Cameras - Organizer

7:33 pm | June 14, 2022

Editor's Note

• Original review date: June 2022
• Adds a 40mm f/2.8 lens to the existing Ricoh GR III
• Launch price: $999 / £899 / AU$1,779
• Official price now: around $1,050 / £999 / AU$1,599

Update: May 2024. Two years after we first reviewed it, we still think the Ricoh GR IIIx is one of the best compact cameras you can buy. Its combination of a large sensor, sharp lens and tidy dimensions continues to impress in 2024. This remains a fantastic shooting tool to keep in your pocket, especially if you’re a street photography fan. Its unique feature set has made the Ricoh GR IIIx a very popular camera, which is why you’ll find most online stores listing it as “out of stock” or “awaiting stock”. That’s also why seasonal discounts on the model are uncommon, with the GR IIIx generally marketed at its full RRP. Both of those factors mean your easiest route to acquiring one at a decent price is to look for second-hand or refurbished options in good condition, which can be found if you look around online.

Two-minute review

The new Ricoh GR IIIx is the latest in a long line of discrete compact cameras that are small enough to slip into your pocket, but somehow boast a large APS-C sensor and a sharp, fixed focal length lens.

The Ricoh GR series has carved out a niche market, being particularly popular with street photographers and everyday snappers who love the camera's quick response, intuitive handling and, more recently, Snap Focus system to capture decisive moments. As a result, they've long been mainstays in our guides to the best compact cameras and the best travel cameras.

Yet one thing that many GR lovers have pined for is a more telephoto focal length than the 28mm f/2.8 lens found in the most recent iteration, the GR III. Well, now their wish has come true in the GR IIIx, a camera that is virtually identical to the GR III in every way, except it has a 40mm f/2.8 equivalent lens.

A hand holding the Ricoh GR IIIx camera — (Image credit: Future)

A 28mm lens is essentially the same focal length as a smartphone's standard camera, making it the most universally familiar focal length, while 40mm is closer to a phone's portrait lens. Another way to appreciate the difference between the two focal lengths is that 28mm represents what you can see, while 40mm is what you focus on.

We'll get more into the practical differences between those two focal lengths in these cameras in our in-depth review. Suffice to say, there are scenarios more suited to the 28mm lens, and others best suited for 40mm. In either case, limiting yourself to a particular focal length can be a useful creative discipline for photographers, though if we could be greedy, we'd like a GR III in one pocket and the GR III X in the other.

Perhaps Ricoh will keep going in the Sigma Quattro approach by adding further models like a 75mm f/2.8, though the GR IIIx does have a useable crop mode taken from the 24.2MP sensor, going up to 71mm. There is also an optional 75mm GT-2 Tele Conversion lens, but adding accessories and bulk to a GR III camera somehow seems sacrilegious – yes, even a flashgun via the hotshoe.

Other than the new lens, it's as you were, for good and for bad. If you're looking to get the most for your money based on a spec sheet, then the GR IIIx is not for you. At $999 / £899 / AU$1,799, it's more than the GR III on release and for that money you could get an APS-C interchangeable lens camera with a lens or two, or a fantastic smartphone.

The Ricoh GR IIIx camera on a wooden table — (Image credit: Future)

The GR IIIx's battery life is poor. There's also no built-in flash, viewfinder or even an optional EVF via the hotshoe, the rear touchscreen is fixed, video recording is limited to full HD with no mic input, plus AF is jittery. That's a few downsides, so why is the GR IIIx so expensive? Well, there really is no other pocket camera like it today, especially with this new lens – trust us, we've searched hard.

Perhaps its closest rival is the Fujfilm XF10, or various discontinued cameras like the Fujifilm X70 and Nikon Coolpix A, all of which have a 28mm lens. The GR IIIx has more street guile than all of these options, though we'd love a tilt-screen. Other large-sensor compacts like the Fujifilm X100 series or the smallest interchangeable lens cameras with 40mm pancake lens attached are no comparison, being much bigger.

More importantly than features, the GR IIIx is a joy to use. It's a camera that you want to have in your pocket. It seems so intuitive to general quick response photography, and is easy to customize with tools that experienced photographers will love. The in-camera raw editing and seamless wireless connection to a smartphone (in our experience with a Google Pixel) means you can share edited pictures easily on the fly, too.

Throughout our review, we were particularly interested to know how the new 40mm lens affects the handling of this pocket shooter, and if the lens quality is just as good. Read on to find out in our in-depth Ricoh GR IIIx review, and for additional info check out our Ricoh GR III review.

Ricoh GR IIIx release date and price

The Ricoh GR IIIx is available to buy now for $999 / £899 / AU$1,779. A new 'Urban Edition' was more recently launched for a premium price of $1,099 / £999 (although it's strangely cheaper in Australia at $AU1,549). It's limited to 2,000 units worldwide and has a metallic grey body, blue ring cap and comes supplied with leather strap.

Additional GR IIIx accessories include the GT-2 Tele Conversion lens for a 75mm focal length, although the GR IIIx is not compatible with the GW-4 Wide conversion lens for the GR III. There is a GV-3 external mini optical viewfinder, while users can modify the look of the GR IIIx with different color ring caps (GN-2).

Perhaps the wisest additions to the GR IIIx are additional DB-110 batteries, while we in particular have enjoyed the camera's handling with an optional third party thumb grip.

Ricoh GR IIIx: design

A true pocket camera
Fixed 3in touch screen
New 40mm f/2.8 lens

On the surface, the GR IIIx is a simple, sturdy camera. It's stubbier and narrower than a smartphone, though it is deeper at 35mm according to our tape measure. That's as narrow as APS-C cameras come and the GR IIIx easily slips into a trouser pocket. It's also super light, at 262g with battery and card.

It's possible to hold and touch focus on the GR IIIx the same way as you would when shooting with a phone, so in public you can relax and blend in. If you don't need touch focus, single-handed operation in any format works a treat, especially with an optional thumb grip.

Despite its simplicity and point-and-shoot nature, there's more to the rugged GR IIIx than meets the eye. Twin dials make changes to exposure, including exposure compensation. Without a thumb grip in place, the rear dial can easily be knocked, though push it in and a quick access menu for regularly changed settings is revealed; Picture Style, Focus mode, Metering, File Format and screen brightness.

Watch out for the shooting mode dial, too – the lock isn't the strongest and we had a few times where the mode had switched between goes with the camera. On that dial is the usual PASM exposure modes, plus three user defined shooting modes (U1 to U3).

Custom shooting modes are super useful for those that take the time to create unique camera settings for specific scenarios, assigning a comprehensive range of settings, including Auto ISO with control over minimum acceptable shutter speed, and the Focus mode that includes the clever Snap Focus.

The fixed 3in LCD touchscreen is a little hard to view in bright daylight. Pump the 1.03-million-dot screen up to its brightest setting and things get a little clearer. There are a number of concessions made in order to keep the GR IIIx so small. If we were to able to make a single change it would be to have a flip-up screen which would be so handy for multi-angle shooting.

There's no denying that the 200-shot battery life is modest. Honestly, we didn't mind it and sometimes working within limitations – like a 36-roll of film – can be good practice. Also, the camera can be charged on-the-go via USB-C and additional DB-110 batteries can be picked up on the cheap.

For the lens ring cap, Ricoh has opted for style over substance. Rather than offer controls like manual focus or aperture (which we haven't necessarily pined for), the GR IIIx lens ring cap is functionless and can be swapped out with different color ring caps to personalize the camera.

After much time with the camera in and out the pocket, we started to feel that the protective lens cap could be a wise purchase to protect the front of the lens. The camera does, however, come with a basic wrist strap and a nice touch is that the GR IIIx has an internal memory of 2GB, which offers plenty of storage for pictures and Full HD videos. Beyond 2GB, you'll need a UHS-I SD memory card.

Ricoh GR IIIx: features and performance

Quick start-up time
Moderate continuous shooting
Sensor-shift shake reduction

Ricoh has refined the GR III series to please experienced photographers who want a simple, customizable camera with a rapid response. Start-up time is lightning, the GR IIIx rattles off pictures from being powered off in less than a second, and with an immediate shutter response.

In continuous drive mode there's a moderate shooting rate of around 4fps by our estimate. For the raw DNG format, you'll get around ten shots before the camera slows right up, while in JPEG-only it's more like 150 shots. The GR IIIx is not an action camera, though it does respond quickly to capture decisive moments.

Focus modes include Snap Focus for a predetermined focus distance in half meter increments starting at one meter, or infinity. Handily, it is possible to temporarily override Snap Focus if it's set to the wrong distance via touch focus. Additional AF modes are available in the quick access menu.

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Snap Focus is a different game with the new 40mm lens than it is with the GR III's 28mm lens, because depth of field is narrower and therefore less forgiving at any given aperture and working distance. You might not see on the small screen, but it is entirely possible to miss your focus point when shooting close up at f/2.8. Thankfully there is an on-screen depth of field indicator, through which you can check depth of field parameters.

For portraits close to camera and shallow depth of field work, it can be wiser to use pin-point touch autofocus rather than Snap Focus. The performance of other AF modes are only okay and, overall, less reliable – including a laggy and unreliable tracking AF plus average auto area AF.

The Ricoh GR III X compact camera in front of a smartphone — (Image credit: Future)

There's also a macro focus that reduces the minimum focus distance from 0.2m down to 0.12m. With the more telephoto 40mm lens, the macro mode feels more useable in the GR IIIx than it does the GR III – with a little cropping we've come away with some genuine-looking macro images.

The GR IIIx features a sensor-based shake reduction – a feature not found on aforementioned rivals. This opens up the GR III X to a wider range of handheld shooting scenarios and is perhaps even more useful than in the GR III with its more forgiving wider field of view lens.

With shake reduction active and a steady hand, we've been able get sharp shots every time at 1/10 sec and moderate success at 1/4 sec – that's two to three stops of reliable stabilization by our reckoning.

Ricoh GR IIIx: image quality

24.2MP raw DNGs
40mm f/2.8-16 lens
In-camera raw editing

The GR IIIx has the same 24.2MP APS-C CMOS sensor as the GR III, recording in JPEG and raw DNG format. DNG is universally accepted on software old and new. There's a massive ISO 100-102,400 sensitivity range and it's entirely possible to shoot up to ISO 6,400 before noise rears its ugly head, even ISO 25,600 is acceptable. For properly clean images you'll prefer to stick between ISO 100 and 1,600.

The new 40mm f/2.8 lens has one more lens element than the 28mm f/2.8 (adding a mere 5g to the total weight of the camera), containing seven elements in five groups including two aspherical elements. Scanning from center to edges, image detail can be consistently sharp across the entire frame – impressive for such a compact lens – though you will lose critical sharpness at f/2.8 and f/16.

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Bluebells in a field — The macro focus distance ranges from 0.12 to 0.24m. Combined with the 40mm lens and especially the 71mm crop mode, it is possible to create dreamy macro scenes with lovely bokeh at f/2.8. (Image credit: Future)

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A classic white car parked next to a curb — A tilt screen would make shooting at awkward angles like this with the GR IIIx a whole lot easier. (Image credit: Future)

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A horse looking over a fence — 40mm is a good all-purpose focal length be it landscapes, portraits, every day scenes, and even macro. (Image credit: Future)

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A man sitting next to a window in half sun — Low-key is a popular shooting style with the GR IIIx and highlight weighted metering does the trick for this look. (Image credit: Future)

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A lake next to a frosty field — A sharp edge-to-edge lens and 24MP gives a high level of detail. (Image credit: Future)

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A sunrise over a misty landscape — A reasonable amount of detail can be pulled from shadow areas in underexposed images. (Image credit: Future)

For subjects within a few meters of the camera (a working distance around 1.5m is a sweet spot), it is completely possible to get a pleasing shallow depth of field when shooting wide open at f/2.8, making the GR III X an excellent option for portraits that feature surroundings. Bokeh is pleasant enough, too, and particularly silky in the macro mode. Set to macro and using the crop mode, the GR IIIx has surprised us with its macro prowess.

Where lens corrections have not been applied to raw DNGs, vignetting is quite pronounced at f/2.8 and never really goes away at any aperture, though the improvement is pretty obvious by stopping down to f/3.5. The GR IIIx offers in-camera peripheral illumination correction that removes vignetting at the image capture stage or via raw development afterwards.

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A beach with clouds overhead — ...before the vignetting was removed. (Image credit: Future)

Evaluative metering does a solid job of getting a good all-round exposure, though in daylight we often opted to use highlight-weighted metering to protect highlights and, where the results are too dark, boost the exposure via exposure compensation.

There's also shadow correction and exposure compensation ±1EV in raw development for further tweaks. Somehow the GR IIIx encourages a low-key feel as a starting point to daylight images.

Ricoh offers the 'Image Sync' app for remote capture and transferring images onto a smartphone via Bluetooth or Wi-Fi. In our experience with a Google Pixel, everything worked fine and encouraged a practice of regularly sharing edited pictures on the fly.

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A narrow alleyway lit up by artificial purple lights — Shake reduction gives about 2-3 stops of effective stabilization, handy for this low-light streetscape where a shutter speed of 1/13 sec produced a sharp handheld image. No tripod needed. (Image credit: Future)

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A man walking away from crates stacked outside a restaurant — The GR IIIx is so small and discreet that you can relax, blend in and make observational images in public. (Image credit: Future)

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The inside of a barn looking out over a field — (Image credit: Future)

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Black and white shot of trees in sunlight — Versatile in-camera raw development means the heavy lifting can be done before image transfer and helps you develop a personal look, too, like this Hard Mono style. (Image credit: Future)

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We kept the picture style in the user mode to standard because of how easy it is to apply those kinds of changes via in-camera raw development. All picture styles can be customized, and we particularly like the Hard Monotone profile.

The GR IIIx focuses on photographers over those who do video. Resolution is limited to Full HD and there's no mic input for recording sound externally directly to the camera. However, frame rates do go up to 60p, meaning you can get slo-mo half-speed videos on the go, plus you get an organic shallow depth of field at f/2.8 that make videos stand out over using a phone.

Should I buy the Ricoh GR IIIx?

Buy it if...

Don't buy it if...

Why I've just bought a compact camera instead of an iPhone 13 Pro

Fujifilm X-T30 II review

7:11 pm | May 4, 2022

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AF, LCD | Comments: Off

Editor's Note

• Original review date: May 2022
• A modest upgrade to Fujifilm's APS-C mirrorless hybrid
• Launch price: $899 / £749 / AU$1,585 (body only)
• Official price now: $999 / £799 / around AU$1,349 (body only)

Update: May 2024. Picking up where the X-T30 left off, Fujifilm’s second-gen mirrorless hybrid doesn’t change too much. It remains a beginner-friendly, retro-style camera with a solid set of specs, including strong autofocus and uncropped 4K recording with the same 26.2MP APS-C X-Trans CMOS sensor as before. Given that the original X-T30 is now harder to find in new condition, the Mark II is Fujifilm’s most affordable option for beginners who want a travel-friendly camera with a capable sensor. In the UK and US, official prices have crept up since the camera hit shelves in 2022, although we still think it represents good value in 2024. It’s also worth looking out for deals on the X-T30 II during upcoming sales events: as the model gets older and rumours of an X-T30 III start to circulate, there’s an increased chance of finding discounts online.

Two-minute review

Launched back in 2019, the original Fujifilm X-T30 was intended as a ‘lite’ version of the Fujifilm X-T3, boasting several of the same specifications in a more consumer- or travel-friendly body.

Fast-forward to 2022, and the X-T30 II represents only a modest upgrade; although considering that the original camera was so good, that’s perhaps no surprise. If you already own the X-T30 there’s probably little point in upgrading, but, if you’re looking for a good all-rounder which doesn’t put too much of a dent in your wallet, and fits neatly into your bag for everyday and travel use, then it’s worth considering – and the fact that it’s a treat to look at is a nice bonus too.

Since 2019, Fujifilm has also had a bit of a shift around in its lineup, doing away with some of its more basic models, and the X-T30 II currently its most beginner-friendly option. But that’s not to say you don’t get some excellent specs for your cash – and indeed in many ways it’s a very similar camera to the superb Fujifilm X-S10.

Fujifilm X-T30 II — (Image credit: Future)

Housed inside the X-T30 II is a 26.1 megapixel APS-C sensor, while you also get high-end features such as uncropped 4K video and 20fps shooting (which can be boosted to 30fps if you’re happy to employ a crop). There are also a slew of film simulation modes, a cracking autofocus setup and customizable controls.

All of that could be found on the original X-T30 though – so what’s new here? Well, very little really, but there are just enough incremental upgrades to make the overall proposition very good. We’ll go into more detail below, but the headlines are a higher-resolution screen, the addition of more film simulations and the ability to record high-speed video in Full HD, and greater sensitivity in low-light shooting.

Fujifilm X-T30 II specs

Sensor: 26.1MP APS-C X-Trans CMOS

AF points: 425

Video: 4K 30p, Full HD 60p, High-speed 240p Full HD

Viewfinder: 0.39-inch OLED 2.36m-dot

Memory card: Single SD/SDHC/SDXC UHS-I

LCD: 3.0-inch tilt type touch LCD, 1.62m-dot

Max burst: 8fps mechanical shutter, 20fps electronic shutter, 30fps with crop

Connectivity: Wi-Fi, Bluetooth

Size: 118.4 x 82.8 x 46.8mm

Weight: 378g (with battery and SD card)

Given that this is the same basic setup as the original X-T30, we were already confident that image quality was going to be great, and we haven’t been disappointed. Colors are beautifully vibrant, and images have bags of detail – and those film simulation modes are always fun to experiment with.

So what’s not to like? Again, we’ll go into this in more detail below, but the main bad news is the lack of in-body stabilization, a little bit of awkwardness when it comes to button placement, the screen only tilting (not ideal for selfies and vlogging), and of course the fact that it’s such an incremental upgrade over its predecessor that you might be better off just sticking with that camera.

All of that aside, if you’re looking for a good-value mid-range camera, especially to take with you on trips, the Fujifilm X-T30 II makes for a very tempting proposition - indeed we think it's one of the best travel cameras you can buy, as well as being one of the best beginner mirrorless cameras. You’ll get fabulous pictures, an attractively styled body, access to a good range of lenses and a slew of useful specs. If you have a little more cash to play with – and don’t mind going a little bigger – it makes sense to plump for the X-S10, but otherwise, there’s a lot to like here.

Fujifilm X-T30 II release date and price

Available to buy now from $899 / £749 (body-only) / AU$1,585
Cheaper at launch than the X-T30
Cheaper than the Fujifilm X-S10

Announced in October 2021, the Fujifilm X-T30 II went on sale for $899 / £749 / AU$1,585 in its body-only configuration. Most users are likely to buy it with either the 15-45mm or the 18-55mm kit lens, in which case the price is increased.

The cheaper 15-45mm is lower in quality, but being smaller in size it may appeal to those looking for something ultra-compact for traveling. You can pick up the X-T30 II and the 15-45mm for $999 / £849 / AU$1,694.

It’s worth going for the higher-quality 18-55mm lens if you’ve got the budget, and the space in your bag. At $1,299 / £1,099 / AU$2,099 for the kit combo it still represents good value for money, and gives you more flexibility.

Good news – and perhaps surprising in the current electronics climate – is that the Fujifilm X-T30 II was actually cheaper at launch than its predecessor. It’s difficult to find the original X-T30 now, especially new, but you might pick up some good second-hand deals.

Less good news is that stock levels in certain regions, including the UK, aren’t always high, so you may need to shop around if you’re keen to buy.

Fujifilm X-T30 II review: design

Classic retro styling
Tilt-type touchscreen
Just one SD card slot

Fujifilm has used the exact same chassis for the X-T30 II as for its predecessor – so there are no surprises here, for better or worse. What that means is that you get a retro-styled body, which we think looks particularly attractive in the black and silver finish; an all-black model is also available.

As is commonplace with Fujifilm cameras, there’s a scattering of dials and buttons across the top and back of the camera, and a good degree of customization options. Beginners shouldn’t be put off however, as there’s also a good Auto mode which you can use, and lets you happily ignore as many of the dials and buttons as you want to.

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On the camera’s top plate there’s a shutter speed dial, an exposure compensation dial and a drive mode dial. Several of Fujifilm’s lenses have aperture rings, but if you’re using a lens that doesn’t have one (such as the 15-45mm kit lens), you can use one of the dual-control dials on the front and rear of the camera to make those changes. Focus mode is adjusted via a switch on the front of the camera.

A Fn button on the top of the camera can be changed to control a variety of different settings. On the back of the camera you’ve got a joystick for moving focus points around the screen or moving through the various menus available, and there’s a ‘Q’ button which can be used to access commonly adjusted settings. A frustration of the original X-T30 was this button’s placement – it’s awkwardly situated on the thumb grip, and it’s ridiculously easy to push it when you don’t want to, and conversely slightly hard to find when you do. Sadly, Fujifilm hasn’t seen fit to move this for the Mark II version, which is a bit of a mystery considering the number of reviews that complained about it.

The grip on the front of the camera is fairly slight. This isn’t a chunky camera, but it still feels relatively secure and comfortable in your hand; those with large hands may find it just a little on the small side, in which case we’d probably recommend the X-S10 instead.

Underneath the electronic viewfinder (a 2.36m-dot OLED EVF, the same as on the X-T30) is a tilt-type touchscreen. Unlike other models in Fujifilm’s lineup, such as the X-S10, this can only tilt up and down, and doesn’t have an extra mechanism to fold out towards the front. For many, this won’t be an issue, but if you’re keen on vlogging or taking selfies, it’s a bit of a shame not to have that flexibility. On the plus side, it’s here that we find one of the XT-30 II’s upgrades over its predecessor, as the screen offers a higher resolution at 1.62 million dots than the X-T30’s 1.04 million-dot panel.

There’s just one memory card slot, which is to be expected on a mid-range camera like the Fujifilm X-T30 II. It’s an SD/HC/XC compatible slot, but it’s a shame not to see it offering UHS-II, especially considering how fast this camera can shoot. It’s also a little awkwardly placed if you’re using a tripod – you’ll find it behind the same door as the battery, next to the tripod thread, rather than behind a separate door on the side of the camera.

Fujifilm X-T30 II review: features and performance

Same sensor and processor as X-T30
Same Intelligent Hybrid AF system as X-T30, with improved algorithms
Improved low-light autofocusing capability

It's safe to say that Fujifilm hasn’t done much more than tweak the original X-T30 for the Mark II iteration, although that’s not necessarily a bad thing when you’re working with some pretty impressive features in the first place. A good example is the same 26.2MP APS-C X-Trans CMOS sensor. This is Fujifilm’s current top-line sensor, also found in its higher-end cameras, so you can’t get better than that.

In continuous shooting mode the X-T30 II can shoot at 8fps using the mechanical shutter. However, if you’re happy to shoot with the electronic shutter you’ve got the option to record at 20fps, or 30fps with a 1.25x crop applied. This makes the X-T30 II a good option for those who like to photograph fast-moving subjects, though the buffer is relatively small, giving you 26 JPEGs / 17 raw files at 30fps, or 32 JPEGs / 17 raws in 20fps mode before you’ll need to take a short pause – it’s best if you’re therefore able to predict at least roughly when some action will be taking place.

Interestingly, if you’re using the electronic shutter, there’s also a ‘Pre-shot’ burst mode, which records images so long as you keep the shutter button half-pressed, saving those captured up to a second before you fully press the shutter, and hopefully ensuring that the moment is successfully captured.

Fujifilm has also employed the same 425-point AF system for the X-T30 II as for its predecessor; again, that put in a solid performance last time, and again it’s the same system you’ll find in the X-S10, the X-T4 and the X-Pro3. As well as the option to select from one of the 425 points, you can also choose Zone AF and Wide/Tracking AF for following moving subjects. Here’s where we see a little difference from the X-T30, as the Mark II version uses a newer algorithm which is designed to more accurately track subjects that are moving towards or away from the camera.

Another improvement is the focus point sensitivity, which now goes to an impressive -7EV, compared to the X-T30’s -3EV. In theory this should mean that the X-T30 II is a little more adept at acquiring focus in very low lighting, and that seems to be borne out well in practice – during our testing, it did a good job of picking out fine details even when light was pretty limited.

Tracking focus performs generally pretty well, albeit not consistently perfectly. It works best when following a subject that’s moving in a relatively predictable fashion, but it’s a solid performance from a camera sitting in the mid-range. If you’re someone who just likes to take the odd wildlife shot, or photograph kids and pets, it’s likely better than you need.

Fujifilm X-T30 II review: image and video quality

Given that we’ve seen the X-T30 II’s sensor in multiple cameras, we didn’t expect any surprises when it came to image and video quality. In fact, this sensor is probably the best APS-C sensor on the market right now, so you’re all but assured of good image quality.

Fujifilm has earned a lot of fans for the way its cameras handle color, and as we’d expect, you get beautifully rich tones and vibrancy. JPEG images directly from the camera look fantastic, while the raw files give you lots of scope to make adjustments as you see fit.

Shooting in the standard film simulation mode yields pleasingly accurate colors, with skin tones rendered nicely. The many different film simulation modes are also great fun to experiment with; the two new options for the X-T30 II are Classic Neg and ETERNA Bleach Bypass, bringing the total number of simulations now available to 18. It’s worth playing around with all the modes when you first unbox the camera to get a feel for which ones you like best.

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Video quality is good, with footage containing plenty of detail. However, the lack of in-body image stabilization means the camera has its limitations for handheld work – you’ll be relying on lens stabilization, or shooting from a stable surface, for the most part. It's fine for the odd video clip, but if you’re looking for a really capable video camera you’ll be better served elsewhere.

One of the disadvantages of a smaller than full-frame sensor is that low-light shooting can result in noisier images. How much you actually like to shoot in very low lighting is worth thinking about, but here we’re treated to pretty clean images up to around ISO 6400, with some noticeable (but not overly objectionable) noise starting to creep in thereafter.

Should I buy the Fujifilm X-T30 II?

Buy it if…

Don't buy it if…

Also consider

If you're looking at rival cameras to the Fujifilm X-T30 II, here are three to consider:

These are the best mirrorless cameras you can buy

Panasonic Lumix GH6 review

3:30 pm | March 4, 2022

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Editor's Note

• Original review date: February 2022
• Video-focused model with Panasonic's older contrast detection AF
• Launch price: $2,199 / £1,999 / AU$3,699 (body only)
• Official price now: $2,199 / £1,399 / AU$3,699 (body only)

Update: February 2024. It's been two years since Panasonic launched the GH6 and back then it was the best video tool for the money albeit with one weakness; its autofocus performance for video. Since then, Panasonic has introduced an all-new and improved phase detection AF system for video in its full-frame Lumix S5 II / S5 II X and the micro four thirds Lumix G9 II. However, the GH6 can be had for less in 2024 and still packs a powerful punch for video creatives, especially if autofocus isn't crucial to your workflow. It still very much merits its place in our best video cameras guide, but will it get directly replaced with a newer model with phase detect AF? Let's wait and see. The rest of this review remains as previously published.

Panasonic Lumix GH6: Two-minute review

Last year’s Panasonic Lumix GH5 II was just the appetizer: for would-be filmmakers looking for a small camera with huge creative potential, the Panasonic Lumix GH6 is the true main course.

And what a feast it is: the new flagship in Panasonic’s Lumix G range of mirrorless interchangeable lens cameras based on the Micro Four Thirds mount, the 25.2MP GH6 fits a dizzying array of movie skills into its compact body. There’s 5.7K video at 60fps and Apple ProRes 422 HQ recording, 7.5 stops of in-body image stabilization, 4-channel XLR audio recording and a monitor that can be tilted in almost any direction.

The Panasonic GH6 camera sitting on a tripod — (Image credit: Future)

With full-frame cameras proving popular with filmmakers right now, some might question whether a Micro Four Thirds camera like the GH6 remains an attractive proposition. To us, its appeal is clear: while full-frame sensors might perform better in low light, make it easier to achieve a shallow depth of field in shots and deliver a wider dynamic range, Micro Four Thirds cameras are generally smaller, lighter and more affordable. And because the sensor is smaller, it’s easier to stabilize more effectively.

All of the above applies with the GH6, and its thoughtful design, superb handling and the sheer wealth of video options on offer make it a tool that’ll suit all but the most demanding of mirrorless movie makers. It’s no slouch when it comes to still photography either – its contrast-based autofocus performance (while still not as impressive as some hybrid systems from Panasonic’s rivals) seems markedly improved over the GH5 II’s, and small touches like the dual tally lights and record buttons make a difference too.

After a couple of weeks with the GH6 we’re left in no doubt that this is Panasonic’s most powerful Micro Four Thirds camera to date, and the best MFT camera for filmmakers full-stop. It's also one of the best YouTube cameras out there right now, and certainly one of the best video cameras.

Panasonic Lumix GH6: Price and release date

The Panasonic Lumix GH6 is available to buy now for a body-only price of $2,199 / £1,999 / AU$3,699. If you don't have any Micro Four Thirds lenses to get started, you can also get a 12-60mm zoom lens kit for $2,799 / £2,199 / AU$4,799.

That makes the GH6 slightly more expensive than the Panasonic Lumix GH5 II, another video-focussed hybrid mirrorless Micro Four Thirds model. That camera costs £1,499 / AU$2,499 body only or £1,699 / AU$2,699 with the same 12-60mm lens.

The GH6 is also pricier than the full-frame Panasonic Lumix S5, an L-mount mirrorless model that costs $1,999 / £1,799 / AU$3,199. It isn't Panasonic’s most expensive video-centric mirrorless camera, though: the Netflix-approved Panasonic Lumix S1H L-mount camera launched for $3,999 / £3,599 / AU$5,999 (body only).

The Panasonic Lumix GH6 on a blue background — (Image credit: Panasonic)

In terms of rivals, the GH6 is in a similar bracket to the Sony A7 IV ($2,499 / £2,400 / AU$$4,299), Canon EOS R6 ($2,499 / £2,499 / AU$4,499) and Nikon Z6 II ($2,600 / £2,549 / AU$4,399) but, depending on where you live, slightly cheaper than all three.

The Blackmagic Pocket Cinema Camera 6K Pro ($2,495 / £2,254 / AU$3,935) is also an interesting alternative given it can also record Apple ProRe, but it does lack many of the creature comforts (like continuous tracking autofocus and a functional stills shooting mode) that the GH6 provides.

Your decision on whether to go for the Panasonic Lumix GH6 or one of its many rivals could also hinge on the discounts we see in the incoming Black Friday camera deals. While the GH6 is a relatively new camera, we did see the Lumix GH5 II get some impressive discounts in Amazon's Prime Day sales earlier this year. So if you're on the fence, we definitely recommend waiting to see what the Black Friday deals bring.

Panasonic Lumix GH6: Design and handling

The GH6’s body shape is immediately familiar: it’s that well-worn, DSLR-inspired design used by most of Panasonic’s Lumix G series. It might not be particularly original, but it works: there’s a big textured grip to wrap your right hand around while your left supports the lens, and a nice clear OLED electronic viewfinder with 3.68-million dots for composing, previewing and reviewing your shots no matter how bright the weather conditions.

Speaking of weather conditions, the body is sealed against dust and water ingress (it’s not officially IP-rated as far as we can see, but Panasonic calls it “dust and splash resistant”) and is built on a rugged magnesium alloy frame for toughness. It’ll also work to temperatures as low as -10ºC/14ºF.

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The Panasonic GH6 camera sitting on a table — (Image credit: Future)

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The physical buttons, wheels and dials are thoughtfully positioned, and as frequent users of the GH5 II we found the GH6 to be pleasingly familiar to control and use. Panasonic has considerately placed a second video record button on the front of the camera (the first is up on the top plate), which is really helpful for vlogging and other self-shooting work. There are also tally lights both front and back to make it clear when you’re recording, which you don’t get on the GH5 II.

The 3-inch touchscreen is the best we’ve seen on a recent Panasonic Lumix GH model, with a super-flexible design: not only does it flip and twist, it also tilts – just like the screen on the full-frame Panasonic Lumix S1H. Not only does that give you greater scope for shooting at unusual angles, it also lets you attach both a USB and a full-size HDMI cable to the GH6 without blocking your view of the screen.

The body itself is lightweight and compact considering its impressive array of specs – a key benefit of the small physical size of its image sensor. Without a lens attached but with an SD card and battery inserted, the GH6 weighs just 823g, and measures 138.4 x 100.3 x 99.6mm, which makes it only slightly bigger than the GH5 II. The added bulk here seems to come as a consequence of the new forced-fan cooling system, which causes the screen to bulge out from the back slightly. But it’s still a fairly trim package overall, with handling that makes it a joy to use in the vast majority of situations.

Panasonic Lumix GH6: Features and autofocus

Being a video-first hybrid, the connectivity of the GH6 appears to have been given lots of thought.

There’s a full-size HDMI Type A that can output video up to C4K 4:2:2 10-bit at 60fps, headphone and microphone ports and XLR microphone compatibility (via the optional DMW-XLR1 accessory), while the USB-C port with 10Gbps transfer speed that can also be used as a constant power supply, a battery charger and (following a recent firmware update) for direct recording to a 2TB external SSD.

There are two card slots, one for standard SD and the other for CFexpress Type B cards (a first on a Lumix G camera, and vital for recording video in some of the more demanding formats like ProRes). CFexpress cards are expensive, so do factor that in when budgeting.

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The contrast-based DFD autofocus setup is similar to that of the GH5 II, with a wide range of options available, including automatic tracking of moving objects and detection settings that will recognize and track human, animal and eye/face subjects. The tracking generally works well – a lot better than on previous Panasonic cameras, we feel – but you do occasionally notice a “pulse” when the AF system is hunting down a lock.

This just seems to be a side-effect of contrast detection, and one that users will need to accept, but the GH6 does seem markedly better here than the GH5 II. One useful way you can avoid too much hunting here is to use the new autofocus limiter option, which lets you set a range for the AF – it won’t attempt to focus on anything outside of that; handy if you’re filming a subject that isn’t moving about too much.

A lot of filmmakers use manual focus, of course, and the GH6 is impressive here, too: when you begin to twist the lens ring to focus, the screen or viewfinder shows a zoomed-in preview of your subject to help you get things perfect, and you can also turn on focus peaking to identify the sharpest areas in a contrasting color.

Last and certainly not least, the GH6’s 5-axis image stabilization system has been given an algorithmic upgrade over the GH5 II’s, and Panasonic claims it now offers up to 7.5 stops of correction – to the point where you can shoot a 100MP photograph in the image-stacking High Resolution mode handheld (previously, a tripod was required).

We tried that and it worked really well, but it’s superb for video too: if you want to record to-camera vlogs while walking, or film moving subjects with an almost gimbal-like steadiness, the GH6’s stabilization makes it one of the best cameras we’ve seen at smoothing out motion in a way that seems natural.

Panasonic Lumix GH6: Image and video quality

There’s a truly mind-boggling level of customizability to the video here. We were impressed by the GH5 II’s wealth of formats, resolutions and frame rates, but the GH6 takes things to even greater heights.

The lengthy list of video options might seem like overkill to the casual user, but filmmakers will be rubbing their hands together at the creative possibilities offered by the likes of Apple ProRes, 5.8K anamorphic, 5.7K resolutions and variable frame-rate recording, as well as the fact that almost all the recording modes are 10-bit rather than 8-bit.

At launch, ProRes 422 and 422 HQ is available only for 5.7K recording (at 60/50/24fps), but a forthcoming firmware update should add options for using it at lower resolutions including Full HD and Cinema 4K ProRes. Currently, you can also shoot 4K at up to 120fps and Full HD at up to 240fps (ideal for slow motion playback and speed ramping) and 10-bit Cinema 4K 4:2:2 at up to 60fps.

Panasonic has included a wide range of picture profiles (called “photo styles” here) including Cinelike D2, Cinelike V2, Like709, V-Log and HLG. So there’s a lot of scope for filmmakers who want to color grade their footage afterwards.

The GH6 also comes with a new feature called Dynamic Range Boost which Panasonic claims expands V-Log’s dynamic range from 12+ stops to 13+ stops. In testing, we didn’t spot a big difference coming from using it, but we suspect it’s something that will be more noticeable to those meticulously grading and color correcting their footage in Premiere, Final Cut Pro or Resolve.

Unlike some of its mirrorless rivals, the GH6 shouldn’t experience overheating issues that limit the length of its recording times and necessitate a long cooling-off period before recording can resume. Panasonic has fitted it with a new forced-fan cooling system which it claims will remove all overheating problems, so the only thing limiting recording length should be storage capacity. We certainly experienced no issues with heat during our testing period.

The only imaging issue we suspect the GH6 might face is its low-light performance. The small physical size of the sensor on Micro Four Thirds cameras often means their light-gathering abilities seem limited in comparison to the larger APS-C and full-frame sensors employed by other mirrorless cameras. But if you're aware of that and are willing to work around it, we can’t see it being a huge barrier to achieving good results. As you can see from our test footage above, our twilight shots came out fairly well.

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A quay of boats in Ramsgate — (Image credit: Panasonic)

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Ferns on a backdrop of blue sky — (Image credit: Panasonic)

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The bust of a man's head — (Image credit: Panasonic)

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A man standing in front of a date palm — (Image credit: Panasonic)

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The leaves of a plant — (Image credit: Panasonic)

While the video side of the GH6 is definitely the one getting all the attention, like previous GH Lumix cameras it’s a hybrid camera with a lot of thought put into the still photography side of things. There’s a mechanical shutter, the standard M/A/P/S selection of shooting modes and a wide range of options for specialist stills shooting, including the aforementioned 100MP image-stacking High Resolution mode and some extremely fast burst shooting (up to 75 shots per second with the electronic shutter).

The small sensor size and relatively small ISO range (50-25600 for still photography in extended mode, or 250-12800 in V-Log) hint at the GH6’s main issue when compared to full-frame rivals: it’s not particularly comfortable in low-light situations. It will do a passable job, but we wouldn’t advise anyone to shoot an indoor wedding or concert photos with one of these – it’s far more comfortable outdoors in abundant light.

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Sony A7 IV review

1:35 am | February 4, 2022

Author: admin | Category: Cameras Computers DSLRs Gadgets | Tags: AF, LCD, UI | Comments: Off

Editor's Note

• Original review date: February 2022
• Yet to be replaced
• Launch price: $2,499 / £2,399 / AU$$4,299
• Official price now: $2,499 / £2,399 / AU$3,499

Update: February 2024. History would tell us that the Sony A7 IV, announced in October 2021, could be updated with a fifth-gen model at the end of 2024 – Sony's typical three year product cycle for this line of mirrorless camera. Of course we don't know that for sure, and until a potential successor comes the A7 IV remains one of the best mirrorless cameras around for the money. Leading retailers are selling the A7 IV for closer to $2,000 / £2,000 / AU$3,500 and for that price you're still getting superb autofocus performance (although the pricier Sony A7R V stepped things up with an AI autofocus chip and improved subject detection). You're also getting a lovely blend of photo and video skills; 33MP stills vs the typical 24MP in rival models still be launched today, plus an accomplished 4K video performance, even if there's better elsewhere. If you love photography and video, then the A7 IV offers excellent bang for buck. The rest of this review remains as previously published.

Sony A7 IV: Two-minute review

The Sony A7 IV is the best mirrorless all-rounder you can buy right now. It isn't as powerful as the Sony A1, as fast as the Canon EOS R6, or as affordable as the Fujifilm X-T4, but it does offer a brilliant blend of photographic power and video versatility. By effectively combining two cameras in one, it's the best example so far of the hybrid convenience that modern mirrorless cameras can offer.

Three years on from the classic A7 III, the A7 IV brings improvements across the board, including a new 33MP sensor, Bionz XR processor and significantly upgraded video skills.

Its autofocus system may have now been trumped by the AI-powered tracking of the Sony A7R V, but it still offers some of the best AF skills we've seen outside of professional sports cameras. Whether you're shooting photos or video, the Sony A7 IV does an unerringly good job of sticking to your chosen subject and, in the case of people and animals, locking focus onto their eyes.

With a cropped 4K/60p mode and rolling shutter issues, it isn't quite the perfect video camera. But with support for 10-bit video, no recording limits and new tricks like focus breathing compensation, it does offer more than enough quality and flexibility for photographers who are increasingly looking to shoot an equivalent amount of video.

The front of the Sony A7 IV camera with a zoom lens — (Image credit: Future)

As always with all-rounder cameras, there are some small compromises on the A7 IV. Its outright image quality isn't actually a big jump up from the Sony A7 III, with the extra detail from that resolution boost somewhat counter-balanced by some understandable noise at higher ISOs. This means that you may well want to look out for discounts on the A7 III in the Black Friday camera deals, as well as E-mount lenses in the Black Friday deals.

The A7 IV's battery life, in-body image stabilization and burst shooting speeds are also merely average rather than class-leading. This also isn't exactly a discreet camera for travel or street shooting either, nor a light one for long landscape hikes. If that's important to you, we'd recommend checking out APS-C cameras like the Fujifilm X-T4 (and imminent Fujifilm X-T5).

Sony A7 IV specs

Sensor: 33MP full-frame
AF points: 759-point hybrid phase/contrast-detect
Video: 4K/30p, or 4K/60p with Super35 crop
Viewfinder: 3.69 million-dot Quad VGA EVF
Memory cards: 1x CFexpress Type A/SD UHS-II, 1x SD UHS-II
LCD: 3-inch fully articulating touchscreen, 1.04m dots
Max burst: 10fps, up to 828 raw+JPEG (with CFexpress Type A card)
Connectivity: Wi-Fi, Bluetooth
Size: 131.3 x 96.4 x 79.8mm
Weight: 658g (with card and battery)

And then there's the price tag. At $2,499 / £2,400 / AU$$4,299 (body only), it's moved into another bracket compared to the entry-level A7 III. For those who are new to full-frame cameras, it's arguably overkill when you consider the existence of the Nikon Z5 ($1,699 / £1,719 / AU$3,099) and Panasonic Lumix S5 ($1,999 / £1,799 / AU$3,199). That spare change could buy you a very nice lens to support your preferred style of photography or video.

But if you do shoot a fairly balanced mix of photos and video, and need a powerful hybrid camera that'll last you for years, then the Sony A7 IV should be right at the top of your shopping list.

With Sony's latest G Master lenses on hand to make the most of that 33MP resolution, it offers pro-level quality that just about gives it the edge over the Canon EOS R5 and Canon EOS R6, even if those cameras do offer superior burst-shooting speeds. It's undoubtedly one of the best cameras for photography, and a fine choice for video, too. Read on for our full Sony A7 IV review.

Sony A7 IV release date and price

Available to buy now for $2,499 / £2,400 / AU$$4,299
A price jump from the Sony A7 III
Similar price to the Canon EOS R6

The Sony A7 IV went on sale in December 2021 for $2,499 / £2,400 / AU$$4,299. Early stock levels were quite low, but at the time of writing those issues have now eased and the camera is widely available.

The A7 IV's price is a hike of around 20%-30% over the Sony A7 III, depending on which region you're in – this pushes the A7 IV away from its 'entry-level' full-frame heritage, though it remains a more affordable all-rounder than the Sony A1 and new high-resolution Sony A7R V.

This premium may lead many photographers and videographers to think twice before hitting the 'buy' button, particularly as lower-powered but impressive alternatives like the Nikon Z5 are less than half the price.

But when you consider the A7 IV's across-the-board upgrades, and its impressive hybrid power, that price tag isn't too excessive compared to the competition. Its closest rival is the Canon EOS R6 ($2,499 / £2,499 / AU$4,499), which is lower-resolution at 20MP, but offers faster 20fps burst speeds.

Sony A7 IV: design

Modern 3.69-million dot electronic viewfinder
Useful vari-angle touchscreen with Sony's latest UI
Takes CFexpress Type A cards, which are rarer than Type B

The Sony A7 IV might look like a clone of its predecessor, but there are quite a few subtle upgrades that collectively make it a much more enjoyable camera to use.

On the top you'll find an improved electronic viewfinder (EVF) with a 3.69-million dot resolution and 120fps refresh rate. While this is now fairly standard at this price – you'll find an almost identical viewfinder on the Canon EOS R6 – it is a much-needed upgrade and performs particularly well when you're trying to track moving subjects.

The Sony A7 IV's vari-angle screen flipped forwards — (Image credit: Future)

Below the EVF there's a new vari-angle touchscreen. This can swivel around to face the direction you're shooting in, which is a big bonus for solo video shooters. Photographers may prefer the more old-school tilt-screen found on the Sony A1, though.

Delve into the menus on this screen and you'll find they also have Sony's latest UI, first seen on the Sony A7S III. These are a major improvement on the labyrinthine menus seen on older Sony Alpha cameras and respond to touch.

In the hand, the A7 IV's grip feels more substantial than its predecessor, but otherwise it'll be comfortably familiar to anyone who's used an Alpha camera before. Beneath the mode dial, there's a new ring that lets you flick between stills, movies and 'S&Q' mode (for recording slow-mo footage and timelapses). There's also a new dedicated red 'record' button for shooting video and a lockable exposure compensation dial.

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The Sony A7 IV camera's top dials and controls — (Image credit: Future)

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The Sony A7 IV's rear screen showing a photo of Canada geese — (Image credit: Future)

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The side of the Sony A7 IV camera showing its ports — (Image credit: Future)

Elsewhere, everything is where you'd expect to find it, with a nicely-balanced joystick for choosing AF points, a pronounced AF-On button for back-button focusing, and a rear scroll wheel that has a useful resistance to stop you from accidentally changing your shutter speed.

One additional bonus on top of the A7 IV is Sony's Multi-Interface hotshoe. This means you can plug in external microphones like Sony's ECM-B1M and ECM-W2BT without needing any extra cables or a power source. It's another big string to the A7 IV's video-shooting bow, compared to its predecessor.

But the news is slightly more mixed when it comes to the A7 IV's card slots. Unlike the Sony A7 III, it does now have a CFexpress Type A slot. These newer cards give you write speeds of up to 700MB/s, which effectively gives you an unlimited buffer during continuously shooting.

But CFexpress Type A cards are also rarer and pricier than the Type B cards favored by Nikon, Canon and Panasonic, so you'll have to weigh up whether you really need them. Speedy UHS-II SD cards may well be enough for you, and A7 IV's second card slot does only support SD cards.

Sony A7 IV: features and autofocus

The Sony A7 IV isn't quite the game-changer that its predecessor was for full-frame mirrorless cameras, but its upgrades bring it close to the Canon EOS R6 – which means it's a fine choice for everyone from wildlife shooters to wedding photographers.

The key to these performance boosts is the Bionz XR processor, which is the same as the one in the Sony A1. Unlike the Sony A1, the Sony A7 IV doesn't have a stacked sensor, so it can't quite unlock the same burst-shooting performance. But the two obvious improvements this processor brings are Sony's latest autofocus smarts, and a much-improved buffer depth when burst-shooting.

Because the Sony A7 IV has now jumped up to a 33MP resolution, its top burst-shooting speed (10fps) is actually the same as the A7 III. If you want to shoot lossless raw files, this falls to only 5fps or 6fps. This makes it significantly slower than the Canon EOS R6, which can hit top speeds of 20fps when you use its electronic shutter. But the A7 IV's autofocus speeds and buffer do a lot to compensate for this.

The top plate of the Sony A7 IV camera — (Image credit: Future)

We tested its burst shooting skills with a UHS-II card and the buffer is more generous than most people will need. When shooting JPEGs, the A7 IV consistently hit speeds of 9fps for over a minute. It also managed the same speeds with raw files for the first eight seconds, dropping down to a still-decent 6-7fps after eight seconds. In both cases, it was heading towards Sony's claimed 828 shots (for CFExpress cards) before our memory card filled up.

In all likelihood, you won't need to shoot continuously for that long, because the A7 IV's autofocus skills ensure a very good hit-rate. It has Sony's latest AF system, which means you get Eye AF for humans, animals and birds, in both stills and video. This is a big upgrade from the A7 III and is the most reliable AF system you'll find in any camera, even if the Canon EOS R6 isn't too far behind. It sticks to subjects like glue, even with distracting foregrounds.

The front of the Sony A7 IV camera showing its viewfinder bump — (Image credit: Future)

The A7 IV is clearly a very capable stills camera, but what about video? It makes even bigger leaps here. For filmmakers who like to color-grade their videos, the jump to 10-bit 4:2:2 color sampling (from 8-bit on the A7 III) is a big one. The maximum video bit-rate has also jumped from 100Mbps to 600Mbps, and you can shoot 4K/30p video using the full width of the sensor.

Perhaps the only slight disappointment is that the A7 IV's 4K/60p mode is only available with a 'Super 35' crop (which is similar in size to an APS-C sensor). Naturally, Sony wants video shooters to upgrade to cameras like the Sony A7S III, but that might still be a slight disappointment to those who were hoping for a completely uncompromising hybrid camera.

To sweeten the video deal, Sony has included a host of other bonuses on the A7 IV, including a 'Focus Map' (similar to focus peaking, only it uses colored blocks to show you what's in focus) and the popular S-Cinetone picture profile, which mimics the look of Sony's cinema cameras. Like all great hybrid cameras, the Sony A7 IV is just as comfortable shooting videos as it is stills.

Sony A7 IV: performance

Generous buffer for burst shooting
Moderate burst-shooting speeds of 10fps (compressed raw)
Battery rating of 520 shots (CIPA rating)

As we discovered in the features section above, the Sony A7 IV isn't a true speed demon when it comes to burst shooting. Sony's decision to boost its resolution to 33MP has effectively cancelled out any power gains of its new processor, which means its offers the same 10fps top speed as the A7 III (and that's with compressed raw files).

Still, while the Canon EOS R6 is likely a better choice if you spend a lot of time holding down the shutter and shooting speeding objects, the A7 IV is still more than good enough for wildlife shooting.

It's also worth factoring in the benefits of its class-leading autofocus system and deep buffer – when a camera so consistently nails focus, you don't necessarily need to rattle off frames at 20fps to capture a moment. Thanks to a firmware update in September 2022, you can also now choose 'S' and 'M' file sizes (in addition to 'L') when shooting lossless compress raw files.

A deer shot on the Sony A7 IV camera — Sony A7 IV with FE 135mm f/1.8 GM, 1/400s at f/4.5, ISO 160 (Image credit: Future)

Other areas where the Sony A7 IV achieves 'good enough' status are in-body image stabilization (IBIS) and battery life. Its Active Stabilization mode, which adds a steadying electronic hand to its mechanical IBIS, is certainly decent and helpful for handheld shooting or vlogging. We managed to go down to shutter speeds of around 1/20s, before our micro-jitters started obscuring fine details.

That's by no means class-leading, though, and it certainly won't replace either a tripod or a gimbal if you want clean shots or smooth video in challenging conditions. Sony's Active Stabilization mode also incurs a crop of around 15%, creating a much narrower field of view. A good alternative is applying stabilization in post-production using Sony's Catalyst Browse software, which uses the camera's gyroscopic data to smooth out your footage.

The Sony A7 IV's rear screen showing a photo of a squirrel — (Image credit: Future)

This works particularly well for more challenging scenarios like walk-and-talk vlogging, and can also help suppress one of the Sony A7 IV's other weaknesses: rolling shutter. Because the camera lacks a stacked sensor, its read-out speeds aren't as fast as the Sony A1's – which means quick panning motions can lead to warped verticals in video or stills, if you're using the electronic shutter (like in our sample video below). This is unlikely to be a huge issue for most shooters, though.

Battery life is, again, solid rather than spectacular. The official CIPA rating is 520 shots per charge (when using the electronic viewfinder). While that's actually a 15% drop from the Sony A7 III, we found that estimate to be a little conservative and it can shoot 4K video for around two hours. In our tests, it managed to shoot 4K/60p for two hours and 20 minutes with no overheating, and a few minutes longer in 4K/24p mode before the battery died.

Sony A7 IV: image and video quality

Image quality isn't a dramatic step up from Sony A7 III
Excellent oversampled 4K/30p video quality with 10-bit 4:2:2 option
S-Log 3 and S-Cinetone profiles for video editors

If you'd hoped the Sony A7 IV's new 33MP sensor might dramatically improve its image quality from the A7 III, you may be disappointed.

That extra resolution is handy for those who like to regularly crop into their photos, but in general the A7 IV's improvements are geared more towards versatility rather than absolute image quality.

Sample photo taken in London on the Sony A7 IV camera — See the full-size image (Image credit: Future)

More megapixels means smaller photosites on the A7 IV's sensor, so Sony has used image processing to help in areas like low-light performance.

As you'd hope, it produces clean results low ISOs, but noise becomes fairly prevalent from ISO 6400 upwards. That's understandable for a relatively high-megapixel sensor, but it's fair to say that the Sony A7 IV leans more towards capturing detail than being a low-light monster.

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The inside of Southwark Cathedral — Sony A7 IV with FE 12-24mm f/2.8 GM, 1/250s at f/3.5, ISO 8000 (Image credit: Future)

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A bride and groom embracing — Sony A7 IV with FE 24-70mm f/2.8 GM, 1/320s at f/4.6, ISO 100 (Image credit: Future)

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A autumnal tree in London's Bushy Park — Sony A7 IV with FE 135mm f/1.8 GM, 1/800s at f/2.8, ISO 100 (Image credit: Future)

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A bird perched on a fence post — Sony A7 IV with FE 135mm f/1.8 GM, 1/640s at f/4, ISO 320 (Image credit: Future)

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A smiling bride and groom — Sony A7 IV with FE 24-70mm f/2.8 GM, 1/250s at f/4, ISO 320 (Image credit: Future)

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A pink flower photographed on the Sony A7 IV camera — Sony A7 IV with FE 24-70mm f/2.8 GM, 1/800s at f/3.2, ISO 100 (Image credit: Future)

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An entertainer breathing fire from an instrument — Sony A7 IV with FE 135mm f/1.8 GM, 1/500s at f/5, ISO 1600 (Image credit: Future)

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A bride and groom in a park — Sony A7 IV with FE 24-70mm f/2.8 GM, 1/250s at f/4, ISO 250 (Image credit: Future)

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An organ's pipes in Southwark Cathedral — Sony A7 IV with FE 12-24mm f/2.8 GM, 1/30s at f/4.5, ISO 400 (Image credit: Future)

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Autumnal trees is London's Bushy Park — Sony A7 IV with FE 135mm f/1.8 GM, 1/640s at f/4, ISO 200 (Image credit: Future)

Still, the impressive dynamic range gives you plenty of leeway when it comes to boosting shadows in raw files, even if this can reveal some noise in gloomier scenes. And we also found the straight out-of-camera JPEGs to have pleasing, true-to-life colors and nicely-rendered skin tones.

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A group of deer shot on the Sony A7 IV camera — Sony A7 IV with FE 135mm f/1.8 GM, 1/1000s at f/3.5, ISO 100 (Image credit: Future)

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A white bird perched on a branch on water — Sony A7 IV with FE 135mm f/1.8 GM, 1/400s at f/2.2, ISO 200 (Image credit: Future)

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A duck photographed by the Sony A7 IV camera — Sony A7 IV with FE 135mm f/1.8 GM, 1/1000s at f/4, ISO 500 (Image credit: Future)

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A chandelier in Southwark Cathedral — Sony A7 IV with FE 12-24mm f/2.8 GM, 1/320s at f/2.8, ISO 1250 (Image credit: Future)

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A candle in the dark shot on the Sony A7 IV camera — Sony A7 IV with FE 135mm f/1.8 GM, 1/250s at f/2, ISO 200 (Image credit: Future)

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Three deer photographed on the Sony A7 IV camera — Sony A7 IV with FE 135mm f/1.8 GM, 1/400s at f/4, ISO 100 (Image credit: Future)

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A sticker on the side of a streetlamp — Thanks to the stabilization, you can comfortably handhold shots down to 1/20s or 1/10s (Image credit: Future)

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A statue in Southwark Cathedral — Sony A7 IV with FE 12-24mm f/2.8 GM, 1/320s at f/2.8, ISO 5000 (Image credit: Future)

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A bird perched on a branch over water — Sony A7 IV with FE 135mm f/1.8 GM, 1/100s at f/4.5, ISO 125 (Image credit: Future)

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The bigger step up from the Sony A7 III, though, is undoubtedly the A7 IV's video quality. Because it oversamples its 4K/30p video from the sensor's 7K resolution, you get an impressively sharp, noise-free image even up to ISO 12800. The ability to shoot 4K in 10-bit 4:2:2 also gives color graders much more flexibility than on the Sony A7 III.

To really squeeze the best video quality out of the Sony A7S III, you'll want to shoot in the flat S-Log3 profile, as that provides the most dynamic range. But a quicker alternative is the S-Cinetone profile, which comes with much of the saturation and contrast baked in. It's worth familiarizing yourself with the quirks of these two profiles, as both have different dual native ISOs – for S-Log3 they're at ISO 800 and ISO 3200, while the ones for S-Cinetone are much lower at ISO 125 and ISO 500.

This gives the Sony A7 IV a lot of flexibility and depth for different shooting situations, marking it out as a true hybrid camera that's pretty much the equal of the Sony A7S III if you don't need high frame-rate modes. But if you're relatively new to video, the excellent autofocus means it's also easy to shoot some excellent video without delving into any color grading, like the sample clips above.

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The A7 IV's in-body image stabilization (IBIS), which now claims up to 5.5-stops of compensation, also lets you shoot with shutter speeds as low as 1/10sec and still get pretty sharp results. This is also a potential bonus for those who regularly use polarizing filters, because it allows you to handhold the camera rather than reach for the tripod.

Should I buy the Sony A7 IV?

The Sony A7 IV camera sitting on a wooden bench — (Image credit: Future)

Buy it if...

Don't buy it if...

Sony A7 IV: also consider

If our Sony A7 IV review has you wondering about alternatives, here are three rivals to consider.

Canon EOS R6
With a similar price to the Sony A7 IV, the EOS R6 is its closest rival. The main difference between the two is burst shooting speeds, with the EOS R6 hitting speedy 20fps top speeds. That said, the A7 IV offers a 33MP resolution that's better for cropping than the 20MP EOS R6.

Check out our guide to the world's best cameras for photography

First reviewed: March 2022

Autel Evo Lite+ review

1:00 pm | January 16, 2022

Author: admin | Category: Cameras Computers Drones Gadgets | Tags: ISO | Comments: Off

Editor's Note

• Original review date: January 2022
• Launched alongside Lite, Nano and Nano+
• Launch price: $1,349 / £1,129 / AU $2,499
• Official price now: $1,149 / £899 / AU$2,199

Update: March 2024. Announced in 2021 to go up against the DJI Air 2S, the Autel Evo Lite+ landed in January 2022 with better specs than its DJI rival, but also a higher price tag. While DJI has gone on to release more accomplished drones since, including the dual-camera DJI Air 3, we still rate the Autel Evo Lite+ as a decent alternative to the Air 2S. Its 1-inch sensor shoots quality 5.4K footage at 30fps, and flies for longer at 40 minutes. Larger pixels help it perform well in dim conditions, while aperture adjustment gives it another trump card versus the DJI Air 2S. Probably the key consideration today is price. The DJI Air 2S can be found for significantly less than Autel’s contender online, but if you value those additional features, it’s worth looking for seasonal discounts on the Evo Lite+. Reductions are region-specific, but we’ve seen generous price cuts on its official premium bundle in the UK, for example, which includes two extra batteries, a multi-charger, ND filters and spare propellers.

Two-minute review

In August 2021, Autel threw DJI something of a curveball when it announced four new drones in two new series: the Evo Nano Series containing the Nano and Nano+, plus the Evo Lite Series and its Lite and Lite+ models.

What wasn’t apparent at the time was that DJI was moving to bring the DJI Mavic 3 to market, a drone that none of these designs competes directly with. But, what these new drones did target was three of DJI’s most successful products: the DJI Mini 2, DJI Air 2S and DJI Mavic 2 Pro.

The flagship model of this new Autel generation is the Evo Lite+, a drone with a remarkably similar specification to the Air 2S. It's able to capture 5.4K video at 30fps and 4K at up to 60fps using a low-light capable 1-inch sensor. Offering a variable aperture camera and 40 minutes of flying time, the new Autel Evo Lite+ leapfrogs both the DJI Air 2S and Mavic Pro 2 capabilities.

For existing Autel fans, it offers almost everything they love about the Evo II series, but in a more transportable package and with significantly better flight times. The only obvious caveat is that the Evo Lite+ costs more than the DJI Air 2S, with the standard version commanding a similar price to the Air 2S Fly More Combo. DJI now doesn’t officially sell the Mavic 2 Pro since it launched the Mavic 3, but the Evo Lite+ is cheaper than that drone was when it was available.

Jump to…

Autel EVO Lite+ — (Image credit: Mark Pickavance)

Price and release date
Design and controller
Features and flight
Video and image quality
Should I buy it?

The Evo Lite comes in two flavors that offer the same flight dynamics, but different camera options. The cheaper Lite model has the same 1/1.28-inch sensor and autofocus f/1.9 optics that Autel also used on the Evo Nano+. These can record 4K HDR at 30fps video recording and the equivalent of 50MP stills. It also has a four-axis gimbal allowing for recording video and still images in portrait mode, for those looking to publish on social media.

Conversely, the Evo Lite+ reviewed here has a 1-inch sensor and a variable aperture: f/2.8 to f/11, and can record in 5.4K at 30fps, 4K at 60 fps, and 1080p at 120fps. It lacks the fourth-axis stabilization of the Evo Lite, but the larger pixels in the sensor give it better light-gathering potential in low-light conditions. Both Lite series designs come in signature Autel Orange, Arctic White and Deep Space Gray.

These are the best drones you can buy right now

Autel Evo Lite+ price and release date

Announced on August 28, 2021
Standard kit costs £1,129 / $1,349 / AU $2,499
Fly More Bundle costs £1,399 / $1,649 / AU $2,999

After making some customers who pre-ordered these drones anxious, the Evo Lite+ started to ship from the manufacturing facilities in China, and availability should improve over the first quarter of 2022.

Like most drones, the Evo Lite+ is available as a standard kit or in a premium bundle that includes many extras, including more batteries. The standard kit consists of the drone, controller, one battery, propellers, a charger with all cables, and costs $1,349 / £1,129 / AU $2,499.

The premium bundle adds two more batteries, a soft carry bag, three prop replacements, a multi-battery charger and four ND filters. Even with a quoted flying time of 40 minutes or more, a single battery isn’t enough for most customers, so getting up to two hours of operational flying with the premium pack is the way to go.

Design and controller

Mounts a 1-inch camera sensor
Another compact, foldable design
Extra battery capacity delivers longer flight times

Since the original DJI Mavic was so successful, many (but not all) drone makers have followed its structural form.

The Lite+ follows the same pattern as most small drones that can fold for transportation. Four pivoting arms aid with rapid deployment as the blades can remain attached.

Physically, the Lite+ is close to the size of the competitor drone, but at 820g, it’s a good 20% heavier than the 595g DJI Air 2S. Much of that additional mass comes from the battery, which makes up a significant portion of the rear drone superstructure. Instead of the battery fitting inside the drone, it slides from the rear to engage the body and includes the power-on button.

The capacity of this battery is a whopping 6,174mAh (68.7 Wh), a significant increase over the 3,500mAh (40.42 Wh) that the DJI Air 2S has, and this capacity is reflected in a maximum flight time of 40 minutes over the 30 minutes of the DJI drone.

While the 30 minutes quoted by DJI for the Air 2S is considered something of a stretch by most owners, the Lite+ can hover for longer than that if you let the battery levels get low.

We wouldn’t recommend doing that, but our experience revealed that Lite+ could fly for at least 30 minutes or more before getting to 20% capacity. A time that allows for great opportunities to get the shots needed without feeling pressured for time.

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Autel EVO Lite+ Carry Bag — (Image credit: Mark Pickavance)

The nose of the Lite+ is dominated by the large gimbal needed to control the 1-inch sensor and its associated optics, about which we’ll talk in greater detail later.

Anyone who flies drones will be acutely aware that any mistake can be a costly error when flying close to structures and trees. To reduce the possibility of accidents, Autel included a suite of visual collision detection sensors on the front, rear and underside.

There are none on the side, making orbital maneuvers as risky as they are on a drone without avoidance features. These sensors require light to function and are disabled if the drone exceeds standard speeds.

Other notable design choices on this drone are that the microSD card slot is on the left side under a small cover, and a USB-C port is in the mirror position to the right. The drone contains 6GB of internal memory to save the embarrassment of those who forget their SD card, and it can take a 256GB card for those aiming to record plenty of 5.4K video.

Short pegs are molded under each motor position and lift the drone clear of the ground. Still, we’d be cautious about operating this design from grass since the camera gimbal is remarkably close to the surface of even the flattest ground.

Bright LED lights are included both underneath the body and on the end of each arm, making the drone relatively easy to see in low-light or dark conditions. The props are the dual blade variety where centrifugal (or centripetal) forces orientate them when spinning, and they are easily removable without a tool.

We were impressed by the quality of construction and the apparent robustness of the parts. The Lite+ is well built, and the tolerances of the connecting parts are high. We’re sure that it would be possible to damage the Lite+ seriously, especially flying in sport mode. However, the body and arms look tough enough to handle minor accidents without unexpected rapid disassembly.

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Equally well-made is the controller, a design that initially looked a little too much like an Xbox controller for our tastes. That said, it’s of high quality, has sufficient battery for at least three or four flights, and the sticks are accurate enough for subtle control without resorting to ‘smooth’ mode, the Autel version of DJI’s ‘tripod’ or ‘cine’ flight mode.

A slight disappointment with the controller is that there isn’t anywhere to store the thumbsticks. Autel doesn’t include spares even in the premium pack, so losing them could be highly problematic. While the DJI controller used on the Mini 2, Air 2S and Mavic 3 might not be as ergonomic to hold as the Autel design, it did stow both the thumbsticks and the phone cable.

A spring-loaded arm extends to securely hold a phone above the controller, though some additional hardware will be required to mount a tablet. Included is a power adapter that will charge both the batteries and the remote. The remote can also be charged using a USB-C cable in a pinch.

In the premium pack, a three-battery charging station is included. It doesn’t speed up the 90 minutes of charging, but the ability to connect them all and walk away is a convenience.

Other enhancements for premium pack customers are two extra batteries over the one included with the drone, more replacement blades than the one set that comes as standard, and a stylish soft carry case for the drone, charger, cables and all the other spares and accessories.

A set of four ND filters was also in the bag, but the missing item for us was any strap to hold the blades in position while folded.

Features and flight

New Fly application
Live 2.7K video within a kilometer
Real-world flight times of more than 30 minutes

The flight experience of this drone is enjoyable, and transitioning from a DJI drone or other brands should be a breeze for even novice pilots.

What became more apparent as we flew the Evo Lite+ more is that the significant amount of power available in the Lite+ allows for both subtle control and dramatic performance when required.

For example, the Lite+ can climb at 29 km/h, enabling it to reach its typical legal operating altitude of 120m in just 15 seconds. Without restrictions, a flight ceiling of 5 km (16,404 ft) is technically possible, though inadvisable. A top speed of 67.6 km/h can be reached in sport mode, roughly the same maximum as the DJI Air 2S.

However, where this design exceeds the Air 2S is in quoted maximum wind resistance, with the Lite+ being rated to handle 61.2 km/h (38 mph) breeze, nearly double that of the Air 2S.

While we firmly believe that the wind resistance of the Air 2S is probably understated, the extra mass of the Lite+ may give it a significant advantage on blustery days.

Up to a kilometer away, the transmission system relays 2.7K video back to the phone or tablet, enabling a clear view of what the drone is observing. Beyond that range, the quality drops to 720p. And for those flying in a region where it is legal to operate outside visual range, the Lite+ transmission can function out to 7km.

At shorter ranges, being behind buildings or other obstructions had minimal impact on the video quality or the control responses.

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For the new Evo Lite and Nano drone series, Autel has a new software package that replaces the Autel Explorer with the Autel Sky application. In use, it is similar to the DJI Fly application and provides similar functionality that anyone flying the DJI Mini 2 or Air 2S would recognize.

It includes a selection of four 'quick shots' that are named differently but automate various classic drone moves without the need for manual intervention. Autel promises a firmware update shortly that will add dynamic tracking and a few other tweaks that aren’t in the Lite+ we tested.

We’ll talk more about video and still capture later on, but there are plenty of options for all manner of photographic exercises. In the settings are the usual suspects for controlling what happens when the drone disconnects, its return-to-home altitude, and the different controller flight modes.

By default, when the drone is first activated, it enters Novice mode, where the height and range from the controller are limited. Once Novice mode is deactivated, you can set these to the legal limits in your region, but this flight envelope isn’t enforced, and the drone isn’t geofenced.

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In smooth and standard flight modes, the collision detection system is active and provides visual and audio feedback if you are moving toward obstructions. Should you ignore the warnings and push on, the drone will eventually refuse to move in the direction it considers to be potentially hazardous.

Depending on what you are trying to do, this can be irritating or a feature that could avoid a huge repair cost. It is possible to disable it, and it will turn off automatically when the drone is flying fast in Sport mode, but it has its uses. The system might also miss thin wires and twigs, and it can’t see to the sides, so never assume that it will always keep you from trouble.

Video and image quality

1-inch 20MP sensor
Shoots up to 5.4K video
Clean images even at high ISO settings

Emblazoned with a ‘6K’ label, the camera has a maximum recording resolution of 5472 x 3076 at 30fps recording video and 5472 x 3648 for still images. That’s almost identical to what the DJI Air 2S offers, but that drone has a fixed f/2.8 lens, whereas the Lite+ can adjust aperture from f/2.8 to f/11.

That allows this drone to lock its frame rate but control the amount of light in the exposure, reducing the need for ND filters. And, if you do use ND filters with it, there is a much larger scope for adjustment and better depth of field control.

The advantage of a 5.4K resolution sensor is that it allows a good margin for cropping to 4K in post, or a lossless zoom in 4K, 2.7K and 1080p capture. Obviously, you only get a 1.3x lossless zoom in 4K, but more in the lower resolutions.

Going beyond 4x zooming is largely pointless, but the Fly app will allow up to 16x zoom to be selected for those that like pixelation.

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Automatic settings shot

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Automatic settings shot

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HDR from 5 images

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Standard settings shot

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Wide panoramic stitched by Sky app

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Night mode shot

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Standard photo settings

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Wide panoramic stitched by Sky app

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Default settings

As you might reasonably expect using a sensor of this scale, the quality of the images and video it can capture is high.

Professional drone cinematographers might not be pleased to discover that this camera is only 8-bit and not 10-bit. And, there is also no D-Log profile. For those who pride themselves on extracting every bit of contrast and saturation from their footage, the Lite series is something of an affront.

For others with less demanding requirements, it produces usable footage that is reasonably balanced by default without the need for convoluted post-processing. It’s a different mindset, and those who don’t like this approach can always invest more heavily in the DJI Mavic 3 or the disturbingly expensive DJI Mavic 3 Cine.

Autel tells us that it's working on LUT for the standard profile, as it did for the Evo II series drones.

The Evo Lite+ shines in its low-light capability, as it offers unique night photography and videography modes. With these, it is possible to boost the ISO up to 64000, yet keep excessive grain from rendering the footage unusable.

The best still images we captured in normal light used the exposure bracketing mode with five combined images. This feature doesn’t allow the EV offset between each image to be defined, sadly.

There are also various panoramic, spherical and wide-field shooting modes, and the Autel Fly application post-processes these for you while retaining the source images.

As will most action cameras, the images tend to have strong pin-barrel distortion that might need to be adjusted in editing software, but the results are generally free of chromatic fringing.

Overall, the image and video quality on the Lite+ is excellent, even if there is no Log mode or bit-rate adjustment available. The autofocusing technology is first-rate, and the stability of the drone provides an excellent platform for stationary and moving cinematography.

Should I buy the Autel Evo Lite+?

Buy it if...

Don't buy it if...

DJI ban: what it means for drone fans and the future of DJI

GoPro Hero 10 Black review

4:00 pm | September 16, 2021

Author: admin | Category: Action Cameras Cameras Computers Gadgets GoPros | Comments: Off

Editor's Note

• Original review date: September 2021
• Succeeded by the GoPro Hero 11 Black and Hero 12 Black
• Launch price: $499 / £479.99 / AU$749.95
• Official price now: $249.99 / £249.99 / AU$429.95

Update: March 2024. Formerly GoPro’s flagship action camera, the Hero 10 Black has been succeeded not once, but twice since its launch in 2021. In terms of overall features and image quality, both the Hero 11 Black and Hero 12 Black eclipse it. But if it’s outright value you’re looking for, the Hero 10 Black is still well worth considering. Significantly reduced over the last few years, it can now be purchased directly from GoPro for a fraction of its launch price. For your money, you’re still getting a fantastic action camera with effective Hypersmooth 4.0 image stabilization, a smooth interface with useful shooting features and a maximum video resolution of 5.3K/60p, all wrapped up in a shell that’s waterproof to 10m without a case. What’s more, in our experience, the GoPro Hero 10 Black is often the target of additional discounts in seasonal sales. We’d expect to see further reductions as GoPro’s customary September release date approaches, when we predict that the Hero 13 Black will break cover. The rest of this review remains as previously published.

Two-minute review

The GoPro Hero 10 Black is now the middle child in GoPro's action cam family, following the launch of the Hero 11 Black. While this means it's missing a few features compared to GoPro's flagship – most notably an 8:7 sensor that's ideal for shooting vertical, TikTok-friendly videos – it's arguably now the sweet spot for value. The GoPro Hero 9 Black is cheaper still, but this model's GP2 processor means it offers a more polished overall experience.

Despite its momentous name, the Hero 10 Black wasn't one of those GoPros that represented a big leap forward for the series. For example, we saw bigger step changes when the GoPro Hero 5 Black arrived with case-free waterproofing, or when the GoPro Hero 7 Black introduced HyperSmooth stabilization.

Instead, the Hero 10 Black refines (and fixes) most of the new features we saw on the Hero 9 Black, while adding a sprinkling of new shooting modes and better usability. This makes it the best action camera you can buy right now, as well as one of the best video cameras you can buy.

The Hero 10 Black is built around the same 23MP 1/2.3-inch sensor as its predecessor and is waterproof down to 10 meters. But it's that new GP2 processor that unlocks most its new talents. Chief among these are some new shooting modes, including new 5K/60p, 4K/120p and 2.7K/240p options.

As we discovered during our GoPro Hero 10 Black review, the latter two are fun, slow-mo affairs that are perfect for social media cut-scenes or b-cam footage, particularly as GoPro's revamped Quik app will happily do some of the editing for you.

The GoPro Hero 10 Black action camera sitting on a wooden bench — (Image credit: Future)

Other improvements include a much more responsive touchscreen interface (the Hero 9 Black fell down here), a handy new wired data transfer mode for phones, and some under-the-hood image quality boosts, including local tone mapping and improved low-light noise reduction. There are certainly some small improvements to video quality as a result, but the Hero 10 Black can still only do so much with its relatively small image sensor.

GoPro Hero 10 Black specs

Max video resolution: 5.3K/60p (100Mb/s bit-rate)
Slo-mo video: 4K/120p, 2.7K/240p
Photo resolution: 23MP
Livestreaming: 1080p
Screen sizes: 2.27in (rear), 1.4in (front)
Stabilization: HyperSmooth 4.0
Battery: Removable 1720mAh lithium-ion
Battery charge time: 3 hours
Waterproofing: 10m (33ft)
Processor: GP2
Memory card slot: microSD

More significant for most people will be the fact that, despite the arrival of HyperSmooth 5.0 on the Hero 11 Black, this model's HyperSmooth 4.0 remains some of the best action camera video stabilization tech around. Watersports fan will also enjoy the effective new hydrophobic coating on its toughened-up lens cover.

It's a shame the Hero 10 Black didn't move up to a larger sensor like the Insta360 One R 1-Inch edition, while GoPro's recent moves into webcam and livestreaming continue to come with limitations on resolutions (still only 1080p) and platform support (although it is now possible to livestream with HyperSmooth stabilization).

Despite its relatively conservative upgrades, though, the GoPro Hero 10 Black does nicely refine the image-quality strides made by the Hero 9 Black, and alongside GoPro's new flagship it's the most user-friendly, powerful action camera you can buy. Its feature set also makes it one of the best YouTube cameras available right now, and for adventurers, it's also one of the best travel cameras you can buy.

GoPro Hero 10 Black price and release date

The GoPro Hero 10 Black has now dropped slightly in price since the arrival of the Hero 11 Black. You can now buy it for $349 / £349 / AU$549 with a GoPro Subscription, which you can cancel at any time, or for $450 / £449 / 699 on its own. That means it's $50 / £30 / AU$50 cheaper than its original launch price in September 2021.

The GoPro Subscription, formerly known as GoPro Plus, costs $49.99 / £49.99 / AU$69.99 per year when bought separately. If you buy the Hero 10 Black with a Subscription, you will be set up to auto-renew annually. But you can avoid this by cancelling the subscription at any time during the first year.

Given that you're not obligated to renew the subscription, it's likely the best way for most people to buy the Hero 10 Black. Included in the GoPro Subscription is unlimited cloud storage for videos and photos at full quality, automatic uploads, full access to the Quik app's editing tools, 50% off all accessories (up to 10 per year), live-streaming support, and replacements for broken cameras (for a fee, depending on the camera).

The Hero 10 Black is now the middle model in GoPro's official range of three Hero action cameras. The Hero 9 Black ($299 / £299 / AU$499, with a Subscription) sits below, while the Hero 11 Black ($399 / £399 / AU$649.95) is the range's flagship.

GoPro Hero 10 Black: Design

New hardier lens cover with water-repellant coating
Rear touchscreen and menus are far more responsive
Otherwise physically identical to the Hero 9 Black

What about the Hero 11 Black Mini?

The GoPro Hero 11 Black Mini on a blue background — (Image credit: GoPro)

Since this model launched, GoPro has also introduced the GoPro Hero 11 Black Mini. This compact action cam has the same sensor and processor as the standard Hero 11, but its size makes its more suitable for mounting on helmets. Compared to the Hero 10 Black and Hero 11 Black, the Mini is about 21g heavier and 20mm wider. This is something to bear in mind if a small action cam is your priority, though the downside is that you lose the front and rear screens.

The GoPro Hero 10 Black is, physically, nigh-on identical to its predecessor and its Hero 11 Black successor. The only external difference from the Hero 9 Black is the new model's fancy blue logos on the front and side.

GoPro made a couple of subtle tweaks, though, and the big one for watersports fans is the new lens cover. This now has a water-repelling hydrophobic coating, and it really works – we ran the Hero 10 Black and its predecessor under a tap, and the new lens cover was significantly better at repelling water, leaving no droplets to obscure your view.

This lens cover also apparently has greater scratch resistance, which was trickier to try out on our loan sample – although an unplanned test when our head-mounted GoPro flew off after a heavy zip-line landing and came to rest in some jagged wood chips resulted in no obvious marks on the lens.

Like the Hero 9 Black, this lens cover is also removable and replaceable if it does suffer serious damage, like a direct hit from an Airsoft pellet, or if you want to add ND (neutral density) filters.

The Hero 10 Black is actually 5g lighter than its predecessor, although we can't tell exactly where GoPro has made this weight saving, and it brings no practical advantages anyway. Like before, the camera has folding 'fingers' in its base for mounting it directly onto accessories. These first appeared on the Hero 8 Black, and mean you don't need to fiddle around with an extra housing to bolt the camera onto your helmet.

If you're not familiar with the Hero 9 Black, here's a quick refresh of the other design features the Hero 10 Black has inherited. There's a 1.4-inch front LCD for vloggers, which GoPro says is now a little smoother when showing movement than before, thanks to higher frame rates enabled by its GP2 processor (more on that later). although this screen is so small that we honestly couldn't tell the difference from its predecessor.

Far more noticeable is the improved 2.27-inch rear touchscreen. Again, GoPro says this has "improved touch sensitivity", but the real difference comes from the power of the GP2 processor. The Hero 9 Black's sluggish, unresponsive rear screen was one of our biggest criticisms of that model, and while it did improve with a recent firmware fix, it's still nowhere near as snappy as the Hero 10's touchscreen.

Let's be clear – this is how the Hero 9 Black should have performed from the outset, so it's hardly a win for its successor. But the faster startup times (it's typically ready to go in under five seconds, compared to eight seconds for the Hero 9 Black) and smartphone-like snappiness do make it far more enjoyable to use than last year's often frustrating experience.

Open the Hero 10 Black's side door and you'll find the same 1,720mAh battery as the one used by its predecessor. Like the 1.4-inch front LCD, this was another change that was introduced on the Hero 9 Black, so it's something to be wary of if you're upgrading from an older GoPro – your older 1,220mAh batteries won't work here.

Flanking the battery cover are a microSD card slot and USB-C port. The latter is used for charging, but it can also be used to directly transfer footage to your Hero 10 Black via wired transfer (this is about 50% faster than wireless transfers). It's a simple enough process with Android phones, which just need a USB-C to USB-C cable, but iPhone users will need the Apple Lightning-to-USB camera adapter, plus a standard USB-A to USB-C cable.

Overall, then, the Hero 10 Black is a hardy pocket camera that's waterproof down to 10 meters, and which feels a little more polished than its predecessor.

GoPro Hero 10 Black: Features

Same 23.6MP, 1/2.3-inch sensor as the Hero 9 Black
GP2 processor unlocks significant boosts to shooting modes
Now possible to livestream with HyperSmooth stabilization

Back in 2020, the GoPro Hero 9 Black introduced a new image sensor. It was the same-sized sensor as those in previous GoPros (1/2.3-inch), but had a higher resolution that enabled that camera to be the first GoPro to shoot 5K video. The Hero 10 Black has this same image sensor, but pairs it with a new GP2 processor that unlocks some handy new talents.

The GP2 chip (now also in the Hero 11 Black) was the first big processing upgrade we'd seen in GoPros for four years, and was long overdue. The GP1 struggled to cope with the increased demands placed on it by the Hero 9 Black's dual screens and higher-resolution sensor, and its successor is behind pretty much all of the improvements you'll find in the Hero 10.

What are these improvements? Alongside the aforementioned boosts to start-up times and touchscreen performance, there are also some useful new frame-rate modes that make it a more versatile action camera. You can see a summary of the new modes in the table below, but the particularly fun ones are the slow-motion options – including a long-awaited 4K/120p mode.

The headline video improvements are those high frame-rate modes, but there are also some more enhancements. GoPro has been doing some algorithmic tinkering, and its GP2 chip brings local tone-mapping – an HDR processing technique for improving dynamic range – from its photo mode to video as well.

In theory, this enhances contrast in specific areas of the video (rather than globally, across the whole frame) to bring out more detailed textures. In a similar vein, GoPro says it's improved its '3D noise reduction' to boost the Hero 10 Black's low-light performance in dimly-lit scenes (think woodlands, dusk or your home).

Do these work? In a side-by-side comparison with the Hero 9 Black using the same settings, we did see a noticeable improvement in the definition of fine details (trees and grass, for example) on the Hero 10 Black. Look closely, and footage from its predecessor looked a little smudgy by comparison. This may only be noticeable to pixel-peepers though, and the noise reduction improvements were less obvious. It's a subtle rather than a dramatic difference.

Probably more useful to most people are the final GP2-related improvements: better in-camera horizon leveling and HyperSmooth 4.0. The option of automatic horizon leveling, which keeps your footage level even if you're rocking from from side to side, used to only be available in GoPro's app. The Hero 9 Black introduced an in-camera version, but the Hero 10 Black's horizon-leveling skills are much more powerful, with the ability to correct footage that's been skewed by 45 degrees, rather than just 27 degrees.

This is a handy feature for mountain bikers or skiers who want smooth footage that won't give viewers motion sickness. Another bonus on this front is HyperSmooth 4.0, which brings the stabilization's powerful 'High' mode to the Hero 10 Black's most demanding modes (5.3K/30p, 4K/60p and 2.7K/120p). Rivals like the Insta360 One R 1-Inch edition might have trumped GoPro with their larger 1-inch sensors, but in our experience HyperSmooth (now boosted to HyperSmooth 5.0 on the Hero 11 Black) remains the best form of stabilization on any action cam.

Finally, if you've been thinking of using a GoPro as your livestreaming camera, the Hero 10 Black brings one other upgrade here – you can now stream with HyperSmooth 4.0 stabilization.

Unfortunately, there are still all sorts of restrictions on live-streaming with a GoPro, depending on your preferred platform – for example, Twitch is iOS-only, while YouTube requires you to have a channel with 1,000 subscribers, and you can also only create a private livestreaming link to send to friends if you're a GoPro subscriber. But the addition of HyperSmooth certainly makes it a much more useful tool for those who want to create action-packed streams with lots of movement.

Naturally, the GoPro Hero 10 Black also inherits all of the special shooting modes we saw on the Hero 9 Black. These include TimeWarp 3.0 (one of our favorite modes, which creates a stabilized timelapse film) and 'Power Tools', which were first teased in GoPro Labs. This group of features, which still feel a little 'beta', bring some specific modes that are collectively very useful.

One of our favorites, 'Hindsight', constantly buffers video so that when you press the shutter button you can record the previous 15 or 30 seconds of video; no longer will your dog's impromptu japes go unrecorded. Another 'Power Tool' includes 'scheduled capture', which enables you, for example, to leave your GoPro set up to capture the sunrise; it's not exactly earth-shattering, but it all boosts the Hero 10 Black's versatility. We'd note, though, that many of these features are also available on the older Hero 8 Black once you've loaded the GoPro Labs firmware onto the camera.

GoPro Hero 10 Black: Performance

Unchanged battery life means it's worth carrying spares
Built-in microphones are the same as on the Hero 9 Black
New slo-mo modes are a bonus for cut scenes

While the Hero 10 Black's GP2 processor does make it a more polished, fun camera to use than its predecessor, some aspects of its performance are still typical GoPro.

One of these, unfortunately, is battery life and overheating. The 10 Black has the same battery as the Hero 9 Black, which at 1,720mAh is larger than the batteries in all previous GoPros. But much of that capacity is drained by the Hero 10 Black's more demanding dual screens and high frame-rate modes.

In our battery test, with the camera shooting a continuous 4K/30p clip with HyperSmooth on and the screen brightness at 50%, we managed to get 72 minutes of recording from the Hero 10, which included two breaks for overheating, when the camera shut down under the strain.

This is actually a little less than we got from the Hero 9 Black, and similar to the result for the Hero 8 Black, so it's clear that the old GoPro adage is true: make sure you carry a spare battery or two with you.

In a real-world test, during a visit to an adventure park, our fully-charged Hero 10 Black gave us three and a half hours before conking out. That was a taxing afternoon for the camera, with lots of menu swiping and changing of frame-rates, but this is also a typical day out for a GoPro. Because it was exposed to moving air, we also didn't experience any overheating problems.

Another traditional GoPro weakness, audio, also hasn't improved from the Hero 9 Black. The microphones do produce acceptable sound quality in quieter environments, while voice isolation and the handling of wind noise are certainly superior to older GoPros. But if you want to guarantee audio that matches your video quality, then we'd recommend getting the Media Mod accessory, and either plugging in a lavalier mic, or getting a wireless option like the Rode Wireless Go II.

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On the plus side, though, the Hero 10 Black's new slow-mo modes (4K/120p and 2.7K/240p) are a lot of fun, and a great way to bring a change of pace to your social media videos.

As always, there is a noticeable quality drop when shooting in these modes, particularly if you find yourself in anything other than bright sunlight, but the versatility these modes give you, particularly when combined with horizon-leveling and HyperSmooth stabilization, makes them one of the main reasons to upgrade from an older GoPro.

GoPro Hero 10 Black: Video and image quality

GoPro made some changes to the default video settings on the Hero 10 Black. The action cam maker has seemingly outgrown the signature saturated look it's leaned towards previously, instead going for a more natural style out of the box.

There are actually now three color settings to choose from. Previously you either had the option of a 'GoPro' color profile (which produced punchy, bold colors) and a 'flat' one that you could grade afterwards. But now there's an additional 'Natural' profile, which is the new default, and we're pretty big fans of it.

GoPro has also dialed down the 'sharpness' to medium by default (another good move), but we tended to shoot with it on 'low', and with the bit-rate set to 'high' (or 100Mbps) for maximum image quality. When compared to footage shot on the Hero 9 Black with the same settings, the results were similar, but with subtle improvements that are likely down to that new local tone mapping.

Still, the Hero 9 Black had already made the big advances in areas like detail over older GoPros with that new sensor, and you're unlikely to notice a huge difference here unless you're really pixel-peeping. The 5K/60p mode is a nice-to-have, if not ideally suited to action scenes due to the more limited stabilization that's available, but it's the new slow-mo modes that are the most fun.

There's undoubtedly still a softness to the video in the Hero 10's slower frame rates of 120p and 240p (particularly the latter), but the option of shooting 4K/120p and 2.7K/240p lifts them from novelty status to something genuinely usable. GoPro's HyperSmooth also remains the best you'll find on an action cam, while the boosts to horizon leveling are another welcome bonus.

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The inside of a netting tunnel at a GoApe adventure park — The GoPro Hero 10 Black offers three 'views' for still photos – this is Linear... (Image credit: Future)

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On the other hand, not many people buy a GoPro to shoot stills – and while the Hero 10 is a passable, waterproof stand-in for your smartphone, it has been left a little behind on this front by rivals.

In good light, the results are pretty crisp and colorful, while SuperPhoto can help you regain some highlight details from areas like sky. But the 3MP resolution boost from the Hero 9 Black won't be noticeable to most, and in tough scenes – including low light ones – it simply can't compete with the computational pipelines of Apple, Google and Samsung.

You do get the option to shoot in raw, but this is only available in the 'wide' fisheye view and shadow recovery is limited with a 1/2.3-inch sensor.

Perhaps the more sensible approach to GoPro snapping is to simply accept the sub-smartphone quality, and embrace the convenience of 'frame grabs', which now let you grab slightly improved 15.8MP stills from 5.3K video (or 19.6MP from 5K 4:3 footage). The kind of shots you get from doing this are unlikely to be found in your phone's camera roll, and the GoPro's ability to venture into dangerous territory remains one of the main reasons to buy one.

Should I buy the GoPro Hero 10 Black?

Buy it if...

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If our GoPro Hero 10 Black review has you considering other options, here are three more action cams to consider...

First reviewed: September 2021

Nikon Z fc review

6:02 pm | September 9, 2021

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: ISO | Comments: Off

Editor's Note

• Original review date: September 2021
• A pricier and tougher full-frame Nikon Zf was consequently announced
• Launch price: $959 / £899 / AU$1,799 (body only)
• Official price now: $959 / £879 / around AU$1,699 (body only)

Update: February 2024. If you love the retro look, the Nikon Z fc is still arguably the best value mirrorless camera since its September 2021 release. It goes up against the Fujifilm X-T30 II, and neither of these beginner cameras have been replaced yet. If money is no object then the Nikon Zf full-frame camera with the same analog Nikon FM2-inspired look is the sturdier option with better specs, but the Z fc remains a beautiful camera to have by your side and one of the best travel cameras. In fact, Nikon is yet to launch another APS-C camera since the Z30 designed for vlogging, so its 20.9MP sensor and 4K video spec is yet to be bettered for Nikon fans. The rest of this review remains as previously published.

Nikon Z fc: Two-minute review

The Nikon Z fc is the company's second mirrorless camera with an APS-C crop sensor, after the Nikon Z50. Under the hood, the two cameras are virtually identical, but it's clear from the outside that the shooting experience is altogether different. Much of this review, therefore, focuses on the new design of the Nikon Z fc.

The current Nikon Z lineup now consists of two APS-C cameras, two second-generation full-frame models, the Nikon Z6 II and Nikon Z7 II, plus the Nikon Z5. The native lens lineup is much more developed for full-frame, with 17 lenses to the two dedicated APS-C zoom kit lenses. However, the new Z 28mm f/2.8 SE lens launched alongside the Nikon Z fc that we had during this test is an aesthetic pairing and a compelling 42mm f/2.8 equivalent lens.

The Nikon Z fc camera on a park bench — (Image credit: Future)

So what is behind this new camera's name? 'F' stands for 'fusion', as in of the old and new. This rhetoric exists in the full-frame Nikon Df from 2013, and likewise here we have a digital camera inspired by the company's own legacy analogue cameras.

In the case of the Nikon Z fc, a beginner mirrorless camera, homage is paid to the 30-year-old Nikon FM2; the form factor and dimensions viewed from the front are practically the same. The FM2 is deeper on account of its film holder and its larger full-frame format which physically requires more depth.

As for the 'c', in the name, it indicates that the camera is for 'casual' use. This could be anything from the competitive price, the smaller sensor format compared to full-frame, the vari-angle screen, the modest single UHS-I SD card slot, or the lack of weather-sealing.

No, we wouldn't want to bash this beautiful camera for beginners around too much. And that's a slight shame – we can't help wish this was a 'Nikon Z f' rather than a Nikon Z fc. The camera it's inspired by, the Nikon FM2, was a serious full-frame workhorse that could take a bullet for you, with a mechanical shutter able to rattle off frames with no battery power. It's a camera that lasts, while the Nikon Z fc is aimed at an altogether different photographer.

Still, the Z fc is a beautiful, casual camera with a capable specification; 20.9MP sensor, 4K video up to 30fps, continuous tracking AF for people, animals, faces and eyes, and an inspired vari-angle touch screen. The Z fc is the affordable option too; if you want a digital camera with ISO, shutter speed and exposure compensation dials, you're looking at the twice-the-price Fujifilm X-T4, or if you can live without the ISO dial, then the Fujfilm X-T30 II enters the frame.

For travel snappers or those who want a camera that's as pretty as the photos it takes, the Nikon Zfc is one of the best mirrorless cameras you can buy, as well as of course one of the best travel cameras. Keen photographers who need features like dual card slots will want to look elsewhere, and we're hoping for a full-frame version, but not many modern cameras are as fun to use as this.

Nikon Z fc: Release date and price

The Nikon Z fc is available to buy in a variety of bundles. If you just want to buy the camera body-only, it'll cost $959 / £899 / AU$1,499, but you can also buy it with different lenses, or in a lens kit with both wide-angle and telephoto zooms.

The ideal kit for street photographers will likely be the Nikon Zfc with the new Nikkor Z 28mm f/2.8 SE prime lens, which together will cost $1,199 / £1,129 / AU$1,899. If you'd rather go for the Zfc with the Nikkor Z DX 16-50mm f/3.5-6.3 VR lens, that kit will set you back $1,099 / £1,039 / AU$1,699.

The Nikon Z fc camera on a shelf — (Image credit: Future)

In Australia, there's a two-lens kit also available for AU$2,000 that bundles the Zfc body with the 16-50mm glass mentioned above, as well as the Nikkor Z DX 50-250mm f/4.5-6.3 VR zoom.

In the UK, there's also a vlogging kit priced at £1,169 that includes the NIKKOR Z 16-50mm VR silver lens, a Sennheiser on-camera directional microphone with wind protection, and a SmallRig tripod grip. The tripod grip features a magnetic recess that holds the Nikon ML-L7 remote control (included).

Nikon Z fc: Design

It's a stunning camera
Inspired vari-angle touch screen
A new retro-styled 28mm f/2.8 Z lens

You don't have to be a fan of the Nikon FM2 to appreciate the design of the Nikon Z fc. It's a beautiful-looking camera. We remember the Nikon FM2 well – an aspirational camera for enthusiasts – and the attention to detail in reimagining the FM2 for today is painstakingly admirable.

There is everything to like about the Nikon Z fc. From the front, it's virtually the same dimensions as the FM2, meaning this is one dinky camera, barely a handful. Its form factor, design cues, everything sings FM2. Even the typography is inspired by it.

The view from the top is equally impressive. While thinner than the FM2, it still packs exposure dials for ISO, shutter speed and exposure compensation dial. We love the tiny window with an LCD display of the current aperture setting. Nikon has gone most of the way there, but wait, the lenses.

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The top of the Nikon Z fc camera on a shelf — (Image credit: Future)

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The shutter speed and exposure compensation dials on the Nikon Z fc — (Image credit: Future)

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The ISO dial of the Nikon Z fc — (Image credit: Future)

A new Nikkor Z 28mm f/2.8 SE lens was launched alongside the Z fc, and like the camera it certainly looks the retro-part. But why is there no aperture control ring on this special edition full-frame lens? With that full complement of exposure dials on the camera's top plate, we sorely missed an aperture control ring on the lens and you won't find one on any other Nikon Z lens.

You can change the sole control ring on the 28mm lens from focus to aperture, but you can't have both at the same time. Otherwise, you shift aperture by using the camera's front command dial, but it's not nearly as intuitive as on the lens, especially when you're already shifting the shutter speed dial with those same right-hand fingers.

Ultimately, the lack of dedicated lens aperture control ring becomes a reason to use the Z fc in auto, foregoing the top dials for exposure changes (the main point of this concept). Like with the majority of Fujifilm’s X-series lenses, we hope new special edition legacy lenses are launched for the Z-series that feature an aperture control. Still, if you don't shoot in aperture priority, who cares, right?

The ISO dial on the top of the Nikon Z fc camera — (Image credit: Future)

In understanding those exposure dials, the built-in program mode switch that includes auto, the implementation of in-camera auto ISO, you can get the exposure effect you want super-quick. By the way, in-camera auto ISO handles a charm just like high-end Nikon cameras, meaning minimum acceptable shutter speed can be manually selected.

Elsewhere, the Z fc's flip touchscreen that's on hand for selfie-shooters and vloggers is totally the right call here, but for additional reasons. This type of screen can be folded away completely – revealing a protective dappled leather finish instead. You can pretend it's screen-less in a way that's not possible with fixed or tilt screens. We're not quite in Fujifilm X-Pro 3 territory – a camera that simulates a loaded film roll on its rear – but the look is spot on.

With a circular eyecup design for the EVF (electronic viewfinder), the look from the rear is complete. The EVF is a reasonably large display with a feature set and performance that is competitive at this price point; 2.36-million-dots and a refresh rate of 60fps. You'll have to press your eye in right up close to get a clear view though.

As for the touchscreen, it is super simple to use. You get touch focus with subject tracking, shutter response, full menu navigation and playback control, this is how touchscreens are meant to be. And the footprint of the touchscreen is minimal, adding very little to the overall size of the Z fc.

Around the exposure dials are little hints that this is a camera for today. The shutter speed dial has a switch to shift from shooting stills to video (the Nikon Df couldn't shoot video at all – a philosophical choice). Sadly, the in-camera menu remains the same whether you are shooting photos or video. Separate custom menus would be welcome for photo and video to make navigating your options much simpler.

The Nikon Z fc possesses a magnesium alloy 'skeleton' which is very impressive at this price point. However, there's no weather-sealing, which lives up to the 'casual' name. It might be due to its great looks, but we were particularly conscious to look after the camera.

The battery of the Nikon Z fc camera — (Image credit: Future)

From our time with the Z fc, we found battery life par-for-the-course, getting a full day of moderate use that this camera is technically designed for. Go video heavy or swing towards those extended continuous high sequences and the picture is different, of course. However, it is now possible to charge the camera on-the-go via the USB-C input. Handy. Speaking of inputs, there is a 3.5mm microphone port, plus mini HMDI.

Elsewhere, what you get with the mirrorless tech is an option for a silent shutter. Paired with the flip screen for subtle waist-level viewing, the Z fc represents an unobtrusive shooter ideal for travel and street photography.

Faced up to the similarly-priced Nikon Z50, we prefer the Z fc design. There's the vari-angle screen and USB-C charging, plus exposure compensation is operational when in auto exposure mode. Some may prefer the feel of the deeper handgrip of the Z50, especially with longer lenses, though there is an optional grip for the Z fc.

Nikon Z fc: Features and performance

Tracking AF with priority for people and animals
11fps burst shooting
Single UHS-I SD card slot

For all its retro charm and emphasis on manual control, the Nikon Z fc is no slouch and comes packed with a competitive feature set.

Start up time is brisk, with the camera able to shoot within a second of powering up. No dawdling here. Z-series lenses focus quickly and quietly for general scenes, offering a manual focus override, too. There's on-screen touch tracking auto-focus that is sticky on your subject and the Z fc detects faces and eyes with a reasonable speed, accuracy and reliability.

With the viewfinder in play, you can hit the OK button to bring up a manual AF selection area, too, though you cannot swipe the open touchscreen for autofocus area selection.

The viewfinder of the Nikon Z fc — (Image credit: Future)

High-speed action sequences can be made at up to 11fps in the 'extended' mode, with continuous auto focus and auto exposure. However, the camera only supports the older and slower UHS-I SD card, meaning those sequences are sustained for around 22 frames – that's two seconds – and you'll need to wait some time for those frames to be processed to gain full speed operation again.

The continuous high mode is much slower at 5fps, though you will get around 35 frames, so the burst is longer. Again, it takes a little while to clear those files to regain full capture capability. In short, the Z fc is good for quick flashes of action, but it really doesn't support sustained action scenarios.

Nikon Z fc: Image and video quality

20.9-million-pixel APS-C sensor
ISO 100-51,200
Basic Z-series 'DX' lens choice

With the same 20.9-million-pixel APS-C sensor as the Nikon Z50, we can expect the same image quality from the Nikon Z fc. And aside from a few handling tweaks that may impact the shots you are getting – like the at-hand exposure compensation dial – things are indeed the same, which is no bad thing.

The 20.9MP sensor has a great handle on noise, with all settings up to ISO 6400 looking clean, especially those under ISO 800. It's a general rule of thumb to avoid the top two ISO settings if you want to avoid the adverse impact of noise, in this case ISO 25,600 and ISO 51,200. Dynamic range impresses and the implementation of a HDR mode is simple and effective.

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Some boats sailing in a bay — The exposure compensation dial is active when the Nikon Z fc is in its 'Auto' exposure mode, making creative under-exposures like exposing for the highlights a breeze. (Image credit: Future)

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Profile shot of a man wearing a hat taken on the Nikon Z fc

The new Nikkor Z 28mm f/2.8 SE lens is an aesthetic pairing to the Z fc and provides a full-frame equivalent focal length of 42mm. Combined with the f/2.8 aperture and it is well suited for environmental portraits. (Image credit: Future)

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Crates of fishing ropes and buoys — A resolution of 20.9MP is competitive rather than class-leading, but is more than enough to get good size prints, wide dynamic range and solid control over noise in a variety of shooting scenarios. (Image credit: Future)

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Profile photo of a boy taken on the Nikon Z fc camera

(Image credit: Future)

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Some beach huts overlooking water, shot on the Nikon Z fc — (Image credit: Future)

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A person running down a road under tree cover — (Image credit: Future)

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Photo of a grassy field in a bay taken on the Nikon Z fc — (Image credit: Future)

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A red phone box surrounded by foliage — (Image credit: Future)

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Grassy coastline in front of the sea — (Image credit: Future)

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A rocky bay at dusk — (Image credit: Future)

There's a host of auto white balance (AWB) options, with the possibility of maintaining warm tones as one option. Colors in general look great from the off, though dominant colors in a scene can impact the temperature and hue in other colors – for example, a dominant blue can make skin tones look a little yellow, or a green vista results in overly magenta elsewhere, and so on. It's still a standard issue for AWB.

The standard color profile gives a refreshing subtle degree of saturation more akin to a neutral color profile in other systems. In-camera raw editing enables adjustments to exposure ±2EV, white balance, color profile and picture mode among others.

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Silhouette of a girl running across the beach — Impressive on paper, the top speed of 11fps with continuous AF and AE is limited in real-world use no doubt in part to the write speeds of the single UHS-I card slot. This is no action camera. (Image credit: Future)

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A bay under a cloudy blue sky — (Image credit: Future)

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Beach houses in a bay in front of trees — (Image credit: Future)

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An inflatable unicorn in a swimming pool — The 'standard' picture setting gives a pleasant color rendition, and if you shoot in raw format edits can be made in-camera to the color modes and picture styles. This image was converted to black and white. (Image credit: Future)

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An old outhouse covered in foliage — Perhaps the biggest downside of the Nikon Z fc is that there are just two native Z-series lenses dedicated for the APS-C format, limiting the types of pictures possible with the camera. Here I would've liked to go wider than the 16mm setting of the 16-50mm kit lens. (Image credit: Future)

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Girl walking down a seaside promenade — The vari-angle screen is useful for easy-shooting at a variety of angles, in addition to the front-facing selfie mode. (Image credit: Future)

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A cow grazing in a field — (Image credit: Future)

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Fishing ropes, crates and equipment — (Image credit: Future)

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A wave crashing against a seaside walk — The 'standard' picture setting gives a pleasant color rendition, and if you shoot in raw format edits can be made in-camera to the color modes and picture styles. This image was converted to black and white. (Image credit: Future)

Perhaps one thing holding back the image quality of the Nikon Z fc is the availability of native lenses. The lens roadmap for Nikon mirrorless cameras with APS-C sensors looks vaguely promising, but at the time of writing there are better lenses available for the rival Fujifilm X-series.

Should I buy the Nikon Z fc?

The Nikon Zfc camera sitting on a red table in front of a bookcase — (Image credit: Future)

Buy it if...

Don't buy it if...

These are the world's best mirrorless cameras
Or check out our guide to the best cameras for photography

Canon EOS R5 review

8:07 pm | April 28, 2021

Author: admin | Category: Cameras Computers DSLRs Gadgets | Tags: EOS, EVF, Touch Bar | Comments: Off

Editor's Note

• Original review date: April 2021
• No new model released
• Launch price: $3,899 / £4,199 / AU$6,899
• Official price now: $3,399 / £4,299 / AU$6,349

Updated: February 2024. When Canon announced the EOS R5 in July 2020, it made headlines and it's still a popular camera nearly four years on, staying put in our best camera roundup. There are rumors of a Mark II coming in 2024, but details are thin on the ground. Despite now being a few years old, the price for the body hasn't changed a great deal, dropping most in the US and a little in Australia, but is strangely listed for a higher price in the UK on Canon's official site and retailers like Jessops. Retailers, however, regularly discount this camera and, going by what we saw during Black Friday 2023, we think you shouldn't be paying more than $2,999 / £2,300 / AU$4,500 for the EOS R5. The rest of this review remains as previously published.

Canon EOS R5: two-minute review

A lot has happened in the camera world since we first reviewed the Canon EOS R5 in August 2020 and labelled it 'Canon's best ever stills camera'.

That statement still stands and the EOS R5 remains the best mirrorless camera that Canon has made so far. It's almost certainly the best Canon camera on the market right now too. But with the Sony A7S III and Sony A1 now here, and Canon responding with firmware updates for the EOS R5 and the announcement of the Canon EOS R3, is it already on the verge of being overshadowed?

Not quite yet. We've tested the Canon EOS R5's firmware upgrades, and they improve the camera and smooth out its rough edges, albeit without fundamentally changing its character. It's a fantastic stills camera, one of the best you can buy, but the verdict on its video skills is a little more nuanced.

In short, if video is your priority, you should test out the Canon EOS R5 in situations that are as close as possible to your real-world workflow - you may still find it to be one of the best video cameras you can buy. Those looking to shoot long, extended takes might be better served by the Sony A7S III. But if you look at the Canon EOS R5 as a stills camera that you'll occasionally use to shoot high-quality video, you'll likely never run into any overheating problems.

Canon EOS R5 articulating screen — (Image credit: Future)

For stills photographers, though, there isn't much wrong with the Canon EOS R5. The combination of a next-generation autofocus system, excellent image quality and fast 12fps/20fps continuous shooting means this is a camera that is just as comfortable (and capable) in professionally-lit studios as it is shooting breaking news stories at dusk.

The EOS R5's autofocus deserves a special mention. Its eye-detection is incredibly accurate and sticky, while its subject-detection and tracking is similarly impressive. As we found on our wildlife shoot, the animal detection is simply mind-blowing and a huge selling point on its own, if you regularly indulge in that kind of photography.

What about battery life? If you're coming from a traditional DSLR, this is an obvious constriction. But we managed about four hours of very intensive shooting, while using the EVF. On a standard shoot, this means going through two (or, at a push, three) batteries in a day. With spares easy and relatively cheap to come by, plus backwards compatibility with the older LP-E6N battery, it’s not quite the impediment it firsts appears.

If you’re a high-volume, high-speed filmmaker, you might find the EOS R5's heat constrictions a little onerous. But during our half-day documentary shoot, where we shot in a variety of formats, we didn't see any overheating warnings.

The video footage was also sharp and flexible for color grading, while a recent firmware update has added the Canon Log 3 (or C-Log 3) format to help its footage slot into cinematic workflows. The combination of stabilized RF-mount lenses and in-camera image stabilization (IBIS) also makes it possible to get reasonably smooth shots without a gimbal.

Canon EOS R5 Animal Eye AF in action — (Image credit: Future)

As you'd hope at this price, the Canon EOS R5 brings lots of smaller treats, too. The electronic viewfinder (EVF) is superb and practically indistinguishable from the optical ones found in DSLRs, at least to our eyes. And weather-proofing is right up there with the 5D series, if not quite as indestructible as the Canon EOS 1DX Mark III.

Canon has pulled out all the stops with the EOS R5, but it had to. It was relatively late to the mirrorless party and the competition at the pro level is now fierce. But it's Canon's best camera for stills shooters, and a more-than-capable hybrid option for those who like to mix that up with some video, too.

Professional filmmakers who are looking for a small, hybrid camera whose priority is 4K video shooting should consider the Sony A7S II instead. And non-professionals of any kind should check out our Canon EOS R6 review. But even if, like us, you can't afford justify the Canon EOS R5's price, it's certainly an exciting example of what happens when Canon fully commits to mirrorless.

Canon EOS R5 review: price and release date

The Canon EOS R5 was released on July 30, 2020 with a body-only launch price of $3,899 / £4,199 / AU$6,899.

It was initially difficult to find stock, with demand outstripping supply for the first few months of its life, but the EOS R5 is now widely available worldwide.

Canon EOS R5 ports — (Image credit: Future)

Of course, that price tag is a big investment, but it's in the ballpark of its nearest rivals. It's only a shade more than the lower-resolution, 4K-only Sony A9 Mark II and the Sony A7S III in most regions, and is also very much in the region of the Canon EOS 5D Mark IV's original pricing, which started at $3,499 / £3,599 / AU$5,060 when it launched in 2016.

Is the Canon EOS R5 expensive? Yes. Unjustifiably so? Probably not...

Canon EOS R5 vs EOS R6: 10 key differences you need to know

Canon EOS R5 review: design and handling

Weighs 738g without a lens
Rear AF joystick instead of Touch Bar
Impressive 5.76-million pixel EVF

Design-wise, we’re not looking at a game-changer with the Canon EOS R5. But given the usability of the Canon EOS R, which it's heavily based on, that’s no bad thing.

In terms of width and height, the EOS R5 is all-but identical to that latter camera; three mysterious millimeters have been added to its depth, and 70g has been added to its weight.

Significantly, the EOS R’s touch bar – the touch-sensitive strip on the top-right of the camera – is gone, perhaps testament to its lukewarm reception. In its place is a chunky, knurled joystick for navigating autofocus points and menus, along the lines of the control on Canon’s other high-end cameras.

Canon EOS R5 top display for shooting info — (Image credit: Future)

Pick up the EOS R5 and the first thing you’ll notice is that it practically floats in the hand. Its 738g weight with a card and battery compares extremely favorably to the Canon EOS 5D Mark IV’s 890g, and even more favorably to the tank-like Canon EOS 1D X Mark III’s 1.4kg kerb weight.

The EOS R5 is still substantial-feeling, with a deep grip that makes it easy and comfortable to hold, but it’s also easy to tote around without it feeling burdensome. Weather resistance is said to be up to the standard of Canon's 5D series, which professionals will tell you means the R5 should withstand troublesome weather better than some photographers. We’d be confident in most situations.

Canon’s adroit touch when it comes to building cameras that are quick and easy to use is much in evidence. Along with that four-way joystick, which makes diddling through menus or selecting autofocus points a breeze, you also get a click-wheel on the back, plus a dial behind the shutter button and a ring around the mode dial.

Don’t forget that RF-mount lenses also have a control ring, so getting the EOS R5 set up just-so is easy. If you’re coming from another of Canon’s cameras, the learning curve is basically flat – the R5 is easy to adjust to. Newcomers will find the menus responsive, intuitive, and powerful, whether you’re a power user or launching into photography for the first time.

A square display on the top right-hand shoulder of the camera displays your current shooting information. This is a good way to keep the rear monitor turned off between shots, and the secondary display has a backlight that you can turn on and off manually. The touchscreen monitor is a good ‘un, too, measuring a generous 3.15in and offering a 2.1MP resolution. It’s also vari-angle, which is handy for video.

But goodness gracious, the electronic viewfinder. The only thing that beats it for resolution right now is the 9.44-million pixel EVF seen on the Sony A7S III and Sony A1. And while the R5 might only offer 5.76-million pixels, in use we could barely distinguish it from the true optical viewfinders found in traditional DSLRs.

Beautifully smooth and with an incredible amount of fine detail, it makes the normal bugbear of mirrorless cameras – being able to tell when an image with slim depth of field is actually focussed – a thing of past. It’s really easy to tell, and with focus peaking available in manual focus mode, it conspires to make the R5 very easy to use.

Canon EOS R5 had a standard SD card slot and CFexpress slot — (Image credit: Future)

Canon EOS R5: 9 things we've learnt about the full-frame flagship

Canon EOS R5 review: specs and features

45MP (effective) full-frame sensor
Same DIGIC X processor as the EOS 1D X Mark III
8K video recording

On paper, the EOS R5 might be the best hybrid mirrorless camera on the market. It’s both high resolution and full-frame, producing 8,192 x 5,464 resolution files that weighed in, on average, at about 60MB each.

That means, at the R5’s fastest continuous motor mode, you’re shooting about 1.2GB per second. In other words, make sure you’ve budgeted for extra storage, both in your camera and at home.

Speaking of storage, the R5 brings a pro-level solution to the table, offering both a standard SD card slot and a CFexpress slot. This allows you to either boost your camera’s available storage, shoot to two cards for real-time backup, or shoot raw files to one card and JPEGs to the other.

Memory cards take on more of a bearing if you plan to use the R5’s movie-shooting abilities. Its higher-end video modes, including 4K 10-bit HEVC (which is what you’ll shoot in Canon LOG or HDR PQ), 4K ALL-I 50/60fps, 4K 100/120fps or 8K ALL-I or raw, all require a CFexpress card. We shot exclusively with SanDisk’s 512GB Extreme PRO card, which is rated at 1,400MB/s write speed, and found that the buffer refilled at virtually the rate it was depleted, making in-the-field workflow completely hassle-free.

Powering everything is Canon’s DIGIC X processor. It’s the same chip as the one you'll find in the powerhouse 1D X Mark III and it kept everything ticking over as our EOS R5 voraciously gobbled up light and churned out data.

The sensor is a new model, and this is Canon’s first body to feature in-body image stabilization (IBIS). In combination with the high speed data throughput of the RF mount, this can combine with the image stabilization in a lens to offer, in the right circumstances, up to eight stops of image stabilization.

You get all the expected mod cons, and then some. Wi-fi is there, of course, but in exotic 5GHz as well as 2.4GHz. There’s an FTP client built-in, allowing press photographers to offload images to remote servers as they shoot.

Just about the only thing not present is a proper Ethernet socket – the Sony A9 Mark II does have one of these and pro sports photographers might lament its absence here. If you want one, you’ll need to dig out your wallet for the Canon WTF-R10B –this upgrades the R5’s FTP client to one that supports SFTP, while also adding two MIMO antennae for stronger connections and a Gigabit Ethernet port. Those are pretty niche features that will only be desirable for full-time agency photographers, though.

Of more interest to the rest of us is the EOS R5's new battery – the LP-E6NH has about 14 per cent more capacity than the slightly older LC-E6N. Those who already own Canon kit should note that the older model of battery is still compatible with the R5. You can also use a Power Delivery supply to charge the R5 via its USB-C port, saving you popping the battery out when it’s time to recharge.

Flick the mode selector to video and you’re greeted with yet more out-of-this-world performance. 4K, naturally, but up to 120fps, and with the option of shooting raw.

Or, the headliner: 8K video. Again, the option of shooting raw is there, at 30, 25, 24 or 23.98fps, and at a galactic bitrate of approximately 2,600Mbps. Opting to shoot H.265 files, at the same settings, lowers the bitrate to about 1,300Mbps, while H.264 lowers it further to 300Mbps.

Of course, these headline figures are only part of the video story, and Canon was forced to subsequently recalibrate expectations a little by publishing estimated recording times for each of the EOS R5's modes. We've included that information in the table below.

Perhaps even more significant than these recording times, particularly if you're planning to use the Canon EOS R5 as your main video workhorse, are the 'cool down' recovery times it needs after shooting extended scenes. Most mirrorless video cameras overheat, but not as many need quite as long to recover as the EOS R5.

We re-tested the Canon EOS R5's video performance after the arrival of its 1.1.0 firmware update, which promised to "extend video shooting times in some situations". You can read the full results of our video tests here, but the short answer is that while it slightly improves recovery times in some modes and situations, it's not a radical change from the original figures quoted for the EOS R5.

For example, when shooting 8K/30p, a 10-minute rest will then give you only three minutes of recording time, while letting it cool for an additional 20 minutes will give you an extra eight minutes of recording.

That's fair enough for 8K, a mode that no other mirrorless camera offers, but even if you're shooting 4K/60p on the EOS R5, a 10-minute rest will only give you another 10 minutes of recording time. So for both of the EOS R5's most demanding modes, you're still restricted to relatively short bursts.

Canon EOS R5 rear screen and controls — (Image credit: Future)

Canon EOS R5 review: autofocus

5,940 AF zones
Animal and face-detection
100 per cent horizontal autofocus coverage

The Canon EOS R5’s autofocus is very nearly unbelievable. Its eye-detection is practically infallible, grabbing hold of human faces and holding on even with subjects moving rapidly forwards or backwards through the frame. Subject detection and tracking is similarly impressive.

The new animal detection mode is out of this world, as we raved about in our wildlife test, with the R5 detecting and tracking non-human eyes and faces in some very demanding circumstances.

The R5 uses a new version of Dual Pixel CMOS autofocus, which means focussing is done on the sensor itself. This allows you to manually choose from 5,940 different AF points across 100 per cent of the sensor’s horizontal dimension and 90 per cent of its vertical.

You can cut things however you want; splitting the sensor into large autofocus zones, allowing it to pick entirely for itself, or opting for tiny individual autofocus points using either the joystick or by dragging your thumb across the touchscreen monitor. Once you’ve got a zone picked, the R5’s autofocus will blow you away.

The animal recognition currently works for dogs, cats and birds, but it naturally isn't blind to other species, too. We're looking forward to seeing where this autofocus system goes next, but Canon's certainly made a very impressive start on the EOS R5.

Canon EOS R5 card slots — (Image credit: Future)

Canon EOS R5 review: performance

12fps mechanical shutter/20fps electronic shutter
Backwards-compatible batteries
High-speed video modes

With the Digic X processor on board, it’s fair to expect good things of the R5’s performance – and so it proved in our tests.

With our SanDisk Extreme Pro card we found the buffer cleared almost as fast as we could shoot, writing multiple frames per second when we’d finished shooting a burst of raw files. The EOS R5 will shoot 12fps using the mechanical shutter, or up to 20 with the electronic shutter.

Purists who are concerned about the jello-effect of electronic shutters can put their minds at rest – we saw very little evidence of it. It was possible, on frames with tall elements in them, to detect a very small amount of distortion, but even with incredibly fast subjects, frames shot with the electronic shutter were just as usable as with the mechanical option. Another plus: the electronic shutter is totally – literally – silent. Wedding photographers and wildlife photographers, rejoice.

Battery life gets a significant thumbs-up as well. It’s still well down on traditional DSLRs, of course, but we managed about four hours of extremely intensive shooting (approximately 2,000 raw frames, all shot using the power-sucking electronic viewfinder) on a single charge.

On a fairly intensive shoot we’d anticipate going through perhaps two batteries in a day, maybe three at a push. Because the R5 is backwards-compatible with the LP-E6N battery – first seen on the 2009 EOS 7D – it’s possible that many upgraders will already have a few spares.

Canon EOS R5 review: video and image quality

Video performance

Video performance is excellent as well. We tested the EOS R5 on a small half-day documentary shoot (see above), capturing just over 240GB of 4K video for a total of a shade over 55 minutes overall.

Of that, about just about 38 minutes was shot in 4K, All-I, 25fps in 10-bit Canon LOG, with the rest (a hair under 17 minutes) shot at 50fps, still in All-I and in LOG. Of note is that the shoot happened on the warmest day of the year with the ambient temperature resting at an uncomfortable 32-degrees. We didn’t see any overheating warnings.

Canon’s own claim is that the R5 will shoot up to 35 minutes at 50/60fps before it overheats, at which point it will recover at the rate of one shootable minute per minute of cool down. Not ideal, perhaps, if you want to shoot a documentary at 4K and 60fps, but those shooting 24 or 25fps films with a smattering of 60p for slow motion clips it’s quite possible you could use the R5 fairly intensively and never see an overheating warning. Canon claims that 25/30fps full-frame 4K video has no heat limitation.

Putting those slightly overhyped overheating claims to one side, it's far more useful –and fun – to look at the results that the Canon EOS R5 is capable of. 4K video is gorgeously sharp and the LOG files we shot were incredibly flexible when it came to grading.

It's also worth noting that a recent firmware update, version 1.3.0, has brought the very useful Canon Log 3 (C-Log 3) format, which lets you achieve wide dynamic range and means its slots nicely into workflows that also include footage shot on Canon's EOS Cinema cameras. The update also brings a slo-mo 120p option for Full HD recording, though sadly the 30-minute recording limit for video files remains.

Still, the combination of stabilized RF-mount lenses and in-camera IBIS ensures that, if you tread softly enough, you can create reasonably smooth tracking shots on the EOS R5 without a gimbal. Our selection of RF-mount lenses – the RF 15-35mm F2.8L IS USM, RF 24-70mm F2.8L IS USM and RF 70-200mm F2.8L IS USM – all provided sound-free tracking autofocus. For single-crewed shooters, or those tasked with filming BTS (Behind the Scenes) or B-roll, the EOS R5 could be an incredible addition to any toolkit.

A quick note – if you’re shooting 10-bit files, you’ll be wanting a proper editor. Those using BlackMagic’s free version of Resolve will need to upgrade. We edited and graded with Premiere Pro on an Adobe Creative Cloud subscription.

Image quality

As you'd hope for the price, the R5 shoots excellent images. Up to about ISO 4000 you should have very few concerns, which is incredible. Push further and you’ll find fine-grained speckling in your images – we suspect editorial photographers won’t mind it much, but those with an eye on producing art prints might be a bit more cautious.

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For those dedicated to capturing once-in-a-lifetime moments, whatever the light, the R5 will shoot ISOs up to 102,400. We shot in anger up to ISO 51,200 and while the results were undoubtedly grainy, there was no color shift to contend with and there was plenty of detail.

Having a camera that produces outstanding, high-resolution images in perfect light but which is capable of shooting usable shutter speeds in the dark again marks the EOS R5 out as an exceptional photographic tool. For a more in-depth look at the EOS R5's Animal Eye AF performance, check out our feature on a wildlife photographer's visit to a bird hide.

Should I buy the Canon EOS R5

Canon EOS R5 front — (Image credit: Future)

Buy it if...

Don't buy it if...

Olympus OM-D E-M10 Mark IV review

1:40 am | December 8, 2020

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: Advanced Photo | Comments: Off

Editor's Note

• Original review date: September 2022
• Fourth-gen MFT camera from Olympus (now OM System) for beginners
• Launch price: $699 / £699.99 / AU$1,299 (body only)
• Official price now: $699 / £699.99 / around AU$939 (body only)

Update: February 2024. After the OM-D E-M10 Mark IV launch, Olympus was purchased by OM Digital Solutions and new cameras are consequently branded OM System instead. So far though, there's been little change in newly branded models besides firmware-level improvements, and the E-M10 Mark IV is still yet to be replaced. That makes it an excellent value camera system for beginners; lightweight, small, feature packed and with a superb selection of lenses for all budgets and photography genres. It doesn't have the latest autofocus or video specs when compared to newer rivals, while it's dated micro USB connector doesn't allow charging on the go, but the overall E-M10 Mark IV package remains compelling today especially for newbie photographers.

Olympus OM-D E-M10 Mark IV: Two-minute review

Despite its complex name, the Olympus OM-D E-M10 Mark IV is a simple, compact entry-level mirrorless camera. And if you're a beginner or keen photographer looking for a compact body that takes consistently attractive photos, it's a camera that has to be on your list.

Sure, the E-M10 Mark IV is lacking some of the more advanced features being touted by its pricier rivals, like phase-detection autofocus, 4K/60p video and microphone/headphone inputs. But it does a brilliant job as a stills camera that can shoot a little bit of quality video when needed, and is one of the best cheap cameras you can buy right now, as well as being one of the best travel cameras for those who've spent all their money on flights.

This beginner camera's approachable button layout and combination of Bluetooth/Wi-Fi functionality means it's primarily designed to tempt smartphone photographers over to an interchangeable lens camera. And as a Micro Four Thirds (MFT) camera, it has one of the widest selection of lenses around.

Although the Micro Four Thirds system was originally created by Panasonic and Olympus, a wide range of companies have now produced quality, affordable lenses for MFT-compatible cameras. This makes it a great system for beginners to invest in.

Olympus OM-D E-M10 Mark IV — (Image credit: Future)

One big thing this camera has in its favor is superb in-body image stabilization (IBIS). This system is the same as the one used in Olympus' award-winning flagship E-M1 series, and it works a treat for capturing images at slower shutter speeds handheld.

The E-M10 Mark IV is Olympus’ answer to cameras like the Panasonic Lumix G100, Fujifilm X-T200 and Sony ZV-1. And it manages to stand out with its classic OM-D styling, super-compact body and that excellent IBIS system. The 20MP resolution isn’t going to grab any headlines, but it's a significant and welcome step up over its predecessor's 16MP sensor, and keeps it within range of the competition.

While it's a great first camera for beginners, we'd also recommend the E-M10 Mark IV to more experienced photographers on a budget or those looking to downsize from a DSLR. It doesn’t deliver the battery or image quality performance of high-end mirrorless cameras or DSLRs, but it could be a great option as a recce or second camera. For those situations, and at this price, it's a terrific beginner mirrorless camera and certainly one of the best cameras for photography around.

Olympus OM-D E-M10 Mark IV: Price and release date

The Olympus OM-D E-M10 Mark IV was released in August 2020 and was available to buy immediately for a body-only price (in black or silver) of $699 / £699.99 / AU$1,299.

Naturally, there is also a kit lens bundle available, with the M.Zuiko Digital ED 14-42mm f/3.5-5.6 EZ bundle we tested costing $799 / £799 / AU$1,499. Australian fans can also buy the E-M10 Mark IV with a longer M.Zuiko Digital ED 14-150mm f/4-5.6 II zoom lens from for AU$1,799 (around $1,285 / £985).

Despite being relatively new, we've already seen some discounts on the OM-D E-M10 Mark IV, which bring its price more in line with rivals like the Fujifilm X-T200. That said, if you're on a tighter budget, it's worth checking prices on this camera's E-M10 Mark III predecessor.

While the latter lacks the new sensor or flip down screen, you can currently pick it up for $449 / £449 / AU$799, which is impressive value.

Olympus OM-D E-M10 Mark IV: Build and handling

Ergonomic grip and button layout
Tough polycarbonate body
3-inch touchscreen more flexible than before

The first thing that strikes you about the E-M10 IV is its diminutive size. It’s small enough to fit into the pocket of regular fit trousers – and that’s with its 14-42mm M.Zuiko f/3.5-5.6 pancake kit lens attached.

We've always been huge fans of the twin control dial setup of the E-M10, as it allows you to make adjustments to both shutter speed, aperture or exposure compensation with ease when shooting manually.

The mode dial that sits beside them provides straightforward access to the camera’s nine shooting modes, including video. There’s also a dedicated video record button, placed sensibly on the shoulder of the camera for quick access.

There isn’t much room for buttons elsewhere on the camera, but Olympus has managed to place controls that cover most key functions without making the camera feel cluttered. There’s also touchscreen access via the rear LCD, further boosting the camera’s usability.

The 3.0-inch LCD touchscreen is the most ambitious of the series so far. This time, the E-M10 IV’s screen tilts upwards 90-degrees for shooting at hip level, and also flips downwards 180-degrees in the other direction. This positions it under the camera for selfies and vlogging. It’s good to see more flexibility introduced, but it does present a potential issue for people who want to self-shoot while using the camera on a tripod.

The E-M10 IV's 2.36m-dot OLED viewfinder, unchanged from the previous model, provides a clear view of the scene ahead with settings overlaid on top. This means that once you’re familiar with the layout, you won’t need to take your eye away from the viewfinder to make adjustments.

The share button on the top left shoulder doubles as a quick menu when taking pictures. But in playback this provides simple access to the camera’s share-to-smart device functionality.

Olympus OM-D E-M10 Mark IV: Features

Class-leading image stabilization system
Powered by TruePic VIII imaging processor
Advanced Photo mode is handy for beginners

The E-M10 Mark IV is powered by a TruePic VIII imaging processor, which works to deliver reduced noise in images captured in low light and has a native ISO sensitivity range of ISO 200-6400. This can be expanded to ISO 80 (LO) and ISO 25,600 (HI), but you’d be wiser to take advantage of the camera’s quality five-axis in-body image stabilization system (IBIS) before you crank the ISO up to those numbers.

This IBIS system is same as the one in Olympus' award-winning flagship E-M1 series, and it's excellent. It boosts the E-M10 Mark IV's handheld shooting capabilities and means you can pack light and don’t need a tripod to get fantastic shots, even at night.

Also borrowed from the upper tier of OM-D cameras, is the updated 121-point autofocusing system, which can better detect and track faces and eyes.

Aside from these features, there aren’t other big spec or physical changes of note from the Olympus OM-D E-M10 Mark III. It’s a sensible update, one that focuses on improving the camera’s stills capabilities.

Olympus has included its trademark scene (SCN) and Art Filter modes, which function as you might imagine, placing 'creative' looks over images. We're not huge fans, but they can be fun to have a play with. We're more keen on the Advanced Photo (AP) section of the mode dial.

AP mode makes it super easy for people to create otherwise complex images, such as live composites for capturing star trails and light painting, long exposure images with live progress displayed on screen, multiple exposure images and more. These are a great way to explore photo creativity.

Olympus OM-D E-M10 Mark IV: Autofocus

121-point Contrast Detect AF
Improved face detection and subject-tracking from Mark III
Now also has eye detection

Autofocus systems need to be predictable, even if they're not the fastest. The E-M10 Mark IV’s autofocusing system may not be the most advanced in this camera class, but it functions consistently and that’s the main thing we want from a camera’s autofocus.

Hybrid systems that incorporate on-sensor phase detection AF, such as the AF system featured in the Sony ZV-1, are superior and better suited for things like vlogging. This is because they are quicker at detecting faces from a range of angles and will stick with them more tenaciously without hunting for focus.

If you’re more concerned with photography, though, the E-M10 Mark IV’s focusing system is capable of handling a range of moving subjects, including wildlife, field sports and planes. Although it’s worth noting that its top continuous burst mode speed of 15fps (electronic shutter) can only perform at such speeds with fixed focus.

Its 121 AF points cover a large amount of the frame, but its tracking capabilities are a little patchy, particularly when subject backgrounds are busy.

We had the most consistent and pleasing results when sticking with AF-S and centre point focus. Use that and this camera can focus fast, even in low light.

Olympus OM-D E-M10 Mark IV: Image and video quality

The E-M10 Mark IV is the most photo-centric camera in its category. While its rivals are more geared towards video shooters, this cameras wants to be a great stills camera first and foremost – and it does a solid job.

Carrying a high resolution 20MP Micro Four Thirds sensor helps the E-M10 Mark IV capture a significantly more impressive dynamic range compared to smartphones and other small sensor cameras. This is most visible when looking at high contrast or night mode scenes. The physical advantage of a larger sensor means the E-M10 Mark IV has great light-gathering powers.

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Pushing the camera’s ISO sensitivity to its limits, the results were usable, although details begin looking smudged past ISO 6400 when viewed at 100%. The ability to take better pictures in low light is further supported by the camera’s five-axis in-body image stabilization. This manages to keep images sharp when shooting handheld as slow as 1/8th of a second, which is a significant advantage for dimly lit scenes.

The IBIS system also works quite well during video recording when walking and panning. While the E-M10 Mark IV can be used to capture attractive looking video, it's not heavily geared towards video shooters.

The omission of a microphone input or USB-C port, which could be used to adapt a microphone or headphone input, is another giveaway that this camera isn’t focused on video. It’s also capped at 4K/30p and FHD/60p resolutions. There’s a high-speed movie mode, but it’s only 120fps at 720p resolution. In terms of video specs, this is one of the most unambitious cameras released since the E-M10 Mark III in 2017.

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It is, though, a different story for stills. We were really impressed with this camera's basic kit lens – its 14-42mm pancake lens option is a fantastic starting place for someone upgrading from a phone.

It offers a versatile focal range that covers everything from landscapes to portraits. Plus, given the super compact size of this camera/lens combo, it makes for an ideal travel companion. It will capture quality shots without attracting too much attention, so it’s also ideal if you enjoy capturing more candid imagery.

The camera’s battery is rated to around 360 shots and under 30 minutes of video. This is typical for cameras in this class and at this price point. In use, we found it got us through a day of walking around, with it powering down into battery saver mode.

If you predominantly use the electronic viewfinder (EVF) when shooting and aren’t recording a lot of video, this camera should get you through a day trip before needing to charge. There’s no dedicated battery charger in the box, mind, so you have to charge the battery in the camera via USB micro B input. Again, it’s a shame to miss out on a USB-C input here, as it also means the camera cannot be used while charging.

Should I buy the Olympus OM-D E-M10 Mark IV?

Buy it if...

Don't buy it if...

Check out our guide to the world's best cameras for photography

Nikon Z6 II review

1:03 am | November 19, 2020

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AF | Comments: Off

Editor's Note

• Original review date: November 2020
• Successor rumored for later in 2024
• Launch price: $1,999 / £1,999 / AU$3,499 (body only)
• Official price now: $1,599 / £1,859 / AU$2,699 (body only)

Update: February 2024. The Nikon Z6 II was first pitched in 2020 around the $2,000 mark and a highly capable all-rounder at that price point, delivering a faster processor and longer burst rates than the first-gen model it replaced, while offering the same 24.5MP stills from its full-frame sensor. It's also a capable filmmaking tool, especially when paired with an external monitor through which you can get 4K recording in raw format. In short, image quality in any light is excellent in what is a speedy operator for action photography. The Z6 II's subject detection autofocus performance lags behind today's rivals and it's not as capable as the camera's own human detection AF. And now there are rumors of a long awaited replacement on the way – the possible Z6 III – that could become the best mirrorless camera for most people. Until then, there are few better full-frame mirrorless cameras at what is now a reduced price point. The rest of this review remains as previously published.

Nikon Z6 II: Two-minute review

The Nikon Z6 II is the follow-up to the company’s first full-frame mirrorless camera, the Z6. Now over three years old, the Nikon Z6 is the former holder of our best mirrorless camera crown. But there's still room for improvement, and with the Z6 II Nikon has opted to retain the core spec and design of the Z6, while addressing its weaknesses.

To that end, pretty much all the main features of the Z6 II are inherited from the Z6. This includes the excellent full-frame 24.5MP BSI CMOS sensor, which delivers images with excellent levels of detail, plenty of dynamic range and a very good high-ISO noise performance.

Compared to one of the Z6 II’s closest rivals, the 20.1MP Canon EOS R6, the extra pixels here give you that bit more flexibility when it comes to framing and cropping, whereas the EOS R6 has a slight edge at higher sensitivities. Comparing the Z6 II to its other close rival, the Sony Alpha A7 III, there’s really not much between them when it comes to results.

While the sensor remains the same, Nikon has equipped the Z6 II with a second EXPEED 6 image processor. This brings a number of performance improvements, most notably an increase in burst shooting speed, from a maximum of 12fps to 14fps. That’s faster than the Alpha A7 III, and a match for the EOS R6 (although the R6 can shoot at 20fps using its electronic shutter).

The extra processor has also allowed Nikon to improve on the 273-point AF system that’s in the Z6. As well as general performance improvements and the ability to focus in darker conditions, human and animal eye/face detection are now available in Wide area AF mode. It’s a solid system that’s great for general photography, although if you’re going to be shooting lots of action (or portraits), then the focusing systems in both the EOS R6 and A7 III have the edge here.

The Z6 had a strong set of video specs, including the ability to shoot oversampled 4K for footage with plenty of detail. For the Z6 II, Nikon has tweaked the video capabilities to enable 4K capture up to 60p, although this won’t be available until around February 2021 via a firmware update. The Z6 II also gains a number of output options that include the capture of 10-bit HLG HDR footage to an external recorder. For these reasons, we think the Z6 II is one of the best video cameras you can buy right now.

With the Z6 II using the same design as the Z6, there are few surprises when it comes to build quality and handling. The magnesium alloy body parts, weather sealing and comfy grip make the Z6 II feel more durable than rivals, while Nikon has managed to squeeze in a UHS-II SD card slot alongside the XQD/CFexpress card slot, resolving one of the key weaknesses of the Z6.

There’s no getting around the fact that the updates found in the Z6 II are modest at best; however, while existing Z6 owners shouldn’t be tempted to upgrade, if you’re looking for a quality full-frame mirrorless camera you’re not going to go far wrong with the Nikon Z6 II. It's undoubtedly one of the best cameras for photography.

While rivals might outclass it in some areas, the Z6 II has consistency on its side, performing strongly across the board. If you can live without the upgrades though, do check out the Z6 – it’s still on sale for now, and the money you’ll save over a Z6 II will go a long way towards a new lens.

Nikon Z6 II: Release date and price

The Nikon Z6 II launched on October 14, 2020
It costs $2,600 / £2,549 / AU$4,399 with the 24-70mm f/4 lens
You can also buy the Nikon Z6 II body-only

The Nikon Z6 II was announced in October alongside the Z7 II, and is available to buy now.

Like the Z6, the Z6 II can be purchased with the excellent Nikon 24-70mm f/4 S standard zoom for $2,600 / £2,549 / AU$4,399. If you’re looking to upgrade or invest in a second body you can buy the Z6 II body-only for $2,000 / £1,999 / AU$3,399, while those looking to pair the Z6 II with their F-mount DSLR lenses can add the FTZ lens adapter for around $150 / £150 / AU$250.

The Nikon Z6 II will naturally be compared to Sony’s Alpha A7 III, while the arrival of the Canon EOS R6 means many will also see that camera as a key rival. The A7 III is almost three years old now, but it still packs a serious punch and will cost you in the region of $2,880 / £2,650 / AU$4,640 with Sony’s 24-105mm f/4 G, which is a little more versatile than Nikon’s kit lens.

The EOS R6 is also priced a bit higher than the Z6 II at $2,799.99 / £2,849 / AU$4,799, although this comes bundled with the relatively slow and variable-aperture 24-105mm f/4-7.1 lens, which isn’t quite a match for the lenses paired with the Z6 II or A7 III.

Nikon Z6 II: Design

Design is virtually identical to the Z6
Now features a second card slot
Tilt-angle display not perfect for video

The Nikon Z6 II arrives just over two years since the Z6 launched, and Nikon has opted to keep the new camera’s design virtually identical to that of its predecessor.

While this might seem unimaginative on Nikon’s part (and also a way to save some R&D costs), the decision to use the same body is no bad thing – the Z6 is one of the best-handling mirrorless cameras out there, with controls falling easily to hand and key settings quick to access. The joystick (officially known as the sub-selector) is also weighted nicely, while all this is complemented by a large and comfy hand grip and well-defined thumb rest.

Simply put, the Z6 II is one of the most pleasant mirrorless cameras to shoot with.

Sticking with the same design does, however, mean the Z6 II uses the same tilt-angle display as the Z6. This shouldn’t be too much of an issue if you’re predominantly shooting stills, but those shooting video (and self-shooters in particular) might be disappointed not to see a fully articulating vari-angle display worked into the design of the Z6 II.

That gripe aside, the Z6 II feels really durable, with magnesium alloy top, front and back covers, and the same excellent level of weather sealing as Nikon’s pro-spec DSLR, the D850.

Not everything has stayed the same though. One thing that compromised the Z6 was its single XQD card slot. While this is a media format that can be incredibly reliable, XQD cards are significantly more expensive than even the best SD cards.

Nikon listened to complaints about this, and on the Z6 II it’s managed to squeeze in a second UHS-II SD card slot to accompany the XQD/CFexpress slot. The addition of the SD slot makes the camera more accessible to more users, while those upgrading from the Z6, or who already use the XQD format, will be able to use their existing cards.

There are benefits when it comes to shooting too, with the extra slot providing options for simultaneous backup, overflow storage or recording JPEGs while the XQD/CFexpress slot takes care of raw files.

Nikon Z6 II: Features

Full-frame 24MP BSI CMOS sensor
3.69 million-dot electronic viewfinder
4K video recording up to 60p

For the Z6 II, Nikon has opted to stick with the same full-frame 24.5MP BSI CMOS sensor that’s in the Nikon Z6. This enables a native ISO range that runs from ISO100 to 51,200, and which can be expanded to ISO50-204,800.

While the Z6 II keeps the same sensor, Nikon has managed to squeeze in a second EXPEED 6 processor. This delivers a number of improvements, the most notable of which is an increase in burst shooting speed to an impressive 14fps, up from an already quick 12fps on the Z6.

The Z6 II also uses the same 273-point AF system as the Z6, though there have been some improvements here too. Overall performance has been improved, while human or animal eye/face detection is now available in the Wide-Area AF modes, rather than just the Auto-Area mode. Focusing in low light should also be better, as the Z6 II can focus in light levels as low as -4.5EV (improving on -3.5EV of the Z6), while a low-light AF mode sees the Z6 II able to achieve focus at an incredible -6EV.

The Z6 already had some impressive video credentials, and the Z6 II improves on these further. As well as using the full width of the sensor to capture 4K footage at up to 30p, the Z6 II is also able to shoot 4K60p.

A little caveat here though: there will be a 1.5x crop when shooting at this rate, and the upgrade won’t be available until around February 2021 via a firmware update. The Z6 II will also be able to continue shooting when connected via USB-C for recharging, which wasn’t possible with the original Z6.

Other key features remain the same though, including the excellent 3.69 million-dot electronic viewfinder (EVF) and 5-stop in-body image stabilization (IBIS) system.

Nikon Z6 II: Performance

Fast burst shooting speed
Very capable AF performance
Better battery life than the Z6

While the Nikon Z6 II can shoot at 14fps, the details are in the small print – at this maximum rate, you’re limited to 12-bit raw files and a single AF-point.

If you want a little more dynamic range in your files, and want to take advantage of the Z6 II’s tracking AF, this drops to a still very good 12fps – that’s faster than the Alpha A7 III’s 10fps, and a match for the EOS R6’s 12fps (though the R6 can shoot at up to 20fps using its electronic shutter). The buffer should be more than enough for most scenarios as well, with the Z6 II able to handle 124 12-bit raw files or 200 JPEGs at its highest frame rate.

The Z6 II’s 273-point AF system has 90% coverage across the frame, which is good in isolation, although it’s left trailing the 693-point system in the Alpha A7 III and the class-leading 6,072-point AF system in the EOS R6.

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Those predominantly shooting people (or pets) might favor the systems in the Z6 II’s rivals, as they’re a bit more sophisticated when it comes to eye and face tracking, but the Z6 II still does a very good job here, locking quickly and accurately on to the subjects we tested it on.

It’s a similar story if you’re tracking subjects – use the Z6 II in isolation and you’ll be very impressed with the speed of acquisition, but it’s not quite a match for the EOS R6 (which uses pretty much the same AF system as the flagship Canon EOS-1D X Mark III).

The built-in 5-stop image stabilization system in the Z6 II is a consistent performer. Again, it’s not quite as impressive as the EOS R6’s 8-stop system (which is lens-dependent), but you can happily shoot at super-slow shutter speeds and come away with sharp, shake-free images.

Another key area Nikon has addressed with the Z6 II is the battery. The Z6 could only achieve an official figure of 310 shots (though it performs better in real-world scenarios), and the Z6 II gets an improved EN-EL15c battery that’s rated for 410 shots using the LCD and 340 with the viewfinder. This is a welcome improvement, although here again the Z6 II still lags behind rivals like the EOS R6 and Alpha A7 III.

Nikon Z6 II: Image and video quality

Same image quality as Z6
Excellent sharpness and detail
Good high-ISO performance

As we’ve mentioned, the Z6 II uses exactly the same sensor as the Z6 – and that’s good news, as results from the Z6 were pretty much class-leading.

The full-frame 24.5MP BSI sensor in the Z6 II delivers excellent levels of detail. If you need to regularly print above A3 you might be swayed by the 45.7MP sensor in the Z7 II (or the D850), but the resolution on offer here should satisfy most shooters.

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Thanks in part to the back-illuminated technology in the Z6 II’s sensor (which is missing from the lower-priced Z5), it performs well across the sensitivity range, delivering great results at higher ISOs, although if you’re shooting JPEGs it’s worth bearing in mind that the default noise reduction can be a bit heavy at higher ISOs, which can result in the unnecessary loss of detail.

Dynamic range is also very good if you’re shooting in raw, with plenty of flexibility in post to recover detail in the shadows and pull back highlights.

A quick note on lenses to conclude – the 24-70mm f/4 is a solid choice that performs very well, but since its launch more than two years ago Nikon’s S-series lens range has expanded significantly, and includes some excellent f/1.8 primes and f/2.8 zooms.

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