beauty vloggers.

For live streaming, the ZV-E10 II can be hooked up to a computer via USB-C to stream in 4K30p or FHD60p. Or if you want to free yourself of wires, the camera is capable of direct network streaming over WiFi.

The ZV-E10 II will launch alongside a new kit lens – the Sony E 16-50mm f/3.5-5.6 PZ OSS II. This is an update on the current kit lens that ships with the ZV-E10 offering improved image stabilization and auto-tracking performance, as well as supporting 120fps shooting, and maintaining focus while zooming.

The Sony ZV-E10 II will be available at the end of July and will cost $999 / £949  / AU$1,849 for the body only, or $1099 / £1049 / AU$1,999 for the ZV-E10 II body + Sony E 16-50mm f/3.5-5.6 PZ OSS II kit lens.

Want to find out more about vlogging? Check out our guides to the best YouTube cameras or the best cameras for vlogging.

It’s been a long time coming and the rumor mill has been at fever pitch for a year or more, but Nikon has finally unveiled the latest in its Z6 line of ‘enthusiast’ full-frame mirrorless cameras. 

With a lower 24.5Mp count than its more upmarket (and expensive) Nikon Z8 and Nikon Z9 pro models, which boast twice the resolution at 45.7Mp. It’s a little bit bigger than its predecessors (the Z6 and Z6 II shared almost identical dimensions), but a fair bit smaller than the bigger-bodied Z8 and Z9. It shares some of the same tech as the similarly enthusiast-level Nikon Zf but ushers in some serious upgrades and has more up-to-date handling characteristics, whereas the Zf has retro styling with plentiful control dials, more akin to a classic Nikon 35mm film camera. 

Ultimately, the Z6III aims to be among the best Nikon cameras on the market, as well as taking full advantage of the best Nikon Z-mount lenses.

Nikon Z6 III: Specifications

Nikon Z6 III: Price

As I mentioned at the outset, the Nikon Z6 III is about 25% more expensive to buy than previous Z6-line bodies when they were launched. For comparison, the original Z6 launched in November 2018 at $1,999 / £2099, and was followed by the Nikon Z6 II in December 2020, priced at $1,999 / £1999 / AU$3,299. The Z6 II addressed criticisms of the original model by adding a second SD card slot and dual processors, offering a fast burst rate of 14fps and improved buffer capacity. 

The Nikon Z6 III launched in July 2024 at $2,499 / £2,699 / AU$4,499. That might seem like a substantial price hike but I feel the Z6 III is very good value, considering its new tech, which includes the partially stacked image sensor, electronic viewfinder, and uprated image stabilization system. For the sake of comparison, the Z6 III body is similar in cost (identical in the USA) to the launch price of competing models aimed at enthusiast photographers and content creators, including the Canon EOS R6 II at $2,499 / £2,799 / AU$3,799, and the Sony Alpha A7 IV at $2,499 / £2,400 / AU$3,499.

For new adopters rather than upgraders, the new Nikon Z6 III is available in three kit options, as well as a body-only package. The kits offer a modest discount compared to buying the camera and lenses separately. The kit with a Nikon Z 24-70mm f/4 S costs $3,099 / £3,249 / AU$4,999. I love this lens for its superb optical quality throughout the zoom range, and it’s one of the sharpest kit lenses ever made. 

If you need additional reach, the Nikon Z 24-120mm f/4 S kit costs £3,539 / AU$5,999, provides an extra 50mm of reach, and covers short-telephoto focal lengths. The Nikon Z 24-200mm f/4-6.3 VR kit is priced at £3,439 / AU$5,799, and although not an S-line lens, this one is noted for its stunning optical quality considering its zoom range and includes built-in VR for super telephoto shots.

Nikon Z6 III: Key Features

I’ll start with what remains the same, as it’s a shorter list. As previously mentioned, the sensor resolution is the same, at 24.5Mp, It has two memory card slots; one CFexpress (backward-compatible with XQD) and one SDXC USH-II. It takes the same EN‑EL15c battery that slots into the protruding grip at the bottom of the camera, and a pair of rubber flaps on the side reveals the mic, headphone, USB-C, and HDMI sockets, plus an ‘Accessory Terminal’ for connecting a remote controller. 

Just as the Nikon Zf was no mere ‘reskinned’ Z6 II, the Z6 III takes some tech from the Zf, but also some from the flagship Z8 and Z9, while also adding some new innovations of its own. While the sensor has the same megapixel count as previous models, it’s an all-new ‘partially stacked’ sensor, which enables much faster readout speeds than previous-generation sensors. It’s not as flat-out speedy as the fully stacked sensor in the Z 8 and Z 9 but is nevertheless about 3.5x faster than the readout of Nikon’s previous 24.5MP sensors. 

The upshot is that while the camera has a mechanical shutter, you won’t need to use it for most shooting scenarios, and can instead rely solely on the fully electronic shutter. This enables blistering shooting speeds of up to 120 frames per second, although images are limited to using DX crop mode, which is about 10MP in size. Dropping to 60fps enables full FX 24.5MP images. If you do engage the mechanical shutter, then the frame rate drops to a still-impressive 20fps for JPEG images and 14fps for Raw images. Impressively, the Raw buffer depth is cavernous, catering to over 1,000 shots.

One time you’ll definitely need to use the mechanical shutter is if you’re shooting with flash. That’s because the readout from the image sensor when using the electronic shutter isn’t quite fast enough to accommodate the very brief pulse of light from a flashgun. Even so, it's more than capable of keeping up with the action for sports and wildlife photography, including panning, without exhibiting signs of ‘shutter lag’ that would otherwise cause images to shear. Nikon’s decision to develop a ‘partially’ rather than fully stacked sensor is down to cost; aiming to keep the Z6 line of cameras reasonably affordable.

The sensor is mounted onto an in-body image stabilization (IBIS) device that offers up to eight stops of stabilization, up from five stops with the Z6 II. Following the ‘one over’ rule that says you should shoot at a shutter speed of the reciprocal of the focal length (1/200 sec at 200mm), you would theoretically be able to get sharp shots on the same 200mm focal length with shutter speeds as slow as 1 sec – provided your subject is static, of course.

What’s more, the IBIS is designed to pivot around the active focus point, rather than arbitrarily shifting the sensor. This gives even greater finesse in keeping the intended subject sharp, rather than basing stabilization on the whole image frame. It’s the same system that debuted in the Zf, and like that camera, can be used for a trick ‘sensor-shift shooting’ mode, where the sensor is shifted by tiny amounts and a series of images are taken, which can then be merged in Nikon’s NX Studio software for super-detailed high-resolution shots equivalent to 96 megapixels. Both the subject and camera have to be perfectly still for this to work, so you’ll need to use a tripod.

As with other Z-system cameras, the autofocus points are spread across the length and breadth of the imaging sensor, giving edge-to-edge autofocus no matter where in the frame your subject is. This time around it has 299 AF points spread across the entire sensor, like the Zf, and it’s not an insignificant increase over the 273 points of previous Z6-line cameras.

Autofocus works right down to an exposure value of -10EV, which effectively means the camera can focus on subjects when lighting conditions are too dark for the naked eye to see clearly. That can be a major bonus for night photographers, as well as potentially making autofocus possible for astrophotographers. 

The camera is powered by the latest generation of EXPEED 7 image processor, as used in the Z8, Z9, and Zf. That’s a major step forward from the EXPEED 6 processor used in the Z6, while the Z6 II featured a pair of EXPEED 6 chips. Nikon says that this processing grunt enables powerful autofocus performance that matches that of the Z8 and Z9, and there’s a raft of subject detection modes for people, animals, and vehicles. 

The vari-angle touchscreen rear LCD has a resolution of 2.1Mp, and unlike the tilt-only design for shooting high or low of the previous Z6-line cameras, this time around it’s a full vari-angle screen that flips out to the side and can be rotated 180 degrees up and down for front-facing selfies or reversed so the screen is tucked away for protection when shooting with the viewfinder. When shooting in a vertical orientation, the information overlay automatically rotates too, as first debuted in the Z9. Some may still prefer the relatively quick and easy operation of a tilt screen, as featured on previous Z6-line cameras, but the front-facing facility of the vari-angle screen makes the Z6 III much more useful for vlogging as well as for taking selfies.

As in other Z-series cameras, the information in the electronic viewfinder (EVF) is mirrored from the rear LCD and reflects the exposure settings dialed in, as well as the ability to overlay vital information such as a histogram, in-camera level, and grid display. 

The electronic viewfinder of the Z6 III is something of a masterpiece in its own right. It’s the brightest and highest-resolution EVF that Nikon has ever made. While previous Z-system cameras’ EVFs top out at 3.69 million dots, this one has seen a significant increase in the pixel count to 5.76Mp. The EVF refresh rate is a super-smooth 60fps, to a realistic-looking display, and it’s incredibly bright, measured at 4000 nits, which auto-adjusts according to the ambient light. 

This increased brightness will be particularly beneficial for sports and wildlife photographers who’ve perfected the ability to shoot with one eye looking through the viewfinder, while the other looks for the subject itself in the real world, providing a more natural balance when shooting in bright light. 

The EVF also has a DCI-P3 color gamut, for a wider range of more lifelike colors than previously, and of course, it’s fronted by Nikkor glass, to ensure the projected image is crisp and sharp right to the corners of the display.

Nikon Z6 III: Design & Handling

When it comes to the physical build of the camera, it’s very much evolution rather than revolution, with the near-identical button layout, aside from the aforementioned Playback and Release Mode button swap. It took a little getting used to, coming from a previous-generation Z6, but it makes sense as you may well wish to change from Continuous to Single Shot shooting mid-shoot, and the button placement makes it easier to do this without taking your eye off the viewfinder.

Our main grumble with the Z 6/7 line was the lack of direct access buttons for oft-used features, the most obvious of which is the ability to change the focus mode between Single (AF-S), Continuous Drive (AF-C), and Manual focus (MF), although this is set to one of the pair of programmable Function buttons at the front of the camera. However, while these Function buttons are user definable, we reckon most will leave them to the defaults as they are set to such vital functions. 

That said, a jab of the ‘i’ button does bring up a quick menu of commonly used settings, which becomes second nature to access, but more advanced functions, such as bracketing (which has its own dedicated button on the Z 8/9 and DSLRs like the D850) require delving into the menu system.

The top-plate LCD illumination button is a welcome addition, enabling you to see your settings when shooting in dark environments as the OLED display isn’t particularly bright.

While it looks pretty similar to the previous Z6 line, side-by-side the difference is more obvious, and it’s a fraction bigger and heavier. The differences may be slight, but one upshot is that owners of the previous model’s battery grip will have to invest in the new MB-N14, which is purpose-built for the Z6 III. That can be a real pain if you’ve already swapped from the original battery grip for the Z6 after upgrading to the Z6 II – it’s a different grip for all three cameras. Likewise, custom-fit third-party accessories such as L-brackets are likely to require reinvesting in if you’re upgrading from the previous model.

Nikon Z6 III: Performance

I was thoroughly impressed with the performance of the Z6 III before even fully pressing the shutter button to take my first shot. Just putting my eye on the viewfinder gave me an instant wow factor. The new OLED viewfinder combines high dynamic range with an enhanced color gamut, as well as ultra-high-resolution, and with none of the dreaded lag for which electronic viewfinders have often been notorious. The outcome is an incredibly lifelike display that rivals an optical viewfinder but with the additional attraction of a live preview for parameters including exposure value, white balance, and alternative picture control settings like portrait, vivid, and landscape. In essence, ‘what you see is what you get’!

Next up, there’s the autofocus system. For quite a while now, Canon has been shouting loudly about its much-vaunted ‘deep-learned AI’ autofocus technology in recent EOS R-system cameras. I’ve found that the latest generation of subject-tracking autofocus in Nikon Z-system cameras is every bit as good, arguably even better. Our team initially tried out the Z6 III on a rooftop basketball court in North Greenwich, within striking distance of the O2 Arena. The camera tracked the fast-moving players with unerring accuracy, consistently picking out human forms and latching onto them. Selecting the Person subject recognition mode and setting the wide-area focus mode, the camera unwaveringly locked onto the basketballer's faces and eyes as they battled one-on-one, shooting hoops. It certainly felt like a more reliable performance than when using previous Z6-line cameras, and akin to the Z8 levels of speed and accuracy.

I found animal-recognition autofocus similarly superb, seeking out a pet cat in a range of indoor and outdoor environments and switching to the animal's head and then eyes even at fairly lengthy distances. I had the same positive experience with birds and other animals. In most cases, I was able to set the autofocus subject recognition system to ‘automatic’, with the confidence that it would pick out my intended subject matter. I’ve become used to recent Nikon Z-system cameras finding vehicles like cars, motorcycles, trains, planes, and bicycles, but the Z6 III even picked out a distant lawnmower in one of my test shots.

The camera feels entirely natural in the hand, with the bulbous grip that houses the battery feeling comfortable to hold while offering a firm grip. 

In normal use, the camera defaults to using the electronic first curtain shutter or mechanical shutter, depending on shutter speed. In fully electronic shutter mode, you might initially miss the physical and audible feedback from the mechanical shutter operating. It can be disconcerting at first, with only the briefest of flashes indicating that a shot has been taken, particularly when set to the higher 120fps or 60fps frame rates. There’s good news, however, in that these super-fast frame rates come complete with continuous autofocus and exposure metering. Of course, you can set an electronic sound to provide further feedback.

Naturally, the bottom line in terms of performance is image quality. The superb sharpness, clarity, and all-round optical performance of Nikon’s Z-mount lenses has always been a big draw to the Z-system for me, and the Z 6III makes the very most of these lenses. Sure, the 24.5-megapixel Z6 III doesn’t tax the resolving power of lenses as much as the 45.7-megapixel Z8 and Z9, but pixel-peeping reveals excellent levels of fine detail and texture. In our lab tests, the Z 6III scored higher than the Z 6II for resolution, in the ISO 100-6400 section of the sensitivity range, matching it at higher ISO settings.

There’s been talk in some quarters that the speed of the partially stacked image sensor comes at the expense of a drop in dynamic range. I found that dynamic range was actually very good in my tests, drawing level with that of the Zf at all ISO settings. Our lab tests for dynamic range returned very similar results to the Zf and Z6 II and were actually slightly better than for the Z9. In practical terms, I found I was able to push the exposure compensation of Raw files in Nikon NX Studio by a full +5 EV stops and get very good detail in near-black shadows with fairly little noise. The Z6 III certainly compares favorably with the Z6 II in this respect, as well as with similar Canon and Sony cameras.

Our lab results for raw signal-to-noise weren’t quite as good as from the Z 6II at high ISO settings but, again, very similar to the Zf. In real-world shooting, I found that the Z 6III delivered really clean image quality even at super-high ISO settings, with impressive retention of fine detail and texture.

Color quality is up to Nikon’s usual high standards. There’s a wealth of picture control options to choose from, which you can tweak to your own preferences. I’ve always been a fan of Nikon’s Active D-Lighting which, in the Z6 III, gives the typical advantage of reigning in very bright highlights and boosting detail in very dark shadows, for a more balanced overall exposure. My only slight complaint with Z-system cameras in general, and inherited by the Z6 III, is I feel that all of the many and varied options for Auto white balance can sap a little of the warmth from very sunny scenes, compared with switching to the Daylight white balance setting. Many would argue, however, that the results are simply ‘accurate’ and that there’s plenty of latitude for making adjustments to Raw files anyway.

When it comes to battery life, the Z6 III is par for the course as a mirrorless camera. Depending on how much you use the viewfinder and rear screen, you can expect about 360 to 390 shots from a fully charged EN-EL15c battery. I’m a bit frustrated that Nikon (among other manufacturers) no longer supplies a standalone charger with its cameras, instead relying on in-camera charging. Even so, quick USB-C charging is supported and separate chargers aren’t expensive to buy. A bonus is that the Z6 III is backward compatible with older EN-EL15a and EN-EL15b Nikon batteries, which have a slightly lower capacity. Only the ‘b’ and ‘c’ versions of the battery can be charged in-camera.

Nikon Z6 III: Video

Video capture tops out at 6K/60p rather than 8K, but I suspect that’s more than enough for most videographers and content creators. On the plus side, 4K UHD/60p footage from oversampled 6K footage is very crisp, and, thanks again to the fast readouts of the partially stacked image sensor, there’s negligible rolling shutter effect. Reign in the resolution to Full HD and 240p is available for 10x slow-motion video capture. Further options include shooting 10-bit log files for maximizing dynamic range and enabling precise color grading in post. Video compression options include N-RAW (12 bit), Apple ProRes RAW HQ (12 bit), Apple ProRes 422 HQ (10 bit), H.265/HEVC (8 bit/10 bit), and H.264/AVC (8 bit).

Nikon Z6 III: Lab Results

For our lab data comparison, we pitched the Z6 III against its main full-frame rivals from Canon, Panasonic and Sony: the Canon EOS R6 Mark II, Panasonic S5 II, and the Sony Alpha A7 IV.

Resolution (line widths/picture height):

Resolution is measured using standardized text charts which give results in line widths / picture height, which is independent of sensor size.

Based on image sensors with practically identical megapixel counts, resolution throughout most of the ISO range is virtually the same for the Nikon and Canon cameras. Inevitably with its higher 33MP resolution, the Sony a7 IV comes out on top 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').

There’s very little to choose from between the Z6 III and Panasonic S5 II here - both cameras capture excellent dynamic range throughout our tested sensitivity range. The Canon and Sony cameras don’t fare quite so well.

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 Z6 III and the competition from Canon and Panasonic are very evenly matched when it comes to image noise levels, especially at higher sensitives where noise is most apparent. The higher-resolution Sony holds its own but isn’t quite as impressive.

Nikon Z6 III: Verdict

My first reaction to the Nikon Z6 III was that it’s a bit pricey compared with previous Z6-line cameras. Now that I’ve got to know it, it actually seems very good value for money. Headline attractions include a new ‘partially stacked’ image sensor that enables super-fast readouts, equating to mighty shutter speeds and continuous drive rates, along with stellar video performance. The OLED viewfinder with its ultra-high-resolution, high dynamic range and extended gamut is the best electronic viewfinder I’ve ever used, rivaling the clarity of an optical viewfinder in giving an incredibly realistic display. It’s a stunning camera for shooting stills, and the new vari-angle screen with its front-facing facility makes the Z6 III equally adept for vlogging and other videography. The speed, accuracy and consistency of the autofocus system with its subject recognition and tracking abilities is superb, even in near-darkness, and the bottom line is that image quality simply stellar.

Alternatives

Reports have been emerging that the new Nikon Z6 III might have a more restricted dynamic range than the old Z6 II. This observation was made by William Claff over at Photons to Photos who does in-depth testing of camera sensor performance, and plenty more besides. Claff's findings show the Z6 III maxing out at 10.44EV of dynamic range at ISO 100, compared to the Z6 II's 11.26EV at the same sensitivity. The Z6 III continues to trail its predecessor by 0.6-0.7EV until ISO 800, where the two cameras then perform very similarly:

Read more: Nikon Z6 III review

Now, Claff evidently knows his stuff and has been testing sensor performance for many years, so I'm not about to criticize his results or testing methodology. But what I can say is when I lab tested the Z6 III, I found that (in contrast to Claff's results), the Z6 III's dynamic range was almost identical to that of the Nikon Z6 II at lower sensitivities, although the new camera did trail the previous generation by 0.5-1EV at ISO 6400 and above.

While this is surprising and disappointing, in my opinion the more noteworthy difference between the two cameras is their signal to noise ratio performance - aka how much image noise each camera produces at a given ISO sensitivity. In our signal to noise ratio test I found the Z6 III and Z6 II generated very similar noise levels at lower sensitivities, but at ISO 1600 the new camera starts to produce noticeably noisier images than those from the Z6 II, and this trend then continues up to ISO 25,600 - our highest tested sensitivity.

And it's not just us that's noticed the Z6 III is producing noisier images at higher ISOs - check out this detailed image noise comparison between it and the original Z6 from YouTuber testcams:

Though you'd be forgiven for assuming a new camera will perform better in every test metric than the camera it replaces, this is often not the case. Most commonly, a new camera model with a higher megapixel count than its predecessor will often produce a lower signal to noise ratio, as cramming additional pixels onto a sensor of the same dimensions - be that APS-C or full-frame - makes each pixel smaller, less light sensitive, and therefore more prone to generating noise.

But in the case of the Z6 III, its 24.5MP resolution is identical to that of the Z6 II. The difference here could instead be down to the Z6 III's new partially stacked sensor construction. Again, this is speculation not established fact, but where a partially stacked sensor improves sensor readout speed for faster burst shooting and reduced rolling shutter distortion, it might also have a detrimental effect on image noise and dynamic range. This is also backed up by the sensor results on Photons to Photos, which generally show the dynamic range performance from stacked sensors being slightly lower than that from equivalent, non-stacked chips.

I can't give you a conclusive explanation as to why a stacked sensor would compromise image clarity and dynamic range, but I doubt it's down to the stacked sensor construction itself. Simply layering elements of a sensor need not hinder image quality. Rather, using this design to ramp up a sensor's readout speed is more likely to be the culprit, though logically even this doesn't really add up. To capture a single still image, the sensor in the Z6 III is using the same (or very nearly the same) number of pixels to the sensor in the Z6 II. Both sensors are of identical dimensions, resulting in identical pixel sizes. If the image is then captured with the same shutter speed duration and at the same ISO sensitivity, the two cameras should produce very similar noise levels and dynamic range, assuming Nikon's image processing is also comparable. And yet our lab test results are echoing those from other testers: the Z6 III isn't performing as well as the Z6 II (or even the original Nikon Z6) in terms of dynamic range and image clarity, leaving the increased sensor readout speed as the most obvious cause.

But before you rush to return your new Z6 III, let's just 'zoom out' for a moment. The differences in image quality between the two Z6 models highlighted by our lab testing, and that of William Claff, are relatively minor. In our case we test with all high ISO noise reduction disabled, and any dynamic range enhancements shut off, in order to maintain a level playing field. In more 'real world' usage with these systems enabled, would you really be likely to spot such subtle differences in image quality unless you were purposely hunting them out? It's unlikely.

Then when you consider the gains that a faster readout speed can bring for increased burst shooting rates, higher video resolutions at faster bit/frame rates, and other image quality enhancements like reduced rolling shutter distortion; many would argue that this increased hybrid camera versatility is worth a small trade-off in noise and dynamic range.

The Zeiss Milvus 15mm f/2.8 follows suit with various other families of Zeiss lenses, like the Batis and Loxia (for Sony E-mount cameras), in that it’s named after a bird. This time around, instead of being a sub-Saharan flycatcher or a stocky finch, Milvus takes its name from the red kite, a bird of prey. That sounds like a more high-performance and impressive deal from the get-go. It’s worth bearing in mind though that, in my neck of the woods, the red kite went extinct for about 100 years before being so successfully being reintroduced to the UK. I have to wonder if the writing is also on the wall for DSLR lenses, with so much of the world going mirrorless. Either way, the Milvus 15mm ultra-wide-angle, full-frame compatible lens is still available in ZE and ZF.2 options, for Canon and Nikon DSLRs respectively. In fact, these manual-focus lenses arguably work even better on Canon and Nikon mirrorless cameras via the respective companies’ mount adapters, where focusing aids like magnified preview and focus peaking come into play.

Specifications

Key features

This Zeiss Milvus lens has two key features as far as I’m concerned. First is its ultra-wide 15mm focal length, delivering a mighty 100-degree viewing angle. As an ultra-wide lens, it’s great for sweeping landscape vistas, cityscapes, architectural interiors and simply for exaggerating the perspective between foreground and background areas of a scene. Indeed, with a short minimum focus distance of just 0.25m (9cm or 3.5 inches from the front of the lens), you certainly can get in close.

The second major attraction is the fairly fast f/2.8 aperture rating. That comes in useful for maintaining quick shutter speeds for freezing motion even under dull lighting conditions, as well as enabling a fairly tight depth of field if needed, when shooting extreme close-ups. It also adds astrophotography to the remit of the lens.

A glaring omission from the feature set, at least for many digital photographers, is that there’s no autofocus. Many of us have come to rely almost entirely on autofocus since the 1970s, and the lack of it can seem a real challenge. But hang on a minute. At regular focus distance and medium aperture settings, the depth of field of a 15mm lens is huge, so ultra-precise, pinpoint focusing is largely unnecessary. As it turns out, the long throw of 119 degrees for the focus control ring enables very fine adjustments, and the silky-smooth action gives a really fluid feel.

And there’s more. The long throw of the focus ring enables a genuinely useful focus distance scale, complete with depth of field markers for all full f/stop intervals from f/2.8 right through to f/22. This enables effective ‘zone focusing’, so you can set the near and far limits covered by the depth of field for any focus distance and aperture combination. On top of that, while there’s no split screen or microprism in the viewfinders of DSLRs, there’s a focus confirmation lamp in Canon cameras and the additional benefit of focus direction lamps in Nikon cameras. Those are enabled thanks to the lens having an integral CPU and full electronic communication with the host camera body.

All in all, the lack of autofocus needn’t be a deal-breaker. And if you use an EOS R-system or Nikon Z-system mirrorless camera, the lens is fully compatible via EF-EOS R and FTZ mount adapters respectively. A bonus in both cases is that you can take advantage of magnified preview in the viewfinder or rear screen, and the option of focus peaking to help with accurate focusing.

Many ultra-wide-angle lenses have an integral hood that precludes the easy use of filters. I like that the Milvus 15mm has separate petal-shaped, bayonet-fit hood, enabling the inclusion of a filter attachment thread. A downside, however, is that the filter thread is unusually large at 95mm.

A bonus for video shooting, at least with the Nikon F-mount version of the lens, is that the aperture ring comes complete with a click/de-click option. That’s sadly lacking in the Canon edition. Both versions of the lens are epically well built, with an black anodized metal barrel and comprehensive weather-seals. And unlike many ‘metal lenses’, this one has a rubberized focus control ring which feels more tactile and less cold to the touch in chilly weather.

Performance

The lens is designed on classic Zeiss Distagon principles. As such, it has a retrofocus design that aims for optical excellence right out to the edges of the image frame, with effective correction of aberrations and very low field curvature. The complex optical path contains 15 elements which include two aspherical elements and five low dispersion elements, the latter to boost sharpness and clarity while reducing color fringing. Zeiss’s legendary T* Anti-Reflective Coating is applied to minimize ghosting and flare, and to boost contrast. To further this, the edges of all the optical elements are manually coated with pitch-black lacquer light traps are built into mechanical components to combat internal reflections.

Center-sharpness is excellent, even when shooting wide-open at f/2.8. As I’d expect, it pays to stop down to apertures of between f/5.6 and f/11 for enhancing sharpness towards the extreme edges and corners of the frame.

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:

Surprisingly, the lens delivers its best center-sharpness at the very widest aperture of f/2.8, but it remains excellent all the way down to f/11. Edge/corner-sharpness comes on song at f/5.6 and remains impressive through to f/11.

Fringing:

There’s only minimal color fringing across most of the image frame, throughout the entire aperture range. It can be a little visible towards the extreme edges and corners of the frame but is still very well controlled.

Distortion: -2.15

Barrel distortion is of a low order for such an ultra-wide-angle lens. For critical scenarios, like in architectural photography, the uniform nature of the distortion makes it easy to correct at the editing stage.

Verdict

I feel that sometimes bigger really is better, and the Zeiss Milvus 15mm F2.8 certainly delivers in terms of an oversized viewing angle. I love the way it can shoehorn vast landscape vistas into the image frame and that it works similarly well for architectural interiors and even for astrophotography. Build quality, handling and performance are all exceptional but it lacks autofocus and comes at a very steep purchase price.

• Other Zeiss Milvus lens reviews
• Zeiss Milvus 35mm f/2 review
• Zeiss Milvus 50mm f/1.4 ZE review
• Zeiss Milvus 18mm f/2.8 review
• Zeiss Milvus 21mm f/2.8 review

UPDATE: It's official, and Seb was right: Pixii has announced a full-frame rangefinder camera, the Pixii Max. 

The Pixii Max features a a 24.5MP full-frame Bayer image sensor, comes in silver or black, and is available with 32GB or 128GB of internal storage.

Read the full story here.

ORIGINAL STORY (July 03 2024: If you've been checking out the best rangefinder cameras on the market, and you've been looking for something that isn't a Leica, I'm sure you might have come across the name Pixii.

Well, the French camera company happens to have the most 'modern' rangefinders on the market. They work on an OTA (over the air) update schedule, which is always improving the cameras' features such as viewfinder displays and shutter timings, and of course making upgrades to Pixii's digital app.

Well, Pixii is about to launch a new camera tomorrow and the internet has gone wild speculating what this new camera could look like and what could be inside it.

But rather than telling you what could be, so late on the rumor cycle, I want to tell you what I want to see from Pixii as an existing Leica M-system user. So think of this as my dream wish list for the new Pixii camera…

Bigger sensor

I understand why Pixii Camera took the APS-C route to get the company up and running, as it is a more economical sensor to build around while you're developing a camera system from the ground up. However, I want to see a full-frame sensor inside a Pixii Camera. 

While I'm not that fussed about its megapixels (24MP would be more than enough), I think it's about time that the fourth camera launched by the company is full-frame. This way it's a good alternative to Leica cameras, and a whole lot cheaper, too (if a $3,000 camera can be called "cheap"!).

Just one memory option

The current Pixii ethos is to come out with a new camera and have various options for built-in memory, from 32GB up to 128GB. I think it should just go with the 128GB option and make things simpler for the end user. 

Leica has 256GB of built-in memory on the Leica M11-P, so if Pixii opted for 128GB it wouldn't "overpower" Leica but would give users a more solid and affordable option.

Built-in viewfinder magnification

While using lenses such as a 35mm, or 50mm the focusing match is quite easy to use. However, when it comes to wider lenses (from 21-28mm) or longer lenses (from 90-135mm) it becomes a more tricky ordeal. 

Pixii thought of this, and added up to 1.5x magnification eyepieces to its range. But for a company that does all its updates OTA, without the need for SD cards, I would love to see built-in magnification so you can check on-the-fly that you have critical focus before pressing that shutter button. 

Advertise the hardware upgrades

While this isn't really a feature, Pixii is quite advanced in some upgrade options for its users. And while I have already mentioned the company's OTA firmware updates, I haven't mentioned its hardware upgrade option – which means that any user who owns an older Pixii model has the choice to upgrade to the latest camera from Pixii.

This includes the company bringing out a new sensor, for instance. Instead of buying a brand new camera, you can just buy a new sensor and Pixii will fit in the new parts for you – saving you a heap on your initial investment. It just needs to really shout this from the rooftops, as I think it's a very neat feature!

You might be interested in the best Leica M lenses to go with your Pixii – or, indeed, one of the best Leica cameras using the M mount.  

Did you know that June 29 is National Camera Day? Well, not many people do! But it is a thing - and celebrated on the same every day... a bit like National Egg Day, Ugliest Dog Day, and International Asteroid Day that also apparently take place every year in June.

Here at Digital Camera World, we celebrate cameras and photography every day of the year, but we are very happy to call out this day in particular, especially since this year, June 29, falls on the weekend!

So how will you celebrate National Camera Day? Here are five simple things to inspire you…

1. #cameraday

The most obvious thing to do on National Camera Day is to go out and take pictures! But when you do, also share them with others by tagging them on Facebook, Twitter or Instagram with the hashtags #cameraday and #nationalcameraday. We'll keep a look out for your stunning images :)

2. See the sunrise...

Why not make the most of National Camera Day by getting out and about before dawn? It is the middle of summer in the Northern Hemisphere - so this will mean a special effort. But getting yourself into position in time for sunrise will often mean getting the best light (and particularly so on a sunny summer day) - and the key is that at this time of day is that the light on the subject changes quickly, creating a greater range of photographic possibilities.

Of course, if you can't get yourself up that early... you could stop out until sunset instead!

3. Try something new

National Camera Day could also be the day you decide to try to shoot something different with your camera. Take yourself out of your comfort zone... and try shooting something that you have not ever tackled before. 

We have some great photography tutorials for you to give you inspiration. Have you tried to photograph birds in flight, for instance? Or have you ever taken a slow shutter speed shots of waterfalls? Or tried focus stacking? Or mastered the weird world of cross polarization? 

If you are struggling for an idea look through 177 photography tips to find something to try out for the first time!

4. Revive old photos

Have you got a box or drawer full of your old photos? Stacks of slides or packs of prints that contain your early exploits with a camera. National Camera Day is a great excuse for getting your ageing shots out and seeing how your photography has improved over the years (or got worse!). A great project would be dig out the best of these shots, and then bring them back to life by digitizing them.

There are two ways to do this... buy a film scanner, or photograph them with your own camera (you can find how you can digitize your prints and slides using a DSLR or mirrorless camera here). 

5. Amazing three for a fiver deal!

Digital Camera World is not just a website... we also produce a monthly magazine about photography. Why not celebrate National Camera Day by takine a vow to take photography more seriously and sign up for a magazine subscription. We currently have a great summer sale going on... where you can get three issues for a fiver - that's $5 in the America, £5 in the UK, or €5 in Europe. 

This deal is not just available on Digital Camera magazine... but also on the other magazines we publish on a huge variety of subjects (and including three other photo mags), so take a look. 

Read more

The best locations for photographers around the world

177 photography tips for taking pictures of almost anything

Fujifilm has released some major firmware updates for its fifth-generation mirrorless cameras, including a minor update for the Fujifilm X100VI and the Fujinon GF80mmF1.7. 

The update brings Reala Ace to the older fifth-generation cameras, which was revealed as an impending update in a recent interview with Adorama and Fujifilm USA vice-president Victor Ha, who let a few key details slip. 

Reala Ace is different to existing options such as Astia and Provia, which have been long standard film simulations on the X-Series cameras. Fujifilm describes it as “incredibly true-to-life color reproduction and a hard tonality, this versatile Film Simulation adds a slight analog edge.”

Reala Ace was first featured on the Fujifilm GFX 100 II, and is also on the recently released XT-50 and X100VI. 

Autofocus bugs have also been fixed with these new firmware updates. Prior to the firmware announcement, many Fujifilm users took to the internet to complain about the autofocus. The issues included getting a low hit rate when in AF tracking, and when in continuous autofocus, users needed to set the camera to face/eye detection, and the camera would track the closest thing it finds within the face detection frame, and not the eye.

The Fujifilm firmware update claims to have fixed this issue across all the models mentioned. Other fixes include the shutter button, which Fujifilm says causes the camera to freeze “in rare cases,” when half-pressed at the same time as the “AF ILLUMINATOR” light metering operation. 

The firmware updates are available on the models Fujifilm X-T5 (ver. 4.00), Fujifilm X-H2 ver. 5.00, Fujifilm X-H2S (ver. 7.00), Fujifilm X-S20 (ver. 3.00), Fujifilm X100VI (ver. 1.11), and the Fujinon GF80mmF1.7 (ver. 1.30). 

The full details, and the links for the new firmware, are as follows…

Fujifilm X-T5 ver. 4.0

1. New mode for film simulation A new “REALA ACE” mode is added that combines faithful color reproduction with crisp tonal gradations and is suitable for all kinds of subjects and situations
2. The camera focuses on different subject in the face frame even though AF is detecting the pupil
3. When the shutter button is half-pressed at the same time as the “AF ILLUMINATOR” light metering operation, the camera freezes in rare cases
4. The camera freezes in rare cases while recording movie with an external monitor connected under the following conditions. ［Setting conditions］ ・MOVIE MODE: 4K 16：9/59.94P ・MEDIA REC SETTING: H.264/422 MOV ・IS MODE (MOVIE): IBIS/OIS+DIS ・HDMI OUTPUT SETTING: HDMI OUTPUT INFO DISPLAY ON
5. A minor bug

Fujifilm X-H2 ver. 5.00

• New mode for film simulation 
• A new “REALA ACE” mode is added that combines faithful color reproduction with crisp tonal gradations and is suitable for all kinds of subjects and situations
• The camera focuses on different subject in the face frame even though AF is detecting the pupil
• When the camera shake is large during movie recording under the following conditions, black edges will appear on the sides of the screen in rare cases. ［Setting conditions］ ・MOVIE MODE: FHD 16:9 ・IS MODE (MOVIE): IBIS/OIS+DIS
• When the shutter button is half-pressed at the same time as the “AF ILLUMINATOR” light metering operation, the camera freezes in rare cases
• When the shutter release button is pressed all the way down without pressing it halfway under the following conditions, the camera freezes in rare cases: SHOOTING MODE: CH HIGH SPEED BURST or CL LOW SPEED BURST ・SHUTTER TYPE: MECHANICAL, E-FRONT CURTAIN, ELECTRONIC ・AF MODE: AF-S or AF-C ・AF/MF SETTING: RELEASE ・SHUTTER AF: OFF
• A minor bug

Fujifilm X-H2S ver. 7.00 

• New mode for film simulation 
• A new “REALA ACE” mode is added that combines faithful color reproduction with crisp tonal gradations and is suitable for all kinds of subjects and situations
• The camera focuses on different subject in the face frame even though AF is detecting the pupil
• When the shutter button is half-pressed at the same time as the “AF ILLUMINATOR” light metering operation, the camera freezes in rare cases
• A minor bug

Fujifilm X-S20 ver. 3.00

• New mode for film simulation 
• A new “REALA ACE” mode is added that combines faithful color reproduction with crisp tonal gradations and is suitable for all kinds of subjects and situations
• The camera focuses on different subject in the face frame even though AF is detecting the pupil
• When the shutter button is half-pressed at the same time as the “AF ILLUMINATOR” light metering operation, the camera freezes in rare cases
• The camera freezes in rare cases while recording movie with an external monitor connected under the following conditions. ［Setting conditions］ ・MOVIE MODE: 4K 16：9/59.94P ・MEDIA REC SETTING: H.264/422 MOV ・IS MODE (MOVIE): IBIS/OIS+DIS ・HDMI OUTPUT SETTING: HDMI OUTPUT INFO DISPLAY ON
• A minor bug

Fujifilm X100VI ver. 1.11

• The camera focuses on different subject in the face frame even though AF is detecting the pupil.
• When the shutter button is half-pressed at the same time as the “AF ILLUMINATOR” light metering operation, the camera freezes in rare cases.
• The camera freezes in rare cases while recording movie with an external monitor connected under the following conditions. ［Setting conditions］ ・MOVIE MODE: 4K 16：9/59.94P ・MEDIA REC SETTING: H.264/422 MOV ・IS MODE (MOVIE): IBIS/OIS+DIS ・HDMI OUTPUT SETTING: HDMI OUTPUT INFO DISPLAY ON
• The camera freezes when assigning “ND FILTER” to the touch Fn function and run the Fn function under the following setting conditions. ［Setting conditions］ FUJIFILM XApp Settings：Record Fn button operation＞Activity Record setting of camera
• A minor bug

Fujinon GF80mmF1.7 ver. 1.30

• The operability of the “Focus ring” is improved when using the following applicable camera
• 1) Applicable camera (*1) 
• FUJIFILM GFX100 II2) Improved items (*2) 
• Lens vibration at zooming using the “Focus ring” is reduced
• Focus tracking when operating the focus ring is improved. ・Focus ring rotation angle is optimized for movie taking.*1：Camera firmware update is required to enable the above improvements. Be sure to update the camera firmware to the latest version before updating the lens firmware
•  GFX100 II Firmware update Ver.2.20*2：“FOCUS RING OPERATION” must be set to “LINEAR” to enable these improvements. Be aware that these improvements will not be enabled when “NONLINEAR” is selected
• Operation flow to set “FOCUS RING OPERATION”: SEUP MENU＞BUTTON/DIAL SETTING＞FOCUS RING OPERATION

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

Fujifilm first entered the medium format camera market with the GFX 50S and GFX 50R. The GFX 50S II came along later with a whole bunch of improvements. But all three cameras had 50MP sensors and relatively limited contrast AF.

For a while, these were among the best medium format cameras you could buy, and the best Fujifilm cameras by far for image quality.

But then the GFX 100 came along, with double the resolution, in-body image stabilization, much more responsive hybrid phase/contrast AF and decent 4K video capture. The GFX 100 brought Fujifilm’s medium format up to modern mirrorless full frame camera levels of versatility and power. Fujifilm followed this up with a smaller, lighter GFX 100S version.

If we fast-forward to the present day, the 50MP models have effectively been discontinued, while the 100MP models have both been updated with version II replacements. So now we have the original GFX 100 (still expensive and effectively obsolete) and its replacement, the GFX 100 II, for serious professional users, alongside the cheaper and lighter GFX 100S (still on sale) and its replacement the GFX 100S II.

These GFX models are still among the highest resolution cameras you can buy, making them some of the best cameras for professionals. However, professionals increasingly need high-end video capabilities alongside still imaging, and that's where Fujifilm has made some of its greatest advances.

The GFX range is now effectively just four cameras (three if you forget the original GFX 100) but they still sound confusingly similar.

So we’ve already published a comparison of the Fujifilm GFX 100S II vs GFX 100S, but there’s another interesting choice – should you get the smaller and cheaper GFX 100S II or the larger and more pro-orientated GFX 100 II?

This article runs through the key technical differences to help you decide.

Fujifilm GFX 100S II vs GFX 100 II in 2024

1. Sensor

• Fujifilm GFX 100S II: Medium format 43.8mm ×3 2.9mm 102MP CMOS II, X-Processor 5
• Fujifilm GFX 100 II: Medium format 43.8mm × 32.9mm 102MP CMOS II HS, X-Processor 5

These two cameras appear to have the same 43.8mm × 32.9mm 102MP sensor, but there is a difference. The GFX 100 II has a ‘CMOS II HS’ sensor, with the ‘HS’ indicating a high speed readout time which will have an impact on performance, especially for video and rolling shutter effects.

Otherwise, both cameras have Fujifilm’s latest X Processor 5 processor, both have an ISO range of 80-12,800, expandable to ISO 40-102,400, and both offer Fujifilm’s 400MP Pixel Shift Multi-Shot mode.

Compared to the previous generation 102MP sensor, this one has improved microlenses for better results and AF accuracy towards the edges of the frame, and improved photosite saturation capacity, hence the lower ISO 80 sensitivity.

2. Autofocus

• Fujifilm GFX 100S II: Hybrid 117/425 area phase/contrast AF
• Fujifilm GFX 100 II: Hybrid 117/425 area phase/contrast AF

There are no differences here. Both the GFX 100S II and the GFX 100 II use a hybrid 117/425 area phase/contrast AF, with AI subject detection AF for human faces and eyes, animals, birds, cars, motorcycles, bicycles, airplanes, and trains. The GFX 100 II brought a whole raft of AF algorithm, subject recognition types and subject tracking improvements, and the GFX 100S II benefits from the same updates.

3. Video

• Fujifilm GFX 100S II: 4K/30p, 10-bit F-Log2, 422 ProRes internal, 12-bit ProRes RAW via HDMI to Ninja V
• Fujifilm GFX 100 II: 4K/60p, 8K/30p, FHD/120p (various crops from 1.0-1.51x depending on format), 422 ProRes internal, 12-bit ProRes RAW via HDMI to Ninja V up to 8K (Ninja V+)

This is where the differences start to kick in. The GFX 100S II is a highly effective video camera that shows the huge strides Fujifilm has made in a very short time. However, the GFX 100 II goes way, way further, offering not just 4K 30/60p capture but 8K 30p video too. Both cameras come with Fujifilm’s latest F-Log2 profile for 14+ stops of dynamic range, direct Frame.io Camera to Cloud compatibility, but the GFX 100 II adds in the ability to record direct to SSD and compatibility with Fujifilm’s optional FAN-001 cooling fan attachment.

The GFX 100S II is a very capable video camera, but the GFX 100 II is more powerful still and better suited to professional/commercial filmmaking.

4. Stabilization

• Fujifilm GFX 100S II: 5-axis IBIS, 8 stops
• Fujifilm GFX 100 II: 5-axis IBIS, 8 stops

With the GFX 100 II, Fujifilm introduced a new IBIS system with a highly impressive 8-stop compensation capability. This now carries through into the new GFX 100S II, so both cameras have he same stabilization and the GFX 100S II is not at any kind of disadvantage.

5. Continuous shooting

• Fujifilm GFX 100S II: 7fps mechanical shutter, 184 JPEG, 30 raw
• Fujifilm GFX 100 II: 8fps mechanical shutter, 1000+ JPEG, 260-1000+ raw depending on mode/compression

Things quickly turn against the GFX 100S II when it comes to continuous shooting. There’s not much differences in the outright speed, with the GFX 100S II shooting at 7fps with its mechanical shutter while the GFX 100 II is slightly faster at 8fps. The GFX 100 II does, however, have the advantage of a much larger buffer capacity as well as high-speed CFexpress storage, so that its buffer capacity – the number of shots it can capture before it slows down – is many times greater than that of the GFX 100S II. If you shoot a lot of burst sequences, especially in raw, the GFX 100 II is a clear winner.

6. Size and weight

• Fujifilm GFX 100S II: 150 x 104.2 x 87.2mm, 883g
• Fujifilm GFX 100 II: 152.4 x 117.4mm x 98.6mm, 948g

The Fujifilm GFX 100S II is remarkably compact for a medium format camera, but the GFX 100 II is not a whole lot bigger. The original GFX 100 was a bit of a monster, but its replacement is a lot smaller, and half-way towards GFX 100S II size.

On paper you can point to the fairly clear size advantage of the GFX 100S II, but by the time you attach lenses of any size, the difference effectively disappears. Indeed, with larger lenses you may find the GFX 100 II gives a better grip. It also has a larger number of customizable function buttons.

7. Displays

• Fujifilm GFX 100S II: 0.5-in, 5.76m dot EVF, 0.84x magnification, rear 3.2-inch 2.36m dot three-way tilting touchscreen
• Fujifilm GFX 100 II: 0.64-in, 9.44m dot EVF, 1.0x magnification, 3.2-inch 2.36m dot three-way tilting touchscreen

The EVF of the GFX 100S II is not at all bad, and a clear and worthwhile improvement on the EVF from the original GFX 100S. However, the EVF of the GFX 100 II is in a whole other league. The display panel itself is larger at 0.64-in, it has almost twice the resolution at 9.44m dots and a much higher 1.0x magnification too. Other enhancements include a 120fps frame rate boost for fast moving subjects, increased buffer memory for reduced delay and blackout and 5.3fps blackout-free shooting with the electronic shutter.

The GFX 100 II also supports Fujifilm's EVF tilt adapter EVF-TL1, for when a tilting screen isn't enough and you need a tilting/swivelling viewfinder too.

Round the back, the 3.2-inch touchscreens are identical. For many, though, the superior EVF of the GFX 100 II on its own may be enough to tilt the decision towards that camera.

8. Power

• Fujifilm GFX 100S II: NP-W235, 530 shots
• Fujifilm GFX 100 II: NP-W235, 540 shots

If these cameras have a weak point, it’s the battery. Both use a single NP-W235 lithium in cell, and this offers up to 530 shots on a single charge on the GFX 100S II and 540 shots on the GFX 100 II. Both are somewhat limiting for a professional camera, and it is perhaps a pity that Fujifilm didn’t exploit the larger body of the GFX 100 II to fit a larger battery.

9. Storage

• Fujifilm GFX 100S II: 2x SD UHS II
• Fujifilm GFX 100 II: 1x SD UHS II, 1x CFexpress Type B

The GFX 100S II offers a pair of SD UHS II card slots while the GFX 100 II has one SD UHS II slot and one CFexpress Type B slot. The CFexpress slot makes a lot of sense because it opens up the GFX 100 II’s prodigious video and continuous shooting capabilities. It does mean, though, that you’re working with two card types, and if you intend to use both simultaneously for backup, for example, the camera’s speed will be limited by the slower SD card slot.

The GFX 100S II’s twin SD slots may be slower in principle, but they do make it easy to use matched cards for real time backup, say.

10. Connectivity

• Fujifilm GFX 100S II: USB Type-C, HDMI micro Type D, Remote, Mic, Headphone, Bluetooth, Wi-Fi
• Fujifilm GFX 100 II: USB Type-C, Ethernet, HDMI Type A, mic, headphone, Wi-Fi, Bluetooth

In line with its professional aspirations, the GFX 100 II comes with an Ethernet port for high-speed wired transfers, and it swaps the HDMI Type D connector on the GFX 100S II for a full size HDMI Type A port, which videographers tend to prefer simply for its extra security.

Fujifilm GFX 100S II vs GFX 100 II: conclusions

• Fujifilm GFX 100S II: $4,999 / £4,999
• Fujifilm GFX 100 II: $7,499 / £6,999

If your principal interest is stills photography, the GFX 100S II gives little away to the GFX 100 II – you will get the same high-quality 102MP images from both. However, if you also do a lot of burst shooting or you are involved in higher-end filmmaking projects, the GFX 100 Ii is a clear winner.

It’s true that the GFX 100 II costs up to 50% more to buy than the GFX 100S II, but it’s a more powerful and versatile camera, with features aimed squarely at professional content creators.

It also has a superb EVF, perhaps one of the best we’ve seen. That might not sound a major deciding factor, but if you’re using a camera professionally, day in day out, it makes a big difference.

Perhaps the most significant factor is the pricing. When the GFX 100S first came out, it was little more than half the price of the much bigger GFX 100. With the GFX 100S II and GFX 100 II, though, both the size and the price are much closer. If you’re looking for a camera that offers amazing image quality for the money, the GFX 100S II is hard to resist. But if you’re looking for a versatile, professional workhorse, the GFX 100 II adds an extra level of burst shooting performance and video capabilities without pushing the price through the roof.

One of the most challenging tasks in photography is to freeze a fast-moving subject, such as a racing car, a bird in flight or a plane at an airshow. 

Taking photos in automatic mode can be frustrating, as the camera’s settings need adjustments in exposure and focus. This means that some shots may be usable and sharp, but many will lack precision. To capture those dynamic and dramatic moments, technical knowledge and practice are the keys to success. Here the exposure triangle comes into play, which consists of three elements: shutter speed, aperture, and ISO. These settings all have an impact on each other.

For action shots, the priority is to select a fast shutter speed, such as 1/1,000 sec, to freeze the subject. However, this also means that light has less time to reach the sensor, resulting in a darker image. You might think that working with a wide aperture (low f-stop number) would solve this problem, as it enhances the brightness. 

The problem is that the more open the lens, the shallower the depth of field and therefore the narrower the focus area. This makes it even harder to keep the subject in focus, especially if it is moving unpredictably. Raising the ISO for brightness seems logical, but extreme values cause noise and grain – reducing the image quality in both sharpness and clarity. 

By understanding the exposure triangle and by experimenting with different settings, you will learn how to freeze the moment. Fortunately, the camera’s automatic modes and focus assistance can help guide you.

Before and after

Shooting steps

1. Choose an optic

To get up close to your subject and for extra flexibility in framing, a zoom lens with a focal length of 200mm or above is probably your best bet. However, these lenses can be expensive, so renting a zoom lens for a special occasion could be a more cost-effective option to consider.

2. Clean the lens

We are relying on the autofocus settings to keep up with the speed of the moving subject, so it is important to clean your lens first. This way you ensure that the AF can work accurately and won’t be distracted by dirt or spots on the lens. Use a suitable microfibre cloth to clean the lens.

3. Prioritize shutter speed

 Select the Shutter priority mode and lock the shutter speed. Now the camera calculates an appropriate aperture and ISO value to ensure correct exposure. After doing some test shots, select Manual mode and experiment to put your exposure triangle knowledge into practice.

4. Set the focus

To maximize your chances of getting sharp results, shoot in Servo autofocus mode. This setting tracks the subject as it moves across the frame. By selecting continuous / burst shooting mode, the camera takes multiple consecutive shots when you keep the shutter button depressed.

5. Control exposure

When shooting in bright conditions, for example, if your subject is directly against a bright sky, using an ND (neutral density) filter helps to control the exposure. A filter works like sunglasses for your lens and reduces the amount of light while improving dynamic range and detail.

6. Track the subject

Now it is time to capture a fast-moving subject. Get into position with your legs slightly apart and keep your attention on the subject, panning along with the movement. Take some test shots and review the results. Change your point of view occasionally to add variety to your shots.

If you're shooting fast subjects, you might want to take a look at the best cameras for sports photography or the best cameras for wildlife photography.