Mirrorless Cameras

I tested the new Sony A7 V, and now it’s my favorite Sony camera ever

5:01 pm | December 2, 2025

Sony A7 V: two-minute review

Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.

On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.

Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.

The Sony A7 V camera — (Image credit: Future/ Peter Fenech)

If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.

These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.

Sony A7 V specs

Sony A7 V Specs:
Type:	Mirrorless camera
Sensor:	Full-frame (36x24mm) semi-stacked CMOS
LCD:	3.2-inch, multi-articulated, 2.095m dots
Memory:	2x SDXC, 1x CFexpress Type A
Resolution:	33-megapixels
Video:	Up to 4K60p (4K120p in 1.5x crop mode)
ISO range:	ISO 50-204,800
Mechanical Shutter speeds:	30-1/8000sec
Electronic Shutter speeds:	30-1/16000sec
Viewfinder:	3.686m dot, OLED EVF, 0.78x
Processor:	Bionz XR 2
Connectivity:	AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio
Weight:	659g

Sony A7 V: Price and availability

Released December 2, 2025
Body only price of $2,899 / £2,799 (Australia TBC)
Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 (body only, Australia TBC), alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately (Australia TBC) and will be available separately from February 2026.

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).

Price score: 4.5/5

Sony A7 V: Design

Larger 3.2-inch rear LCD
Versatile multi-pivot articulated monitor
Hybrid memory card slot

Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.

In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.

Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.

I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.

Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.

With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.

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It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.

The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.

Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.

Design score:4.5/5

Sony A7 V: Performance

New Bionz XR 2 processor
No dedicated AI autofocus processing engine
Long 750-shot battery life

Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.

The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.

I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.

Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.

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Image captured with the Sony A7 V Mirrorless camera in London — Changing the AF subject recognition mode to Animals, the A7 V could easily keep track of this squirrel's eye (Image credit: Future/ Peter Fenech)

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Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.

Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.

I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.

Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.

I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.

In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.

Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.

It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.

Performance score: 5/5

Sony A7 V: Image quality

Excellent Dynamic Range
Superior high-ISO performance
Ultra-effective IBIS system

One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.

I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.

Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.

The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.

Images captured in London with the Sony A7 V — Dynamic range might not quite manage 16-stops in every image, but matches lower resolution cameras from competing brands (Image credit: Future/ Peter Fenech)

I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.

Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.

Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.

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Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.

One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.

It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

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Images captured in London with the Sony A7 V camera — (Image credit: Future/ Peter Fenech)

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Image quality score: 4.5/5

Sony A7 V: testing scorecard

Sony A7 V
Attributes	Notes	Rating
Price	The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money	4.5/5
Design	There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?	4.5/5
Performance	The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.	5/5
Image quality	Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.	4.5/5

Should I buy the Sony A7 V?

Buy it if...

You want an affordable full-frame camera

It might not be the cheapest camera with a full-frame sensor on the market, but you get a lot of camera for your buck. The A7 V has everything an enthusiast photographer could hope for or need.View Deal

You shoot both stills and video

Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal

Don't buy it if...

You are a beginner

There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal

You just bought an A7 IV

Let's be clear, the A7 V is a significant upgrade to its predecessor, but with a similar resolution, equal sensor size, and advanced features, the A7 IV is a great camera on its own merits. I wouldn't suggest there's enough difference between the two for an upgrade just yet.View Deal

Also consider

Canon EOS R6 Mark II

The EOS R6 Mark III builds on the 24MP Canon EOS R6 Mark II with improved resolution that matches the A7 V, now 33MP. Sony and Canon take different priorities; the A7 V has the partially stacked sensor and video recording up to 4K 60p, while the EOS R6 Mark III's sensor isn't stacked at all, but there's open gate 7K video recording. Both feature incredibly powerful IBIS and autofocus performance. This is a close call. Note, at the time of writing we're still working on our EOS R6 Mark III review.

Nikon Z6 III

Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the A7 V.

Read our in-depth Nikon Z6 III review

How I tested the Sony A7 V

I tested a full production model
The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.

First reviewed December 2025

I tested the new Sony A7 V, and now it’s my favorite Sony camera ever

5:01 pm |

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AI, FE, ISO, LCD | Comments: Off

Sony A7 V: two-minute review

Sony A7 V specs

Sony A7 V Specs:
Type:	Mirrorless camera
Sensor:	Full-frame (36x24mm) semi-stacked CMOS
LCD:	3.2-inch, multi-articulated, 2.095m dots
Memory:	2x SDXC, 1x CFexpress Type A
Resolution:	33-megapixels
Video:	Up to 4K60p (4K120p in 1.5x crop mode)
ISO range:	ISO 50-204,800
Mechanical Shutter speeds:	30-1/8000sec
Electronic Shutter speeds:	30-1/16000sec
Viewfinder:	3.686m dot, OLED EVF, 0.78x
Processor:	Bionz XR 2
Connectivity:	AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio
Weight:	659g

Sony A7 V: Price and availability

Released December 2, 2025
Body only price of $2,899 / £2,799 (Australia TBC)
Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).

Price score: 4.5/5

Sony A7 V: Design

Larger 3.2-inch rear LCD
Versatile multi-pivot articulated monitor
Hybrid memory card slot

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It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

Design score:4.5/5

Sony A7 V: Performance

New Bionz XR 2 processor
No dedicated AI autofocus processing engine
Long 750-shot battery life

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Performance score: 5/5

Sony A7 V: Image quality

Excellent Dynamic Range
Superior high-ISO performance
Ultra-effective IBIS system

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It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

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Image quality score: 4.5/5

Sony A7 V: testing scorecard

Sony A7 V
Attributes	Notes	Rating
Price	The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money	4.5/5
Design	There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?	4.5/5
Performance	The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.	5/5
Image quality	Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.	4.5/5

Should I buy the Sony A7 V?

Buy it if...

You want an affordable full-frame camera

You shoot both stills and video

Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal

Don't buy it if...

You are a beginner

There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal

You just bought an A7 IV

Also consider

Canon EOS R6 Mark II

Nikon Z6 III

Read our in-depth Nikon Z6 III review

How I tested the Sony A7 V

I tested a full production model
The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

First reviewed December 2025

I tested the divisive new Leica M EV1 – forget the haters, it’s the most usable Leica M camera yet

4:00 pm | October 23, 2025

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

Leica M EV1: two-minute review

The Leica M EV1 concept is polarizing: strip out the optical rangefinder that Leica M cameras have been famed for for over 70 years, and replace it with an electronic viewfinder (EVF).

You'd think the whole experience of taking photos with the M EV1 would be wildly different – but in fact, in many ways it isn't.

Technically speaking, the Leica M EV1 shares many similarities with the Leica M11 / M11-P and Leica Q3 / Q3 43) – all use Leica's 60MP full-frame sensor, which delivers the most detailed photos among full-frame cameras.

Like a Leica Q3 / Q3 43 premium compact but with Leica's M mount, the new EV1 felt pretty intuitive to me straight away, as I've used other Leica M series and Leica Q series cameras extensively.

I can see the appeal for many Leica fans already in camp M EV1 – it has useful elements of Leica's Q series (minus autofocus, tilt screen and video recording), combined with the versatility of the Leica M mount and a wide choice of lenses. The best of both worlds, then.

Leica M EV1 camera on a wooden table with glass-panelled door backdrop — The Leica M EV1 with Leica 35mm f1.4 Summilux-M Asph lens attached (Image credit: Tim Coleman)

On the plus side, the EVF offers focus peaking, which is an extremely useful visual aid for manual focusing; trust me, it will increase your percentage of sharp shots compared to being guided by Leica's optical rangefinder, at least when you're manually focusing in the moment, rather than sticking to a set focus distance as some street photographers do.

Build-wise, there's greater similarity with the M11 – not just the M mount and interchangeable lenses, but also the control layout and fixed rear screen, although I'd rather have more Q3 attributes in the design.

For me, the Q3’s tilt screen is super-useful – I generally find myself switching between the viewfinder and rear screen, and I enjoy waist-level shooting for street photography, for which a tilt screen is hugely useful.

That meant I used the 5.76m-dot viewfinder more often with the EV1, and thankfully it works a treat. Rangefinder-style cameras like the EV1 are fairly inconspicuous too, making them ideal for street photography.

Rear of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop — The EVF has a slightly different profile to the optical rangefinder in other Leica M cameras, but the 2.95-inch fixed screen is the same as the M11's (Image credit: Tim Coleman)

All that said, as a package the M EV1 makes less sense. Sure, it costs less than the M11, but it costs more than the Q3, which is much more camera, with its built-in lens, autofocus, tilt screen and video recording. It's a natural comparison when you take the optical rangefinder out of the equation.

The M EV1 makes sense in some ways, especially if you already own multiple Leica lenses, but if you're starting out, or generally shoot with one or two lenses, it doesn't.

Beyond such considerations, though, I have to go with my gut, having used the camera extensively with the Leica 35mm f1.4 Summilux-M Asph lens for a week. I thoroughly enjoyed the experience. Yes, it feels slightly less organic than the M11, but if you don't mind an EVF then the EV1 feels like the new Leica M camera to go for.

Leica M EV1 camera in user's hands, autumn leaf backdrop — The M EV1 is a compact and discreet rangefinder-style camera, making it ideal for reportage photography. (Image credit: Tim Coleman)

Leica M EV1: price and release date

Costs $8,995 / £6,840 (Australia price TBC) for the body only
Additional leatherette hand grip costs $460 / £340
Available from October 23, 2025

Price-wise, the Leica M EV1 sits in between the Leica M11 and Leica Q3, which makes sense because an EVF is cheaper to manufacture than an optical rangefinder.

Ultimately, the EV1's list price makes the Q3 / Q3 43 feel like much better value, especially if you're not going to be swapping lenses a lot. The Q3 is much the same camera, for less, with additional features – and you get a built-in lens.

With the EV1, you're paying for the luxury of being able to swap lenses, and every Leica lens costs in the thousands.

Personally, if I had a spare $14,000 / £12,000 for Leica camera gear, I'd rather pick up both the Leica Q3 and Leica Q3 43 over the EV1 with a lens such as the 35mm f/1.4 Summilux, which together cost the same as two Q3s.

Leica M EV1 camera in user's hands — There's no grip on the M EV1, but an additional leatherette hand grip is available separately (Image credit: Tim Coleman)

Leica M EV1: specs

Video	N/A
Photo	60MP full-frame
Lens mount	Leica M
Autofocus	N/A – manual focus only
Screen	2.95-inch fixed touchscreen, 2.3m-dot
Viewfinder	5.76m-dot EVF
Weight	17oz / 484g (body, including battery)
Battery	244 shots (Leica BP-SCL7)

Leica M EV1: Design

Compact rangefinder design
5.76m-dot EVF instead of an optical rangefinder
Modest-size 2.95-inch fixed touchscreen

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Leica M EV1 camera on a wooden table with glass-panelled door backdrop, no lens attached — Yes it's a Leica M... without the rangefinder! (Image credit: Tim Coleman)

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Rear screen of the Leica M EV1 camera on a wooden table with glass-panelled door backdrop — The control layout is super minimal (Image credit: Tim Coleman)

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Top plate of the Leica M EV1 camera, which is resting on a wooden table with glass-panelled door backdrop — There's no ISO dial, which you'll find in the top left of Leica M11 cameras (Image credit: Tim Coleman)

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Underside of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop — There's USB-C charging for the 1,900mAh capacity battery (Image credit: Tim Coleman)

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Right side profile of the Leica M EV1 camera

The right side of the camera (Image credit: Tim Coleman)

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Left side profile of the Leica M EV1 camera

The left side of the camera – there's no connections whatsoever (Image credit: Tim Coleman)

The obvious place to start when talking about the M EV1's design is its viewfinder, which is the same 5.76m-dot EVF found in the Leica Q3. It's also placed in the corner of the camera where the rangefinder traditionally sits, easily accessed with your right eye.

I was shooting with Leica's 35mm f/1.4 Summilux lens for this test, often wide open at f/1.4 where depth of field is really shallow, and getting sharp manual focus is historically a challenge with Leica M cameras. This changes somewhat with the M EV1.

Focus peaking is indeed supremely helpful for this manual focus-only camera, outlining the hard edges of your subject that's in focus – I had the camera set to red focus peaking, which in general is the color most easily seen.

Focus magnification gives you a closer look too, making it much easier to make fine adjustments. My ratio of in-focus shots has been much higher using the M EV1 than I would expect with a camera like the M11.

Leica M EV1 sample gallery: two people walking under an umbrella in London — Even with an EVF, a manual focus-only camera will keep you on your toes. Here my reactions weren't up to speed – a mirrorless camera with subject detection autofocus would have nailed this photo (Image credit: Tim Coleman)

As a rangefinder-style camera, the EV1 is really compact, plus the shutter action is dampened for minimal vibration and noise, making for discreet picture taking.

The 2.95-inch rear screen feels a little on the small side, and being fixed it's less useful that a moveable screen, say a tilt or vari-angle type. The quality and feel of the display is top-drawer, though – with 2.3m dots it's packed with detail, and touch response feels smooth.

With the screen being less useful than I would like – I prefer the Q3's tilt screen – I leaned more into using the viewfinder, which is a lovely experience, even if traditionalists will turn their nose up at such a digital display.

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Man holding the Leica M EV1 camera's viewfinder up to their eye, autumn leaf backdrop — (Image credit: Tim Coleman)

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Closeup of the Leica M EV1 camera's viewfinder — (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's rear buttons — (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's control dial — (Image credit: Tim Coleman)

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Like all high-end Leica M cameras, the EV1 is made in Germany and the body is fully metal – both aluminum and magnesium, with a leatherette finish. This is a classy bit of gear.

The style, profile and control layout of the EV1 are largely familiar – this feels like an M11, save for the omission of an ISO dial (which is a real shame) and of course that new type of viewfinder. I'm a fan of minimalist design, and thoroughly enjoyed shooting with the EV1.

Leica M EV1: Performance

Same 60MP sensor as the M11 and Q3, with digital crops
Manual focus only
No video recording

If you want a detail-rich full-frame camera there are none better than those that use this 60MP sensor, as Leica's current crop of M cameras do, along with the Sony A7R V.

Leica offers two digital crop modes: 1.3x and 1.8x, with a reduced 36MP and 18MP resolution respectively. With the 35mm lens, those crops give a perspective equivalent to 45mm and 63mm lenses.

Burst-shooting top speeds are a modest 4.5fps. The buffer memory is rated to 3GB, which means you can shoot 15 full-size raw files or 100 JPEGs at that top speed before the camera slows up, assuming you're using a high-speed UHS-II SD card.

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Leica M EV1 sample gallery: busy Oxford Circus underground station entrance — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: street scene in London reflected in a puddle — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: inside a Joe the Juice cafe — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: outside a London pub at dusk — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: two red phone boxes in London — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: wait sign illuminated in London street — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: man leaning against pedestrian crossing wait light — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: noodle restaurant window — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: Regent Street Cineman London at dusk — (Image credit: Tim Coleman)

The ISO sensitivity range starts at ISO 64 and tops out at ISO 50,000, so images taken in good light with the base ISO are particularly clean and crisp.

Leica uses the widely adopted DNG raw format, with a 14-bit output and a limited number of color profiles to choose from – I mainly stuck to standard profile, and made color edits to raw files afterwards.

Sticking with the Leica M ethos, the EV1 doesn't shoot video at all. For video recording with a Leica, you'll need to look to the Leica Q series.

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Leica M EV1 sample gallery: close up of heather — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: mushrooms growing out of a fallen tree — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: portrait of main with autumn trees. in background — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: young girl gazing towards forest — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: M&M candy being passed around — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: large mushroom growing out of a dead tree — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: autumnal forest — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: girl giving grass to a horse — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: close up of a horses's mane — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: man partly in shade and light by window — (Image credit: Tim Coleman)

Following the Leica M11-P, the EV1 is equipped with content credentials, which is the most widely adopted industry standard for authenticating the origin of digital images. It does so through a secure digital label, holding details such as names, dates, and any edits made to an image’s metadata.

GPS geotagging data can also be added to images via the Leica Fotos app, which is available on the Apple store and Google Play store for iPhone and Android devices. It's also possible to wirelessly transfer images to your device from the M EV1 through the app, as well as remotely control the camera.

At the time of writing the EV1 isn't registered on the app as I've been using it prelaunch, but I have plenty of experience with the app, such as with the screen-less M11-D, and it's one of the more reliable and pain-free app experiences from leading camera brands.

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Close up of the Leica M EV1 camera's battery door — (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's battery door, battery removed and placed next to the camera — (Image credit: Tim Coleman)

Battery life, I must say, is pretty poor by today's standards, rated up to 244 shots. It's little wonder given that the camera uses Leica's BP-SCL7 battery with its modest 1,800mAh capacity.

Still, the M EV1 isn't the kind of high-speed photography and video-making heavyweight with which users would quickly drain a battery. The photography process here is slow and considered, and as such I typically got through a whole day without needing to charge the battery (which is done via the USB-C port on the underside of the camera).

Leica M EV1: also consider

Leica Q3

If you're considering the M EV1, then you're probably already okay with using an EVF. And unless you already have a bunch of pricey Leica lenses, the Q3 and / or Q3 43 premium compacts feel like a wiser pick overall – you get the same 60MP sensor but also a built-in lens, the ability to switch to autofocus, a versatile tilt screen, and video recording. Oh, and both Q3 models cost much less.

See my Leica Q3 reviewView Deal

Leica M11

Design-wise there are two key differences between the M11 and M EV1; the viewfinder type – the M11 has an optical rangefinder, while the M EV1 has a 5.76m-dot electronic viewfinder – and the M11 features a handy ISO dial that's missing on the EV1. Besides that, the user experience and image quality are effectively the same. The EV1 costs less than the M11, though.

See our Leica M11 reviewView Deal

How I tested the Leica M EV1

Leica loaned me the M EV1 for a week ahead of its launch
I had one lens to test it with – the Leica 35mm f1.4 Summilux-M Asph
I've used the M EV1 as an everyday camera, documenting the world around me

My experience with the Leica M EV1 was wonderfully simple. I had it close to hand for a whole week ahead of the global announcement, with the Leica 35mm f1.4 Summilux-M Asph lens attached to it the whole time.

I'm a fan of this lens for reportage photography, and naturally found myself documenting the world around me, mostly making use of the EVF and focus peaking to manually focus.

Of course, there's a decent range of Leica M lenses to choose from, making the most of the M EV1's design advantages over the Leica Q3 premium compact with its fixed lens.

First reviewed: October 2025
Read more about how we test

I tried the Fujifilm X-T30 III and tiny new kit lens, and the retro pairing are a great pick for beginner photographers

8:00 am |

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

Fujifilm X-T30 III: two-minute review

Fujifilm has updated its beginner mirrorless camera for photographers with the new X-T30 III, which comes four years after the Fujifilm X-T30 II.

It launches alongside a tiny new XF 13-33mm f/3.5-6.3 OIS kit lens (that's a 20-50mm effective focal length) that's smaller and lighter than the 15-45mm, the previous kit lens packaged with Fujifilm’s low-cost cameras. The portable pair weigh just 17.7oz / 503g combined.

Going on appearances alone, very little has changed. There's now a film simulation dial in place of a shooting mode dial, much like on other recent Fujifilm cameras including the X-T50, with all 20 simulations available, and the ability to add film recipe shortcuts.

Fujifilm X-T30 III camera in three colors, on a glass table — The X-T30 III is available in three colors; silver, charcoal and black (Image credit: Tim Coleman / Gareth Bevan)

Otherwise, the size, weight, profile and control layout are pretty much identical to the X-T30 II – this is a really small camera and lens combo that easily slips into a jacket pocket.

Headline features include the same 26MP sensor and current fifth-generation processor combo as used in the X-M5 and X-S20. This means the X-30 III sits below the pricer X-T50, which uses the latest 40MP stabilized sensor.

It has more in common with the slightly pricier X-S20, which with its in-body image stabilization, feels like a better pick. Otherwise, the specs are almost identical to those of the X-M5, which, with its viewfinder-less video-first design, costs less.

Fujifilm X-T30 III camera in photographer's hands — The notable change from the X-T30 II is that there's a film simulation dial rather than a shooting mode dial (Image credit: Tim Coleman / Gareth Bevan)

Despite its photography-friendly design, which also factors a built-in flash, the X-T30 III does in fact have the same video features as the compact X-M5, including 6K video with 10-bit color depth, 4K 60fps video and a vertical 9:16 short movie mode for social.

Personally, I think Fujifilm’s X-series range is getting a little crowded now, and would have liked to have seen the X-T30 III priced around 10% lower to help it to truly stand out for beginners.

However, it's still a compelling retro package – $1,150 / £1,000 / AU$1,950 for an attractive portable camera and lens with sharp 26MP stills and impressive 6K video is pretty respectable.

Fujifilm X-T30 III camera on a glass table — The X-T30 III is a tidy package with the 13-33mm lens attached (Image credit: Tim Coleman / Gareth Bevan)

Fujifilm X-T30 III: price and release date

Costs $999 / £829 / AU$1,679 body-only, or $1,149 / £999 / $1,949 with the 13-33mm lens
Available in silver, black and charcoal
Sales start on November 20, 2025

Designed for beginners, the X-T30 III is available from November 20 in silver, black and charcoal options, for a body-only price of $999 / £829 / AU$1,679, or with the new 13-33mm lens it costs $1,149 / £999 / $1,949.

The X-M5 remains the lowest-priced model in Fujifilm's range of X-mount cameras; the X-S20 is a fraction more, while the X-T50 is more again. Considering its features, I would prefer that the X-T30 III was around 10% cheaper in order for it to be more competitive.

Fujifilm X-T30 III: specs

Video	6K 30fps / 4K 60fps, 9:16 mode
Photo	26MP APS-C
Lens mount	Fujifilm X
Autofocus	Intelligent hybrid phase / contrast
Cont shooting	8fps (mechanical), 20fps (electronic), 30fps (electronic with 1.25x crop)
Screen	3-inch, 1.62m-dot tilt touchscreen
Viewfinder	2.36m-dot
Weight	13.3oz / 378g (incl battery and card)
Battery	NP-W126S (same type as in most of Fujifilm's current cameras), 425 shots

Fujifilm X-T30 III: Design

Weights just 378g, same dimensions as the X-T30 II
Film simulation dial in place of a shooting mode dial
Built-in EVF, flash and tilt touchscreen

The X-T30 III is a tidy, compact retro package, especially with the new 13-33mm lens – the pair weigh less than most rival cameras without lens attached, and I easily slipped the combo into my jacket pocket when I wasn't using it. The camera is available in three colors and it certainly looks the part, especially in silver.

The pronounced thumb rest gives a decent grip, and I happily (and securely) held the camera with one hand in both horizontal and vertical formats.

There's a quick menu button conveniently placed on that thumb grip, but all too often I found myself pressing it unintentionally. It's not a big drama as you just have to exit the menu, but it's something to be aware of.

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Fujifilm X-T30 III camera with pop-up flash out, on a glass table — (Image credit: Tim Coleman / Gareth Bevan)

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Tilt screen of the Fujifilm X-T30 III camera pulled out, on a glass table — (Image credit: Tim Coleman / Gareth Bevan)

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Close up of the Fujifilm X-T30 III camera's viewfinder — (Image credit: Tim Coleman / Gareth Bevan)

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Top of the Fujifilm X-T30 III camera on a glass table — (Image credit: Tim Coleman / Gareth Bevan)

The rear touchscreen is tilt only and not fully vari-angle, which means you won't be able to easily shoot selfies.

I'm personally fine with the tilt design, which is handy for waist-level viewing. Also, the positioning of the USB-C, micro HDMI and mic ports on the side would obstruct a flip around screen, when those ports are in use.

The 2.36m-dot EVF is clear enough for such a small camera – I regularly used it rather than the screen, and it will be particularly helpful on bright sunny days for photography.

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Side of the Fujifilm X-T30 III camera on a glass table, port doors open — (Image credit: Tim Coleman / Gareth Bevan)

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Fujifilm X-T30 III camera on a glass table, battery removed — (Image credit: Tim Coleman / Gareth Bevan)

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Underside of the Fujifilm X-T30 III camera on a glass table — (Image credit: Tim Coleman / Gareth Bevan)

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Close up of the Fujifilm X-T30 III camera's thumbgrip — (Image credit: Tim Coleman / Gareth Bevan)

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Rear of the Fujifilm X-T30 III camera on a glass table — (Image credit: Tim Coleman / Gareth Bevan)

We now have a film simulation dial in place of a shooting mode dial - that's consistent with the latest models including the X-T50.

I can see the reasoning - quick access to color profiles and film recipes is great if you like to regularly experiment with different looks.

Personally, I switch exposure mode more often than color profiles, so I'm a bigger fan of the shooting mode dial which is sacrificed for film simulations.

In my limited time with the camera, I actually couldn't figure out how to switch to aperture priority - my default exposure setting - and so resorted to the new auto mode instead which selects shutter speed and aperture based on the scene. The X-T30 III certainly feels designed for beginners.

There's a built-in flash, one of only three current beginner models with such a feature. The GN7-rated (ISO 200) flash is handy to have for sure, especially at parties. You only tend to get a built-in flash in beginner cameras which aren't weather sealed, like the X-T30 III, because they usually compromise weather sealing.

Fujifilm X-T30 III: Performance

New processor delivers 10% better battery life
New Instax mode for instant photography fans
Digital stabilization only

Packing Fujifilm's latest processor, the X-T30 III is a snappier camera than the X-T30 II. For example, 8fps (mechanical) and 20fps (electronic) burst shooting are sustained for 2x longer, for up to 173 JPEGs. That max speed can be upped to 30fps (electronic) with a 1.25x crop.

Fujifilm also says battery life is improved by 10% thanks to the new processor, for up to 425 shots.

Autofocus receives a boost, too, with Fujifilm's latest subject detection on board, which in addition to people can track animals, birds, cars, insects and more.

There's also a new Instax instant photography mode which can display mini, square and wide Instax formats for framing your shot, with direct wireless printing to Instax Link printers. I haven't used this mode yet, but it sounds like a great option for instant photography fans.

For me, the biggest sacrifice here versus a pricier model such as the X-T50, is in-body image stabilization. There's digital image stabilization only, which is certainly better than nothing, but does somewhat limit the possibilities for smooth handheld video footage. The same goes for creative slow-shutter-speed photography.

Fujifilm X-T30 III: image quality

26MP stills and film simulations
6k 30fps, 4k up to 60p, and 9:16 short video mode
10-bit color depth for video

I've only used the X-T30 III for two hours, but I know what its image quality potential is, having reviewed the X-S20 and X-M5, which both share the same sensor and processor.

Sure, pricier Fujifilm cameras such as the X-T50 and X-T5 boast Fujifilm's latest 40MP sensor for highly detailed photos, but the X-T30 III is no slouch, and still outshines other crop-sensor rivals for detail with its 26MP stills (and 14-bit 'RAF' format RAWs), such as the 20.9MP Nikon Z50 II, the 24MP Canon EOS R10 and the (older) 24MP Sony A6400.

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Fujifilm X-T30 III sample images – street scenes in London's China Town — (Image credit: Tim Coleman)

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Having Fujifilm’s film simulations at your fingertips is handy, including customizable film recipes, even if that makes shooting-mode changes much more of a hassle. I've shot using various profiles in the galleries above and below, including Velvia (vivid), Reala Ace, Acros (monochrome) and others.

Video quality is excellent, too – 6.2K video and 4:2:2 10-bit color depth is excellent at this price point, even if in-body image stabilization is missing.

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What I'm yet to discover, given my limited time with the kit, is just how good the new 13-33mm lens is, at least versus the previous 15-45mm kit lens. This detail matters because most people will buy the camera with the new kit lens, and I'll share my thoughts after spending more time with the camera and lens pairing.

Fujifilm X-T30 III: also consider

Nikon Z50 II

Available for exactly the same price as the X-T30 III, the Z50 II is a versatile mirrorless camera with Nikon's latest Expeed 7 processor for flagship performance, superb subject-recognition autofocus, and improved video features. Its excellent ergonomics and vari-angle touchscreen make it an easy camera to travel and shoot with, while color profiles can be uploaded from Nikon's app, much like Fujifilm film recipes. With lower-resolution 20.9MP stills and 4K video, the Z50 II can't quite match the X-T30 III for detail.

See my Nikon Z50 II reviewView Deal

Fujifilm X-M5

Smaller, lighter and cheaper, the X-M5 features the same sensor and processor as the X-T30 III – which likewise means 26MP stills, 6.2K video, 9:16 short movies and film simulations. The major difference is that the X-M5 lacks a viewfinder and has a vari-angle screen, making it the better pick for video.

See our Fujifilm X-M5 reviewView Deal

Man holding the Fujifilm X-T30 III camera up to his eye, on London street — (Image credit: Tim Coleman / Gareth Bevan)

How I tested the Fujifilm X-T30 III

I had just two hours with the X-T30 III and 13-33mm lens
I took a walk through London's China Town
I mainly took photos, using the various film simulations

I've used the X-T30 III with 13-33mm lens for just a couple of hours, shooting street photos and a handful of videos around London's China Town.

I already know what the X-T30 III’s image quality potential is, having reviewed the X-S20 and X-M5, which both share the same sensor and processor. The lens, though, is less of a known quantity.

I've shot using various film simulations, completely handheld during an overcast day in London. As with most cameras pre-launch, I could only view JPEGs, because the raw files aren't readable before launch in software such as Adobe Camera Raw.

First reviewed: October 2025
Read more about how we test

Who needs Prime Day when the 5-star OM System OM-5 II travel camera is already such a great buy?

3:01 pm | October 8, 2025

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AI, EVF, ISO, Prime Day | Comments: Off

OM System OM-5 II: two-minute review

What the OM System OM-5 II lacks in sensor and video specifications it makes up for with photographic features. If you want to go full-frame, or get a more powerful APS-C hybrid, then go for it; if you need these things, you need them. But if what you need is a small, affordable and supremely versatile camera that can follow you anywhere, then this is it.

What do you want to shoot? Landscapes? Nature? If you’re okay with 20MP, then the OM-5 II will do perfectly, thanks to its lightweight, hike-friendly size, weather sealing and rock-steady IBIS. Will you need to use any ND filters? The camera’s in-built Live ND can give you up to four stops longer exposures – perhaps not always enough, but it helps.

If you're into nature photography, and particularly macro work, you can use the in-built focus-stacking mode to keep your whole subject sharp, or focus bracketing if you want to merge the frames later in software.

Fancy some night photography? Experts will insist you need the low noise of a full-frame sensor, but the OM-5 II does pretty well with a fast prime and its Starry Sky AF. While you’re at it, you can use the Live Bulb mode to see long exposures build on the screen in front of your eyes, or use the Live Composite mode to capture bonfires, fireworks or urban light trails, recording only ‘new light’ so that the image isn’t overexposed.

What about sports and wildlife? The OM-5 II is not a dedicated action camera, but it does pretty well, shooting at up to 10fps with AF and up to 30fps with focus locked on the first frame. It also has a Pro Capture mode, which offers a rolling buffer of 14 frames with the shutter button half pressed so you don’t miss the moment the action starts.

There are limits. The OM-5 II does not have the newer stacked sensor that's in the OM-3 and OM-1 II, and it uses an older 121-point AF system rather than OM Systems’ new subject-tracking quad-pixel AF. But at this price something’s got to give, and the OM-5 II’s AF is still quick and effective, and fine for everyday use.

Video isn’t a strong point either. The OM-5 II peaks at 4K 30p, and while it can do the slightly wider C4K format, that’s only at 24p. You do get Flat, OM-Log400, OM-Cinema1 and OM-Cinema2 profiles, but since this camera shoots only 8-bit video there’s a limit to how far you’ll want to push any color grading later.

There’s one more thing to mention: the OM Art Filters. Fujifilm fans make a huge fuss over Fujifilm Film simulations, but that’s nothing. From gritty black-and-white (with borders, if you like!) to super-saturated pop-art to HDR-like dramatic tone effects to vintage, bleach bypass and instant camera looks, OM System Art Filters are a fantastic playground for creative photographers. Yes, you can shoot a raw file at the same time as a backup – heck, you can even bracket Art Filter effects to get multiple alternatives for each image.

The OM-5 II does have limitations – of course it does. You’ll want to stay away from sky-high ISOs, its AF can’t match the latest AI subject-recognition tech in rival cameras, and its video features are basic.

And no, it’s not a huge advance on the old camera, the OM-5; but as I've said, it doesn't need to be. If you stand back and look at what this camera can do, at this price (unchanged from the Mark I version, by the way), it’s an absolute pocket rocket, even today. In my book, the OM-5 II is the best affordable travel camera going.

OM System OM-5 II: price

You can buy the OM-5 II for around $1,199 / £1,099 body-only or $1,599 / £1,499 with the 12-45mm f/4 kit lens. Don’t underestimate this lens; it’s small, portable and offers excellent image quality well beyond the typical kit lens. OM System calls it a Pro lens, and it is. And, like the OM-5 II, the camera is weather sealed. You can get cheaper ‘starter’ cameras than this, but none which approach the OM-5 II’s feature set.

OM System OM-5 II: specs

Sensor	4/3-inch Live MOS sensor, 20.4MP
Lens mount	Micro Four Thirds
ISO range	200-6,400 (64-25,600 exp)
Autofocus	121-point phase/contrast AF
Burst shooting	6fps mechanical with C-AF, 10fps electronic with C-AF, up to 30fps electronic with S-AF, Pro Capture mode with S-AF
Video	C4K 24p, 4K UHD 30p, FHD up to 120p
EVF	2.36m-dot OLED
Rear screen	3-inch 1.037m-dot vari-angle touchscreen
Storage	1x SD UHS II
Battery	BLS-50, 310 shots
Size (body only)	125.3 x 49.7 x 85.2mm, 418g

OM System OM-5 II: design

Reshaped grip for better handling
Excellent top-mounted twin control dials
Weather sealed (as are OM Pro lenses)

The OM-5 II is a small camera with remarkably good ergonomics. The grip has been reshaped so it handles larger lenses better (just as well, because the old add-on grip no longer fits), and the top-mounted control dials are easy to reach with your thumb and forefinger and have a precise, quality feel with just the right amount of weight.

This also applies to the main mode dial, which has a central locking button to prevent accidental adjustments. The buttons are a little less impressive, and seem a bit on the small side for anyone with big hands, but they work fine, and they’re clearly labelled and well spaced. There’s a new CP (computational photography) button on the top to make it easier to access the camera’s clever computational features, though you still have to turn a dial to select the one you want.

I’ll admit the button placement here did annoy me. The CP button and the video Record button are just too close together, and too hard to tell apart by touch. Hitting CP instead of Record was endlessly annoying during my video tests.

The ‘OK’ button on the back activates the camera’s ’Super Control Panel’ where you can make practically all of your day-to-day settings adjustments, and one of the key improvements in this camera over the old one is the redesigned menu system. That doesn’t sound like much of a thing, right? In fact, it transforms the experience of using this camera – if you’ve used the ‘old’ menus, you’ll know this was long overdue.

The EVF is not the highest-resolution, but it’s clear, contrasty and crisp, and it’s fine, especially at this price. The vari-angle rear screen is great too – and if you have the touch-shutter mode enabled, you can tap to focus and shoot in a single action and the response is practically instantanous.

For its size, this is an exceptionally well designed camera. Yes, if you’re new to it you will have to learn where things are, as with any camera. But once you’re past that phase you’ll find this camera fast and intuitive to operate, with fewer button presses and less lag than many of its rivals. What the OM-5 II lacks in state of the art specs, it makes up for as a pure shooting tool.

OM System OM-5 II: performance

Only 121 AF points, but fast
Excellent detail
ISO best kept to 6,400 or below

The OM-5 II is an extremely responsive camera. It starts up fast, it switches between the EVF and the rear screen in a fraction of a second as you move your eye to and from the viewfinder, and the autofocus is extremely fast too, especially using the tap shutter option on the rear screen. The only respect in which the AF system is starting to show its age is the relatively modest 121 AF points on offer, and the fact that the individual AF boxes/targets are fairly large, though you can swap to a more precise Single-S (small) option.

Detail rendition is excellent with OM Pro lenses like the 12-45mm f/4 pro and OM primes like the 17mm f/1.8, 25mm f/1.8 and (especially) the 45mm f/1.8. All optical corrections are carried out in-camera, applied automatically, and embedded in the raw files as ‘manufacturer’ correction profiles. Dynamic range is really good too, though you can’t drag up really deep shadows more than 2-3EV before they start to get a little noisy – this is where a larger-sensor camera will often do a little better (though not always).

This was taken handheld with the Computational Photography 4-stop ND option to slow the shutter speed right down to 1/2 sec. I'm not quite convinced by the movement in the leaves and the grass, but it's great if you don't like carrying filters

The maximum standard sensitivity on this camera is ISO 6,400, but it does offer an expanded ISO range up to 25,600 – personally I’d stick at ISO 6,400. At this setting the OM-5 II still produces very good results, though if you shoot raw files and use Adobe Camera Raw/Lightroom you might see a little more noise than you bargained for. That’s Adobe’s raw engine, not the camera. Of course, these days you can get some terrific AI noise reduction tools – I’ve used them on OM camera raw files and the high-ISO image quality is transformed.

As for video, check out the sample below. The conditions were pretty wild, but the OM-5 II did a great job under the circumstances

If you do use the OM-5 II for video you’ll get decent results. It won’t track you as effectively as some other hybrid cameras as you move around the frame, but if you keep reasonably still you should be fine. The OM-5 II is not designed for video in the same way that many hybrid mirrorless cameras are, but if you typically use video straight from the camera without any fancy grading effects, it’s fine, especially for social media use.

Should you buy the OM System OM-5 II?

Buy it if…

You need a go-anywhere camera
The OM-5 II is a rugged, affordable travel camera that can tackle just about anything, from landscapes to travel to night photographyView Deal

You're fine with 20MP
Most full-frame alternatives are only 24MP anyway. 20MP is fine for even larger wall art, and for online/social use you'll be downsizing your images anyway.View Deal

You don't want a cotton-wool camera
You don't need to baby the OM-5 II. It will shrug off rain and sea spray, it won't care about dust, and it's inexpensive enough not to make you anxious about it.View Deal

Don't buy it if...

Your main interest is sports and wildlife
The OM-5 II's burst mode is nippy enough for casual shooting, but for any serious work you should look for a camera with subject-tracking AF and faster burst speeds.View Deal

You're a serious/pro filmmaker
The OM-5 II shoots decent 4K video with excellent stabilization, but you have to drop to full HD for faster frame rates, and its 8-bit video is not ideal for heavy color grading later.View Deal

You already have an OM-5!
The updates in the Mark II version are useful but probably not enough to make you swap. The OM-5 II is probably aimed more at new users rather than OM-5 upgraders.View Deal

How I tested the OM System OM-5 II

I tested the camera for two weeks
I used it with OM System's 12-45mm f/4 kit lens
I shot both stills and video in a variety of conditions

I’ve owned several Olympus and OM System cameras in the past, so I’m very familiar with their strengths and weaknesses and exactly what they're capable of. I spent some time with the OM-5 Mark II, comparing its improved handling and menu system with the original OM-5 which I've also reviewed, and also with the E-M5 III before that.

I used the OM-5 II and its 12-45mm f/4 kit lens for a variety of projects including landscapes, street/travel shots, and video in wet and wild weather conditions. I wanted to compare the detail rendition with my full-frame cameras, the image quality at higher ISOs, and the effectiveness of the IBIS in order to explore the compromises and advantages of this smaller format.

First tested: October 2025
Read more about how we test

I tested the minimalist Hasselblad X2D II 100C – it’s my dream portrait and landscape photography camera that sets the image quality bar

3:17 pm | August 26, 2025

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

Hasselblad X2D II 100C: two-minute review

If you've read any of my articles about Hasselblad's 'medium-format' mirrorless cameras, you'll know I have a soft spot for the premium Swedish camera maker's X-series.

They're stunning minimalist cameras with quality craftsmanship that are simple to operate and a joy to use. Naturally, it also helps that the recent models can shoot the best-looking photos this side of $10,000.

The latest addition to the series is the X2D II 100C, which is an update of my dream camera; it's refined in all the right ways, and it costs much less than its three-year-old predecessor, pushing it closer to reality for photographers on the edge of splashing out.

If I were to pick one camera for landscape photography, this would be it. You can expect highly-detailed 100MP resolution, gorgeous natural colors that need little to no editing, and 16-bit files with rich HDR, along with probably the best image stabilization performance for this full-frame-dwarfing format.

Usually cameras in this 44 x 33mm sensor format are largely confined to the studio for still life and static subjects, but the X2D II is way more versatile than that, especially since it gets an all-new autofocus system, equipped with subject-tracking continuous autofocus and LiDAR.

For the first time with a Hasselblad I felt confident using its autofocus for shooting portraits, given its largely reliable people-detection skills. There's no obvious gap in autofocus performance between Hasselblad and a Fujifilm GFX model now.

I also felt comfortable shooting without a tripod, getting sharp shots handheld with shutter speeds in excess of one second.

Don't get me wrong – I still needed to be more involved in the process to get the results I wanted than when shooting with my full-frame Nikon, but the X2D II has strong automatic chops too.

Otherwise, for the most part the shooting experience felt largely the same as with the original X2D 100C, which is fine by me.

Hasselblad X2D II 100C camera in the hand, outdoors at first light — The X-E5 can be purchased in a bundle with this nifty, space-saving 23mm pancake lens. (Image credit: Tim Coleman)

The X2D II 100C has what for me is probably the best camera design bar none: a gloriously minimalist body with exotic curves, a high-quality build with a slight reduction in weight compared to its predecessor, a larger-than-average tilting touchscreen with gorgeous color and clarity, plus various refinements that include a new joystick for adjusting the autofocus point and more.

A built-in SSD provides 1TB of storage for those mammoth 200MB raw files, and a CFExpress Type B card slot offers another storage option.

Some downsides remain: it has middling battery life, there's still no video recording capabilities (which for some could be a plus, but for me would be a nice to have), while the quality of the 5.76m-dot viewfinder display feels only okay.

And while this is the best-performing Hasselblad yet, Fujifilm GFX rivals can shoot faster, while full-frame alternatives are faster still. The X2D II is a steady shooter, just not one for action.

But again, that's fine – a camera that can deliver such rich detail can't be expected to sustain high-speed burst sequences.

Improved autofocus performance was probably my top wish for a X2D 100C successor, and that wish has come true, alongside other design refinements which improve the overall user experience.

A pleasant additional surprise is the X2D II 100C's list price: $7,399 / £6,400 (AU$ pricing TBC). That's a good deal less than the X2D 100C, even if it's still a pricey premium snapper.

Hasselblad X2D II 100C: price and availability

Available now for $7,399 / £6,400 (Australia pricing TBC)
Costs less than the original X2D 100C
Launched alongside a new XCD 35-100mm f/2.8-4 zoom lens

Hasselblad products are pricey, and with good reason – the build quality is top-drawer, as is the medium-format sensor tech, plus there's a 1TB SSD built-in. Yet despite several refinements in this latest model, it actually costs much less than the original X2D 100C, which was launched in September 2022.

The price difference depends on the region, but in the UK the X2D II 100C costs £1,000 less than its predecessor. It's still pricey, as is the new 35-100mm zoom lens (28-80mm effective), which costs $4,599 / £4,100 (Australia pricing TBC), but this Hasselblad is edging closer to Fujifilm in terms of pricing.

Price score 4/5

Hasselblad X2D II 100C: specs

Sensor:	100MP 'medium-format' sized 43.8 × 32.9mm
Video:	None
Cont. shooting:	3.3fps (approx)
Viewfinder:	5.76m-dot OLED
LCD:	3.6-inch, 2.36m-dot tilting touchscreen
Battery (CIPA rating):	Up to 327 shots, extended to 466 shots with HDR off
Weight:	29.6oz / 840g (with battery)
Dimensions:	5.85 x 4.17 x 2.95 inches / 148.5 x 106 x 75mm

Hasselblad X2D II 100C: design and handling

Very similar design to its stunning, minimalist predecessor
Slightly lighter than before, new joystick added
Large tilting touchscreen with stunning display
1TB built-in SSD and CFExpress Type B card slot

Having tested the Hasselblad X2D 100C at length, the X2D II feels very familiar. At 840g with battery, the latest model is slightly lighter, but it retains the same form factor, with a wonderfully minimalist layout and an exaggerated grip. Given the sensor format, the X2D II is impressively compact.

The finish on the high-quality body is different, and I prefer the new version both in appearance and feel.

We have the same touchscreen as before, and it's delightful. At 3.6 inches it's larger than most, plus it's wonderfully bright, rich in color and contrast, and its touch response is spot on, which is something that can't be said for all cameras – touch response feels more smartphone-like than camera-like.

Initially, pulling out the tilt screen stills feels a little fiddler than it could be, and the tilt motion is stiff; but it feels durable, and the up and downward tilt range is handy, especially for shooting at low angles.

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Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Hasselblad X2D II 100C camera outdoors at first light, with 35-100mm lens attached — (Image credit: Tim Coleman)

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Rear screen of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Hasselblad X2D II 100C camera outdoors at first light, with its touchscreen tilted — (Image credit: Tim Coleman)

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Hasselblad X2D II 100C camera outdoors at first light, with its screen tilted up — (Image credit: Tim Coleman)

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That tilt range also means the screen clears the viewfinder, which sticks out from the body, for unimpeded viewing from low angles. The large 5.76m-dot viewfinder display is lovely too, although it's far from the absolute best viewfinder I've used.

Once again we get a 1TB built-in SSD for storing images – and you'll need it, with each raw file coming in at a whopping 200MB. There's also the option to use removable media in the form of CFXepress Type B, which is one of the fastest card types today – I made use of both options during my review period.

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Hasselblad X2D II 100C camera's new joystick control, outdoors at first light — (Image credit: Tim Coleman)

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Battery door of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Battery of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Grip of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Top plate of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Memory card and connection port doors open on the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

One of the headline new features is an autofocus system that's totally new to Hasselblad, which I'll get onto in the next section, and in terms of the design this has prompted the addition of a joystick. This can be used to manually select the autofocus point – I find it a more intuitive method than the touchscreen. Despite the addition of the joystick, which is very welcome, the design still feels wonderfully minimal.

The same goes for the UI – menus are still super stripped-back and easily navigable, even with a new range of autofocus modes. The omission of video recording helps here, while there are no color profile options at all, and I really appreciate how quick and easy it is to make adjustments to settings.

I have only one niggle with design – the protective door for the USB-C port (the port which can be used to charge the camera), pops open all too easily, especially when using a camera strap.

Design and handling score 5/5

Hasselblad X2D II 100C: features and performance

5-axis sensor-shift IBIS with up to 10EV stabilization
New subject-detection autofocus recognizing humans, animals and vehicles
Continuous shooting up to 3.3fps

The original X2D's autofocus is poor by today's standards – I used it to shoot a wedding, and I quickly reverted to my old DSLR for moments when I needed autofocus with a quick response.

Hasselblad has sensibly focused its attention on various performance improvements for the X2D II, and chief among them is a completely new autofocus system. The X2D II's focusing is a different proposition altogether, almost matching Fujifilm GFX standards.

This is the first Hasselblad camera with continuous autofocus, plus the first with subject-detection autofocus, being able to recognize and track humans, animals and vehicles. It also utilizes LiDAR focusing, an improvement that comes courtesy of drone maker DJI (which bought Hasselblad some years ago, and which introduced the built-in SSD in previous models).

I tested the camera on all of the subject types it's able to recognize, and it performed well, but don't expect the same degree of autofocus sophistication you'll get from, say, recent Sony / Canon / Nikon models.

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Sample images taken with the Hasselblad X2D II 100C — I shot this self portrait remotely using Hasselblad's Phocus software, triggering the camera with my Apple iPad (Image credit: Tim Coleman)

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Still, given it was my first time shooting portraits on location with a Hasselblad, I felt confident that the focus was going to be pin-sharp on my subject's eyes, and that's a big deal. The AF was also able to track my children's pet guinea pigs and recognize birds and horses.

Hasselblad says image stabilization performance has also been improved, and it's now rated up to 10EV, which would be a world-first for any camera in any format.

I was using the X2D II with the new 35-100mm lens, and put stabilization to the test. Based on 10EV of stabilization, at the wide-angle end of the lens zoom range I would expect the camera to be able to shoot sharp handheld shots with shutter speeds of 15 seconds.

Not a chance – that simply isn't the case. I was getting sharp shots like I was before with the X2D, down to around three seconds, which is more like 7.5EV. Nonetheless, it's still an incredible performance for such a high-resolution camera.

Despite its improved autofocus performance, the X2D II, like its predecessor, is not a camera for action photography. Its burst shooting performance is limited to around 3fps, which by today's standards is very slow. No, this is a camera for single shots really, like landscapes and portraits.

Features and performance score: 4.5/5

Hasselblad X2D II 100C: image quality

Stabilized 100MP 'medium-format' 44 x 33mm sensor
16-bit raw files and 'end to end' HDR capture
No video recording whatsoever

Image quality for the most part is much the same as from the X2D, but Hasselblad didn't need to make any improvements here – the original model was already capable of taking the best-looking pictures I've ever made with a camera.

Not convinced? Check out this Hasselblad X2D vs Nikon Z6 II feature I wrote.

The X2D II utilizes the same 44 x 33mm sensor with 5-axis stabilization as before, shooting 100MP stills with 14-bit or 16-bit color-depth options. What is new, however, is what Hasselblad calls 'end to end' high dynamic range (HDR) capture – you simply check the box in image quality section of the menu to activate it.

HDR, as the name suggests, increases the range of tones in an image. Without it, the X2D II already has a wide dynamic range given the large sensor format and pixel density, but with it we get over 15EV of dynamic range. Check out some HDR landscape photos in the gallery, below.

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I took photos with and without HDR active (in raw and JPEG simultaneously), and really I could take or leave HDR – the raw files are stunning either way. Yes, you get more visible detail in shadow and highlight areas, but you also lose some of the punch of the raw files as a result.

And there's plenty of latitude to brighten shadows and darken highlights of raw files for HDR-like results using editing software. Perhaps the main benefit to in-camera HDR is that you can skip the editing process for the times when you want more detail in the tonal extremes. It could also mean that shooting in JPEG-only format is a more realistic option. I still think HDR capture is an excellent feature.

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If you're a camera owner who's used to a choice of in-camera color profiles, like you get with virtually all other cameras, such as Fujifilm's film simulations, then you'll quickly notice the absence of those here. There's not even a black-and-white mode.

It's another example of Hasselblad's minimalist approach which I appreciate, especially when the natural colors look this good – they're somehow vivid and natural at the same time – so unless you like to dial the saturation slider up to unnatural levels, stylize your images, or go monochrome, you really don't need to spend time tweaking colors in post. All the images in the gallery above are completely unedited.

The impressive image stabilization on board and improved autofocus performance really help too, meaning you can get sharp handheld shots more easily.

Hasselblad has left out video recording once again – the X2D II is purely for photographers. That will no doubt delight photography purists, but I can't see any harm in adding video recording, besides perhaps clogging up the menus.

One thing to note about all of the images included in my galleries – they are original unedited files. With 100MP to play with, there's plenty of cropping potential to focus in on certain details, like the distant person sat on a hillside, framed by the setting sun.

There's also various aspect ratios available in camera, such as Hasselblad's legendary X-Pan panoramic format.

Image and video quality score: 5/5

Hasselblad X2D II 100C: Test scorecard

Hasselblad X2D II 100C
Attributes	Notes	Rating
Price	A premium camera for a premium price, but it's surprisingly and significantly cheaper than it's predecessor	4 / 5
Design	Simply one of the best camera designs of all time	5 / 5
Feature and performance	Much improved autofocus, built-in SSD storage, but slow burst shooting speeds	4.5 / 5
Image quality	The best looking photos you can get, for the price. No video recording though.	5 / 5

Should I buy the Hasselblad X2D II 100C?

Buy it if...

You want natural-looking images from the off
Hasselblad's 100MP, 16-bit Raw files are packed with detail and the stunning colors look right from the off

You appreciate camera design
I dig Hasselblad's minimalist design philosophy – the X2D II not only looks the part, but it feels great in the hand and comes with a refreshingly simply UI.

You're a pro portrait and landscape photographer
If you want the absolute best image quality for portrait and landscape photography and don't often shoot action, then the X2D II sets the bar.

Don't buy it if...

You shoot video
An obvious one, but the X2D II has no video capabilities – it's purely for photographers.

You shoot any kind of action photography
Yes, the X2D II has subject tracking autofocus which makes it more reliable, but it's no match for industry-leading systems, while continuous burst shooting is a slow 3fps approx.

You want supreme battery life
Up to 330 shots is a pretty poor battery life for such a camera. That said, it's a photography-only camera with slow continuous shooting performance, so you're unlikely to rinse the battery quickly.

Hasselblad X2D II 100C: Also consider

Like the sound of the Hasselblad X2D II 100C but keen to know what else is out there? Here are a couple of solid alternatives…

Fujifilm GFX100 II
Fujifilm's flagship camera with the same 44x33mm sensor format is the GFX100 II. It also has a 100MP sensor, but it has superb video recording capabilities too. It's a little pricier than the X2D II.

Read our in-depth Fujifilm GFX100 II review

Sony A7R V
The best full-frame alternative to the X2D II is the high-resolution Sony A7R V. It has the same pixel density – 61MP on a stabilized full-frame sensor, together with a wide dynamic range and impressive autofocus skills. It costs around 40% less than the X2D II too.

Read our in-depth Sony A7R V review

How I tested the Hasselblad X2D II 100C

Hasselblad loaned me the X2D II 100C for three weeks ahead of its launch
I had the new XCD 35-100mm f/2.8-4 lens to test it with
I've taken camera and lens pairing on several outdoor photography shoots

I've had plenty of chances to use the X2D II with the new XCD 35-100mm f/2.8-4 lens ahead of their launches, taking the pairing on a few landscape photography trips, plus for candid portraits of humans and animals.

I've shot during daylight and nighttime, outdoors and in, and paired the camera with the latest (beta test) version of Hasselblad's Phocus app for remote control of the camera and image uploading.

My testing took place over the course of about one month.

First reviewed August 2025

I spent two weeks shooting with the Fujifilm X-E5, and there are solid reasons for its painful price hike

5:47 pm | July 18, 2025

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: Film Simulation, OLED | Comments: Off

Fujifilm X-E5: two-minute review

The Fujifilm X-E5 is a significant leap forward for Fujifilm’s X-E series, elevating it from its budget-friendly beginnings to the loftier heights of the mid-range.

At $1,699 / £1,299 / AU$2,699 body-only it’s significantly pricier than its predecessor. But that hike brings with it some serious upgrades – and not only in the shape of the 40.2MP X-Trans CMOS 5 sensor (which is the same as the one you’ll find in the X100VI).

Design-wise the X-E5 nails the retro look, and with its aluminum top plate and minimalist controls it really feels like a premium product. Compact, handsome and lightweight, it’s ideal for travel and street shooters, and the new Film Simulation dial and customizable front lever give it added control finesse. That said, the camera isn’t weather-sealed and offers limited grip, making it less suited to challenging environments or big lenses.

The viewfinder and touchscreen feel slightly outdated, too. The OLED EVF is small and lacks the crispness I’ve seen on some rivals, while the flip-up screen can be obstructed by accessories in the hot shoe, which could be an annoyance for vloggers and video shooters. That said, I found both to be functional for stills photography.

Fujifilm X-E5 camera — The X-E5 can be purchased in a bundle with this nifty, space-saving 23mm pancake lens. (Image credit: Future | Sam Kieldsen)

The star addition to the feature list is in-body image stabilization (IBIS), appearing for the first time in the X-E line. It’s a game changer for low-light shooting and handheld video, at least compared with the X-E4. The autofocus system has been upgraded too, and now offers subject tracking not only for humans but animals, vehicles and more.

Shooting performance is solid: 20fps burst with electronic shutter (with crop), 13fps uncropped or 8fps with the mechanical shutter. And thanks to the inclusion of 20 of Fuji’s signature Film Simulation modes, it's easy to get incredible-looking shots straight out of the camera. The color science, as with all X-series cameras, is a real strong point.

Video quality is excellent, with 6.2K 30p and 4K 60p 10-bit capture, including access to F-Log profiles for added dynamic range. But there are caveats: the camera tends to overheat with extended video shooting, it lacks a proper headphone jack, and that tilting screen remains an ergonomic obstacle for self-shooters. For me the X-E5 is best thought of as a photography-first tool, with video as a very capable bonus feature.

In short, the Fujifilm X-E5 is a compact and beautifully built mirrorless camera that delivers superb images, reliable autofocus and welcome stabilization. It's not cheap, and it's not perfect (video-first shooters and all-weather adventurers should look elsewhere), but for travel, street and everyday stills photography, it's a delight.

Fujifilm X-E5: price and availability

$1,699 / £1,299 / AU$2,699 body-only
Significantly pricier than X-E4 was at launch
Available in a kit with new XF23mm lens

The Fujifilm X-E5 was launched on June 12 2025, alongside a new pancake lens, the XF23mmF.28 R WR.

Pricing starts at $1,699 / £1,299 / AU$2,699 body-only, or $1,899 / £1,549 / AU$3,049 for a bundle with the lens. Perhaps the most notable thing about the price is how much higher it is than the Fujifilm X-E4’s was at launch: it cost $949 / £799 / AU$1,399 body-only, or $1,049 / £949 / AU$1,799 in a kit with a pancake lens. Yes, that was back in 2021, but this is still a significant increase that far outstrips inflation.

There are various factors that affect pricing, from general inflation to recently introduced tariffs. However, I think the main reason for the bump here is simply that Fujifilm deems the X-E5 is a more premium product than its predecessor – and given the improvements made to features and spec, it’s hard to argue with that.

It’s clear that the X-E5 isn’t the entry-level option the X-E4 was; this is now very much a mid-range option. I think the price reflects that, and I think the lens bundle in particular represents a pretty good deal.

Price score 4/5

Fujifilm X-E5: specs

Sensor:	40.2MP X-Trans CMOS 5 HR APS-C
Video:	6.2K 30p, 4K 60p, FHD 240p, 10-bit
Cont. shooting:	Up to 20fps electronic shutter, up to 8fps mechanical shutter
Viewfinder:	2.36m-dot OLED
LCD:	3-inch 1.62m-dot tilting touchscreen
Battery (CIPA rating):	Up to 400 shots or 45 minutes of video capture
Weight:	445g / 15.7oz
Dimensions:	124.9 x 72.9 x 39.1mm / 4.92 x 2.87 x 1.54 inches

Fujifilm X-E5: design and handling

Weighs just 535g / 18.9oz with XF23mm lens
Not weatherproof
Tilting touchscreen and OLED viewfinder

The Fujifilm X-E5 sports similar rangefinder styling to previous models in the series, but with some big advances in design and build quality. As soon as I picked up the camera I realized it felt nothing like a plasticky 'budget' option; it’s solid and hefty, thanks to the new aluminum top plate, while the included braided rope strap looks and feels very modish indeed.

I still found the camera body to be compact and lightweight for a mirrorless model however, and with the new pancake lens attached it makes for a strikingly portable setup that I think would be perfect for street or travel photography. I should say, though, that despite its build-quality improvements this still isn’t a fully weather-sealed camera, so should be used cautiously in rainy conditions. I think that’s a shame, as it somewhat detracts from its travel-friendly nature.

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The compact size and flat body shape have an impact on ergonomics, of course; there’s not a great deal to grip onto here bar a small moulded bump at the front and back on the right side. With a small lens attached things feel comfortable enough, but I suspect fitting larger lenses will result in balance and handling challenges. This camera certainly seems designed for use with small primes and short zooms rather than longer, heavier lenses.

Controls-wise, things remain fairly minimalist, particularly on the rear of the camera – that’s always been typical of the X-E series and I think it suits the aesthetic well, and I had few problems accessing settings I wished to change.

There are a couple of notable additions I really enjoyed using: firstly, the Film Simulation dial on the top plate, which displays the current selection through a little circular window and supports up to three custom recipes plus the standard range of Fuji’s film-aping filters.

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Top down of all black Fujifilm X-E5 alongside silver Fujifilm X-E5, on a wooden bench — (Image credit: Future / Tim Coleman)

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Closeup of the Fujifilm X-E5's viewfinder — (Image credit: Future / Tim Coleman)

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Underside of the Fujifilm X-E5 with its battery door open, battery and memory card removed — (Image credit: Future / Tim Coleman)

Second is the lever on the front – a feature borrowed from X100- and X-Pro series cameras. It can be customized to suit the user’s preferences, adding a great deal of additional control to what appears to be a very controls-light camera.

The X-E5’s rear touchscreen and viewfinder feel outdated alongside other recent cameras. The screen, for instance, has a flip-up design rather than full tilt-and-swivel vari-angle, which means it can be blocked by anything mounted on the hot shoe when flipped up to face forward. Got a flash or shotgun mic fitted? You won’t be able to see much of the screen. Other than that, I found it bright, sharp and easy to use.

The OLED viewfinder is small and fairly low-resolution compared with say, the Fujifilm X100VI’s, and its eyepiece does little to block out exterior distractions. That’s not to say it’s not perfectly serviceable – it just seems a little behind the times.

Storage is courtesy of a single SD card slot alongside the battery slot on the bottom of the camera, while physical connections comprise a 3.5mm mic/remote input, a USB-C port for charging, storage and headphone hook-up, and micro HDMI.

Design and handling score 4/5

Fujifilm X-E5: features and performance

5-axis sensor-shift IBIS now included
Subject-detection autofocus recognizing animals, cars and more
Continuous shooting up to 20fps

Perhaps the biggest feature upgrade the X-E5 boasts over its predecessor is five-axis in-body stabilization (IBIS). The X-E4 had no internal mechanism to counter camera shake, so IBIS is a significant boost to its capabilities.

The sensor-shifting mechanism adds up to seven stops of compensation according to Fujifilm, and I found it very useful for slower shutter speed photos (i.e., in low-light conditions) and handheld video capture. It would have been nice to have some longer lenses to test with it, but I have no complaints about its effectiveness with the 24mm pancake.

As well as the sensor-shift tech, users also have the option to use two further digital stabilization modes for video capture, which apply a successive crop to the image.

Continuous shooting has been slowed down slightly from the X-E4, albeit only in electronic shutter mode, and perhaps as a result of the X-E5’s higher sensor resolution, it can’t match the X-E4’s 30fps maximum speed. It can now shoot at up to 20fps in this mode (which applies a 1.29x crop to the image), at up to 13fps electronically with no crop, or at up to 8fps with the mechanical shutter (also uncropped). That’s perfectly respectable in my book, particularly as those speeds are now paired with a much improved autofocus setup.

The X-E4 had human face and eye detection and tracking, but the X-E5 adds subject detection for animals, birds, cars, motorcycles, bikes, airplanes and trains. In testing I found that it reliably tracked moving subjects across the frame, and as they moved towards or away from the camera or in and out of view. It might not quite match the speed and laser-like accuracy of the systems on the latest high-end Canon, Sony or Nikon cameras, but it’s a good, dependable setup.

Battery life doesn’t look particularly impressive on paper, with the X-E5 having a CIPA rating of 400 shots or just 45 minutes of video recording on a full charge. But in practice (shooting mainly photos) I found it felt fairly generous, and rarely had to recharge the camera during my time with it.

Perhaps yet more evidence that this is a photography-first camera is that it has a tendency to overheat and shut down when used to shoot longer video clips. I set the video quality to 4K 60fps and found that the X-E5 only managed to record 14.5 minutes before turning itself off to cool down.

Features and performance score: 4/5

Fujifilm X-E5: image and video quality

40.2MP X-Trans CMOS 5 APS-C sensor
4:2:2 10-bit video up to 6.2K and 14-bit RAW photo capture
20 customizable Film Simulation modes

The X-E5 is built around a 40.2MP APS-C sensor that represents a fairly large resolution jump over the X-E4’s 26MP sensor. It’s the same sensor as you’ll find in the highly coveted Fujifilm X100VI compact, but instead of that camera's fixed lens you can use any piece of X-mount glass you like.

As well as its 40.2MP stills (which can be captured in JPEG or 14-bit raw), the X-E5 can capture video at up to 6.2K 30fps or 4K 60fps 4:2:2 10-bit quality, plus Full HD at up to 240fps for slow-motion playback.

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Street photography in Valencia, Spain, taken with the Fujifilm X-E5 mirrorless camera and XF 23mm f/2.8 lens — (Image credit: Future / Tim Coleman)

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I’m hugely impressed with the X-E5’s photography performance. As mentioned above, it comes with a selection of film simulation modes (20 in all), allowing users to instantly give their images a style and aesthetic reminiscent of analog film types.

My personal favorite, going back to my time using the Fujifilm X-Pro 2 almost a decade ago, has always been Classic Chrome, and I found myself defaulting to it as my go-to setting for standard shots. But there are plenty of other interesting Film Simulations that I enjoyed testing too, like the desaturated Eterna Bleach Bypass and the ultra-punchy monochrome Acros, which can be set with yellow, red, or green filters to further enhance its look.

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Fujifilm X-E5 sample photograph — (Image credit: Future | Sam Kieldsen)

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There are plenty of options in the menus for adjusting these Simulation recipes in order to find results you like, or you can of course just shoot in raw and process the images yourself in Lightroom or similar. I also tried this, and found the huge raw files provided superb platforms for heavy image adjustments and corrections. Whether you want a camera that produces excellent point-and-shoot results or gives you the basis for heavy editing, the X-E5 fits the bill.

Video quality is also excellent, and offers videographers the same selection of Film Simulation modes as well as F-Log and F-Log2, two flat profiles that work as a solid base for color grading and correction in post-production. It also supports bit rates of up to 200Mbps. There are several reasons why the X-E5 isn’t ideal for video (the lack of a 3.5mm headphone socket, the tilting screen being blocked by anything on the hotshoe, the tendency to overheat), but actual image quality isn’t one.

Image and video quality score: 4.5/5

Fujifilm X-E5 camera on wooden shelf surrounded by ornaments — (Image credit: Future | Sam Kieldsen)

Fujifilm X100VI: Test scorecard

Fujifilm X100VI
Attributes	Notes	Rating
Price	A big price bump over the X-E4, but given the improvements it feels warranted.	4 / 5
Design	Stylish and compact, with more metal than previous X-E models – but not weatherproof.	4 / 5
Feature and performance	Image stabilization and autofocus are excellent, even if other aspects are a little more average.	4 / 5
Image quality	A superb sensor and winning color science deliver superb images straight out of the camera.	4.5 / 5

Should I buy the Fujifilm X-E5?

Buy it if...

You want a chic, ultra-compact mirrorless camera
The X-E5 is small, lightweight and handsome – and its X-mount means it can be used with lots of excellent lenses, so it’s more versatile than most premium compact cameras.

You primarily shoot with small or lightweight lenses
Balance-wise, the X-E5’s body is more suited to small primes and zooms than larger, heavier lenses. If you’re a sports or wildlife photographer, you may find the handling unwieldy with those longer lenses.

You adore Fujifilm’s color science
Fujifilm’s Film Simulation modes are color magic, and the X-E5’s nifty selection dial makes them easier to choose (and use) than on any other Fujifilm camera to date.

Don't buy it if...

You’re primarily a video shooter
While video quality is excellent, the X-E5’s design imposes some limitations on videographers that may cause frustration. It’s fine for the odd clip, but making a film on it would be a struggle.

You need to shoot in all conditions
The lack of weather sealing is a concern here, particularly for those buying the X-E5 as a travel camera. It’s a pity it can’t be used in rain showers or in dusty desert conditions.

You're seeking a cheap entry-level camera
The X-E4 was relatively inexpensive, but the X-E5 feels like a mid-range model and comes with a price tag to match. Cheap it most certainly isn’t.

Fujifilm X100VI: Also consider

Fujifilm X-E5 on a wooden bench, with the XF 23mm f/2.8 lens removed and propped up against the camera — (Image credit: Future / Tim Coleman)

If our Fujifilm X-E5 review has inspired you to think about other options, here are two other cameras to consider…

Fujifilm X100VI
The X100VI is one of the most desirable compact cameras around, and it’s based on the same processor as the X-E5, but has a fixed lens. The X100VI may be a little less versatile as a result, but its 23mm f/2 lens, LED flash and better screen and viewfinder definitely make it worth a look.

Read our in-depth Fujifilm X100VI review

Nikon Zf
Oozing retro charm, the Zf is available at a similar price to the X-E5 but comes with flagship-level stabilization, burst speeds, autofocus and more, with a raft of new features recently being added via firmware update. It’s also got a full-frame sensor, with all the advantages that brings.

Read our in-depth Nikon Zf review

How I tested the Fujifilm X-E5

I used the camera and new XF23mm f/2.8 lens over two-week period
I tested them in various lighting conditions
I focused mainly on still photography, but shot video too

Fujifilm loaned me the X-E5 and new Fujinon XF23mm f/2.8 pancake lens for a period of two weeks, which gave me plenty of time to field-test the camera in a variety of situations, although the wide-angle lens meant I didn’t attempt any sports or wildlife photography (unless you count snapping some insects in my garden). I took the camera with me on various walks and trips, allowing me to test it in a range of lighting conditions and situations.

While the X-E5 supports both photo and video capture, I felt that I should concentrate mainly on the former, as the camera (particularly with this lens) feels geared more towards stills photography than amateur moviemaking. That being said, I did test the various video modes during my time with the X-E5.

First reviewed July 2025

I tested the Panasonic Lumix S1 II for a month, and it’s an incredibly powerful mirrorless camera for video, with Canon and Sony-beating features

2:30 pm | July 4, 2025

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

Panasonic Lumix S1 II: two-minute review

The S1 II is Panasonic's most powerful Lumix camera yet, debuting a partially-stacked 24.1MP sensor and an embarrassment of riches for video recording, including 19 pages of video codecs in the menus.

There are 6K and 4K options in various aspect ratios up to 60fps and 120fps respectively, plus a new open gate 5.1K option up to 60fps. Furthermore, ProRes Raw format is available in-camera with bitrates up to 4.2Gbps (that's not a typo), as is a Dynamic Range Boost mode – the latter delivers quite possibly the most detail-rich video I've seen at this price point.

The boost in performance from the partially stacked sensor extends to photography too, with up to 70fps burst shooting (or 10fps using the mechanical shutter) and an option for 1.5 seconds pre-capture.

Both photo and video capture benefit from class-leading in-body image stabilization – the Boost IS mode gave me some of the smoothest handheld videos I've shot – plus Panasonic's most effective autofocus yet, with subject-detection autofocus now extended to 'Urban Sports' such as parkour. Autofocus speed, versatility and accuracy are still not quite as complete as rival cameras such as the Nikon Z6 III, but it's impressive nonetheless.

Panasonic Lumix S1 II mirrorless camera held up to photographer's eye — (Image credit: Tim Coleman)

As for the design, the Lumix S1 II's body is identical to the Lumix S1R II's – which is a good thing considering that it's the best Lumix design yet.

I've enjoyed the crisp 5.76m-dot EVF, 1.84m-dot vari-angle touchscreen, durable body and a generous handgrip, complete with vents that keep the camera cool during long record sessions.

The Lumix S1 II feels uncharacteristically expensive for a Lumix, but I'm still struggling to think of a better mirrorless camera at this price point for video-first users – it really is one of the best video cameras. As a photography-first user, the 44.3MP Lumix S1R II is the more obvious choice for me, even if it can't match the S1 II's raw power.

Panasonic also launched the Lumix S1 IIE on the same day as the Lumix S1 II. The two cameras are identical, except that the 'E' version has a regular 24MP full-frame sensor rather than a partially stacked one, which means a slower performance in a few areas and fewer video modes to choose from. It's $500 / £500 cheaper.

I feel like there's much more of a case for the S1 II than there is for the S1 IIE, especially given there's the cheaper Lumix S5 II in the picture, which is yet another 24MP Lumix. The Lumix S1 II is agonizingly close to a five-star rating, but its price point puts it among fierce competition, and takes it down a peg.

Panasonic Lumix S1 II: price and release date

Body-only price is $3,199 / £2,899 / AU$5,299
It was announced on May 13 2025 and is available now
A Lumix S1 IIE version costs $2,499 / £2,399 (about AU$4,100)

The Lumix S1 II was announced on May 13, 2025, and it costs $3,199 / £2,899 / AU$5,299 body-only. The 44.3MP Lumix S1 R II costs $100 / £100 more, while the Nikon Z6 III, which is another obvious alternative, is a fair bit cheaper.

Alongside the Lumix S1 II, Panasonic unveiled the Lumix S1 IIE, which has the same skin and feature set, but a regular 24MP full-frame sensor rather than a partially stacked kind. The S1 II's partially stacked sensor delivers faster performance in several areas, and more video record modes.

Both cameras are available now.

Price score: 4/5

Panasonic Lumix S1 II: specs

Specs
Sensor:	24MP full-frame, partially stacked
Video:	6K 60p, 5.1K 60p, 4K 60p, 4K 120p (1.2x crop), open gate, 10-bit
Cont. shooting	Up to 70fps using electronic shutter, up to 10fps mechanical
Viewfinder:	5.76m-dot OLED
LCD:	3-inch, 1.84m-dot vari-angle LCD touchscreen
Battery (CIPA rating):	Up to 350 shots or up to 130 mins record time
Weight:	1.76lbs / 800g (incl battery and card)
Dimensions:	5.29 x 4.03 x 3.61 inches / 134.3 x 102.3 x 91.8mm

Panasonic Lumix S1 II: design and handling

Rugged body, weighs 1.76lbs / 800g
Clear and detailed 5.76m-dot OLED EVF
Cooling vents for long record times without overheating

We've already reviewed the Lumix S1R II, and the Lumix S1 II's design is essentially identical. At 1.76lbs / 800g, it's a tiny bit heavier – that's because it features a partially stacked sensor – but that's the only real difference.

To briefly recap from our Lumix S1R II review, this second generation of Lumix S1 cameras is slimmed down from the first, being approximately 20% lighter and a little smaller in every dimension.

The S1 II, S1 II and S1R II trio are very comfortable to hold, and the S1 II balances really well with most of Panasonic's L-mount lenses – I had the 24-105mm F4 Macro OIS for this review.

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Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface — (Image credit: Tim Coleman)

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Rear of Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's connection ports — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface, touchscreen flipped out — (Image credit: Tim Coleman)

I think Panasonic has evolved the design nicely – not only are the new S1 II / S1R II / S1 IIE models the best in the hand yet, but they're rugged, weather-proof, and feature built-in vents to keep them cool – an essential feature for big video hitters like the Lumix S1 II.

There's a slight feel of function over form here: the Lumix S1 II speaks video production work to me, rather than go-out-and-create. That said, the camera handles well in any situation.

As a hybrid mirrorless camera, no stone is left unturned – the Lumix S1 II features full-size HDMI, mic, and headphone ports, plus USB-C charging that doubles up for external SSD connection and recording.

There are twin card slots – one is CFExpress Type B, which you'll need for some of the higher-quality video codecs, and the other is SD UHS-II.

The vari-angle screen can spin around to the front for selfie recording, and the display features a helpful red border prompt during recording, together with front and rear tally lights – these are useful visual aids for busy filmmakers. There are also twin red buttons to start recording: a large one on the front of the camera, and a smaller one on the top.

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Top of Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's shooting mode dial — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's photo video switch — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's battery — (Image credit: Tim Coleman)

Photographers in particular will enjoy the EVF – it's a bright and detailed 5.76m-dot OLED display. I also like the feel of the rear joystick, especially for navigating autofocus points and modes.

The button layout is all very sensible, and I also appreciate how simple Panasonic menus are (in general). For example, the video mode menu only has six pages in all, so features like image stabilization are easily found.

The same can't be said for video codecs – there are a staggering 19 pages of Full HD, 4K 5.1K, 5.8K and 6K video modes to choose from, with various aspect ratios, bitrates and formats.

Thankfully, it's possible to create custom profiles for your most-used settings, otherwise navigating between the options is a time sink.

Design score: 5/5

Panasonic Lumix S1 II: features and performance

Incredibly effective image stabilization for video
Rapid 70fps burst shooting mode or a more sensible 10fps using mechanical shutter with continuous AF
Average 350-shot battery life
Panasonic's best autofocus performance to date

Panasonic stuck with a contrast-detection-based autofocus system for years when rivals had adopted a hybrid phase / contrast-detection setup, which is more effective for video. It was a big mark against Panasonic's otherwise-excellent video cameras.

Thankfully, Panasonic finally rectified the situation with the Lumix G9 II / Lumix S5 II in 2023, introducing a hybrid autofocus system which Panasonic says is now 1.6x faster in the Lumix S1 II.

Certainly, the Lumix S1 II packs Panasonic's best-ever autofocus, with an increased array of subject-detection modes. I've been shooting anything from grassroots sports to animal portraits with it, and on the whole have been really impressed.

While not scientific, my testing suggests that Panasonic's autofocus is still a little way behind the likes of Canon, Sony and Nikon, but not by much; in simple terms, autofocus performance is no longer a strike against Panasonic. You can see in the gallery below a range of subjects I've photographed, and my hit ratio of sharp shots was roughly 8/10.

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Panasonic Lumix S1 II sample gallery: golden retriever portrait, in bright light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: guineapig portrait, in golden light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: backlit portrait — (Image credit: Tim Coleman)

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What is less ideal is battery life, which is CIPA-rated at 350 shots, or up to 70 minutes record time. I've been able to squeeze more photos out of a fully charged battery than that, and there's on-the-go UBS-C charging too. However, Sony cameras, for example, boast better battery life.

Where the Lumix S1 II really shines is its in-body image stabilization, which is rated up to 7EV. In practice, I've found it to offer the most effective stabilization of any camera for video recording, especially in the Boost IS mode. There's a small crop of the image area in this mode, but handheld videos on the move are silky smooth.

There's also an extremely rapid 70fps burst-shooting mode. Personally, I find this to be overkill for the casual action photography I typically do, but to have a mechanical shutter that ticks over at 10fps for what are essentially unlimited sequences is a great to have.

Overall, the Lumix S1 II is able to sustain its high-speed performance to a level that the Lumix S1R II can't. I photographed a grassroots soccer match at last light (see below), and the camera's speed and autofocus held up well.

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Panasonic Lumix S1 II sample gallery: footballer on sidelines — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: footballer during game at last light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: footballers in action during game at last light — (Image credit: Tim Coleman)

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There's the option for data-heavy ProRes RAW video recording in-camera, which further highlights just how powerful a camera the Lumix S1 II is.

I also must commend the new(ish) Lumix Lab app, which is the most reliable camera app Panasonic has made yet. Unlike previous apps, which have frustrated me no end with my previous cameras such as the Lumix GH5, Lumix Lab provides a quick and reliable connection between camera and phone, together with remote control, image upload, and access to Lumix resources such as custom color profiles.

Features and performance score: 4.5/5

Panasonic Lumix S1 II: image and video quality

24MP partially stacked sensor is a great all-rounder
A generous range of video codecs, bitrates and aspect ratios, up to 6K 60p
Color profiles and real-time LUTs can be imported from the Lumix Lab app

If you want the best-possible video quality, you'll struggle to find a better camera than the Lumix S1 II at its price point.

It tops out at 6K resolution, whereas high-resolution alternatives such as the Lumix S1R II, Canon EOS R5 Mark II, Nikon Z8 and Sony A1 II offer 8K, but otherwise the Lumix S1 II's video quality is top-drawer.

Not only does it offer more video formats and bitrates than rivals, but also aspect ratios which are taken from the full height and width of the sensor (open gate) and include 3:2, 4:3, 16:9, 17:9 and 2.4:1.

I've shot with a wide range of the video modes, and you can see what to expect across the various resolutions and frame rates in the (lengthy) sample video, below.

Special mention goes the the Dynamic Boost mode, which delivers quite possibly the best and most detail-rich video quality straight out of the camera that I've seen from a hybrid camera. You lose various features, such as slow-motion frame rates, but for outright quality it's incredible.

Something the Lumix S1 II does better than the higher-resolution Lumix S1R II is handle rolling shutter distortion. Yes, it's a way more capable all-round camera for recording video.

There are also a range of color profiles, including V-Log, plus any number of custom profiles made by pros in the Lumix community, and which can be imported directly to the camera from the Lumix Lab app for video and photo. You can see a range of looks in the photo gallery below.

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Panasonic Lumix S1 II image gallery: male portrait at golden hour, among trees, dappled light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II image gallery: monochrome street scene in London — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II image gallery: monochrome, River Thames and Big Ben on horizon — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II image gallery: London street scene — (Image credit: Tim Coleman)

If you're mainly going to be shooting photos, and appreciate the Lumix S1 II's all-round capabilities, then the Lumix S1 IIE could be a better shout. It's widely reported that partially stacked sensors can have an adverse impact on image quality in low light versus a regular sensor; it's a subtle difference, but images can be a little noisier. I haven't made direct comparisons between the Lumix S1 II and Lumix S1 IIE, but it's something worth thinking about.

Overall, however, I have no complaints regarding the photo quality of the Lumix S1 II. I'm used to full-frame 24MP cameras; they balance speed, performance, and image quality nicely.

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Panasonic Lumix S1 II sample gallery: colorful beach huts — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: flowers along a wall on a city street — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: sailing boats moored in a ruver — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: red arrows planes in the sky performing aerial stunts over the ocean — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: looking out from a beach cave — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: goose by river bank — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: a goose by a river bank — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: closeup of a red rose — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: closeup of a flower — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: backlit window — (Image credit: Tim Coleman)

Image and video quality score: 5/5

Panasonic Lumix S1 II: testing scorecard

Panasonic Lumix S1 II
Attributes	Notes	Rating
Price	Excellent features, but it's pricey for a 24MP Lumix	4/5
Design	Panasonic's best Lumix camera design: it's rugged, easy in the hand and a sensible control layout	5/5
Performance	Partially stacked sensor delivers the speediest performance of any Lumix to date, and its best autofocus, but there's fierce competition at this price point	4.5/5
Image and video quality	Photo quality is decent, but it's the video quality that truly shines	5/5

Should I buy the Panasonic Lumix S1 II?

Buy it if...

Your focus is video, but you shoot photos too
Because of its hybrid design, serious video-only users could be better served overall by a Blackmagic camera than the Lumix S1 II. However, for video quality, especially the dynamic boost mode, I can't think of a better camera for the money, and it's a capable stills camera too.

You want a versatile video camera
There are a staggering 19 pages of video codecs which cover an unmatched choice of resolutions, aspect ratios, bitrates and formats up to 6K, including open gate recording. Panasonic beats Sony, Canon and Nikon on this front.

You need a reliable performer
The Lumix S1 II is rugged, plus it can shoot for sustained periods without overheating.

Don't buy it if...

You want an all-day battery
A 350-shot battery life, or up to 70 minutes record time depending on the video codec, is pretty mediocre. However, USB-C charging on-the-go is possible.

You're a photography-first shooter
It's a capable stills camera for sure, but there's no denying that the Lumix S1 II is geared for video. The Nikon Z6 III has the edge for photography, as does the higher-resolution Lumix S1R II.

You're a casual filmmaker
For many filmmakers, the Lumix S1 II could be overkill. If you don't need the full suite of record modes and features, the Lumix S5 II could be a more cost-effective choice.

Panasonic Lumix S1 II: also consider

Nikon Z6 III

The 24MP partially stacked sensor might be new to Lumix, but we've seen it before in the Nikon Z6 III. Without diving too much into where each model betters the other, it's fair to say that the Lumix S1 II is more-featured packed for video, and the Z6 III more so for photography. Both are incredibly capable hybrid cameras, but the Z6 III is quite a lot cheaper now.

Read our in-depth Nikon Z6 III review

Panasonic Lumix S1R II

With the same design and virtually the same price, the Lumix S1R II is another option. The key difference is the sensor – the Lumix S1R II features a regular 44.3MP unit, the Lumix S1 II a partially stacked 24MP one. Put simply, the Lumix S1R II is better equipped for high-resolution photography and video, whereas the Lumix S1 II is a speedier performer for stills, and overall more geared to video. Both are capable hybrid cameras in their own way.

Read our in-depth: Panasonic Lumix S1R II review

How I tested the Panasonic Lumix S1 II

Panasonic loaned me the Lumix S1 II for one month, together with the 24-105mm F4 lens
My main focus of testing has been the video modes, though I have also used the camera in various photography scenarios
In general, I've tested the camera in fair weather and fair light

I've had a good long time with the Lumix S1 II – over one month in all. Panasonic loaned me a 24-105mm F4 lens for the test, and this was the only lens I used the camera with.

My testing reflects the typical audience for the Lumix S1 II – I've shot a lot of video with it, using the various resolutions, codecs and frame rates, and recording onto a top-spec CFExpress Type B card.

That's not to say I've neglected photography – far from it. I've shot everything from grassroots soccer at last light to animal portraits and everyday subjects, mostly in fair weather and fair light.

First reviewed June 2025

I thought the Canon EOS R100 was a poor camera, but then my family used it for six months and now I’d recommend it to beginners in a heartbeat

1:00 pm | May 3, 2025

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

Canon EOS R100: two-minute review

The Canon EOS R100 looks like a pretty dated camera in every sense, and it'll feel alien if you've only used a smartphone camera before. However, don't judge a book by its cover – it actually makes perfect sense for people looking for a cheap camera, especially for the family, and in particular for any budding photographers in the family.

This is the cheapest mirrorless camera that you can buy new, and it's one that utilizes the same 24MP APS-C sensor and reliable dual-pixel autofocus as Canon's pricier models, the EOS R50 and EOS R10.

Naturally there are compromises. The build quality is basic, especially the fixed rear screen, which isn't even touch sensitive, and the video specs are dated too.

However, after using the EOS R100 for many months my family has found it to be an excellent little snapper, and a perfect fit for small hands. Furthermore, I actually think the EOS R100's limitations are its strength, especially for first-time photographers.

With its old-school DSLR-style design, a viewfinder, and a rear screen lacking touch functionality the EOS R100 isn't trying to compete with a smartphone, and this has led my kids to explore what each external control does, and consequently pick up some photography basics.

Canon EOS R100 camera in the hand — The Nikon Z5 II with the Nikkor 24-50mm f/4-6.3 kit lens (Image credit: Future)

There's been further good news since the EOS R100 launched, too. Canon opened its RF-mount to third parties for manufacturing APS-C lenses, and Sigma has already seized this opportunity, launching RF versions of many of its excellent DC DN Contemporary lenses that enhance the EOS R100's photography chops, where previously lens choice for Canon's mirrorless cameras was severely limited.

I've particularly enjoyed using a quartet of Sigma f/1.4 prime lenses, which are all compact, lightweight, high quality, and an excellent physical match with the EOS R100 – I'd highly recommend the Sigma 56mm f/1.4 DC DN Contemporary as a second lens after Canon's 18-45mm kit lens, which is pretty basic.

There's a part of me that still can't warm to the EOS R100; but I'm an experienced photographer, and it's not designed for me. It's my family that have really taken to it and actually used it – which is more than I can say for some of the dedicated cheap kids camera we've tested, and pricier alternatives that are complicated to use.

I felt like I can trust my kids with the EOS R100, and they've taken some excellent photos with it, taking the experience to another level by (easily) printing some of their favorite shots using a low-cost Canon Selphy printer. It's this sort of positive engagement with creative tech that I've always hoped my kids would have.

Canon EOS R100: price and release date

The Canon EOS R100 and 18-45mm kit lens launched for $599 / £669 / AU$1,099
That bundle now sells for as little as $350 / £410 / AU$800
It's available body-only too, and in a twin lens kit with the 18-45mm and 55-210mm lenses

I often have friends asking me to recommend a first camera for their young kids / tweens, with a budget around $500 / £500, and naturally they'd rather buy new. That leaves few other options besides the EOS R100.

And that's exactly the point of this beginner mirrorless camera. The design is stripped back, it has basic build quality and some of Canon's earliest mirrorless tech, and it's mass produced, readily available, and sold on the cheap. If general photography is your intended use and you don't need flagship power, the EOS R100 still holds up well today.

The camera was launched in May 2023, and with the 18-45mm kit lens it cost $599 / £669 / AU$1,099. However, since then I've seen some incredibly good deals, especially in the US during Black Friday 2024 and other seasonal sales, during which time the camera and lens price fell to as low as $350 / £410 / AU$800. It costs even less body-only – it's quite simply the cheapest mirrorless camera you can buy new.

Price score: 5/5

Canon EOS R100: specs

Canon EOS R100: design and handling

Canon's smallest mirrorless camera, and an ideal fit for smaller hands
It features a viewfinder and a fixed rear screen that's not touch sensitive
Images are recorded onto a single SD card

The EOS R100 feels like a shrunken-down version of Canon's DSLRs of old, only with mirrorless tech under the hood.

It's comfortable to hold thanks to a pronounced grip, and its diminutive proportions are a perfect fit for little hands – my kids, aged between five and 12, could all hold the camera comfortably and easily take photos with it.

A dinky viewfinder provides a clear view of your scene for when it's otherwise tricky using the rear screen, such as in bright daylight.

Personally, I'd rather the rear screen at least tilted for easy viewing from awkward angles – the slightly pricier EOS R50 features a vari-angle touchscreen – although the fixed screen was less of a limitation for my kids, whose knees are rather less creaky than mine.

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Canon EOS R100 camera on a table front view — (Image credit: Future)

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Canon EOS R100 camera on table — (Image credit: Future)

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Canon EOS R100 camera on a table front with flash up — (Image credit: Future)

At first my kids were thrown that the rear screen didn't respond to touch – they've grown up with tech and are familiar with smartphones, and the camera's screen felt alien to them.

Eventually, however, the lack of touch functionality caused them to turn their attention to the EOS R100's physical controls, and I felt like this encouraged them to they explore the camera more, figuring out what each control and button did.

I initially called the camera 'out of touch' with beginners, precisely because of its old-school design and non-touch screen, but after extended use I've changed my mind – this is in fact an ideal camera with which to learn photography basics.

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Canon EOS R100 camera in the hand rear screen with scene mode displayed — (Image credit: Future)

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Canon EOS R100 camera on a table closeup of model name — (Image credit: Future)

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Canon EOS R100 camera on a table closeup of hotshoe — (Image credit: Future)

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Canon EOS R100 camera on a table closeup of shooting mode dial — (Image credit: Future)

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The body is built from a sturdy plastic. It's not weather-sealed, but as it's cheap and feels solid I felt comfortable letting my kids get on with using it without intervening too much, although I was also conscious of its potential vulnerability in inclement weather and dusty outdoor areas.

As I'm an experienced photographer, the EOS R100 isn't enough for me – there would be far too many occasions when I'd miss having a certain control or a feature at my fingertips. However, for beginners the EOS R100 makes a lot sense.

Design score: 3.5/5

Canon EOS R100: features and performance

Canon's original dual-pixel autofocus is snappy for general photography
Burst speeds are a fairly average 6.5fps for continuous shooting
Video specs are basic – this is primarily a camera for stills

As you can imagine, Canon's cheapest mirrorless camera is fairly stripped back when it comes to features, and limited when it comes to outright speed.

It does, though, feature Canon's dual-pixel CMOS autofocus with face detection and human subject-tracking autofocus, which I found to be really sticky and reliable for portraiture.

Should you wish to employ a different autofocus mode, such as spot AF, the convoluted process involves diving into a menu, while there's no joystick for speedily selecting focus points manually.

Canon's latest autofocus system in the pro EOS R5 Mark II is another level, with a range of subject-detection modes for animals and vehicles, sports priority, the option to store specific people to prioritize, plus Eye Control AF – the two cameras are worlds apart. However, for general photography, the EOS R100's autofocus is very good.

The EOS R100 has rudimentary burst shooting speeds of up to 6.5fps, with sequence lengths up to 97 JPEGs or just six raws – an action photography camera this is not.

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Canon EOS R100 camera on a table closeup of mic port — (Image credit: Future)

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Canon EOS R100 camera on a table closeup of USB-C port — (Image credit: Future)

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Canon EOS R100 camera on a table closeup of the battery door — (Image credit: Future)

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Canon EOS R100 camera on a table rear with LCD screen on — (Image credit: Future)

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Canon EOS R100 camera on a table, right side profile

(Image credit: Future)

Video recording options include 4K up to 30fps, plus Full HD up to 60fps; that's the minimum I'd expect for a video-capable camera launched in 2023. Dig deeper into the specs and you'll find that video recording is in 8-bit color, which is much less color-rich than 10-bit.

The camera has a hotshoe for attaching accessories such as a flash gun. It's the more basic 5-pin type, meaning not all of Canon's flash guns are supported by the EOS R100, so if you're looking to purchase such an accessory check that it's compatible with the camera first.

Features and performance score: 3.5/5

Canon EOS R100: image and video quality

Same trusted 24MP APS-C sensor as pricier Canon cameras
4K video recording up to 30fps, 8-bit color
No C-Log color profile or 'recipes'

There's not too much more to say about the EOS R100's image and video quality that hasn't already been covered in our EOS R10 review – it has the same potential for natural-looking photos with Canon's lovely color profiles.

This also means the EOS R100 can grab detail-rich photos of similar quality to the likes of the Sony A6100, Nikon Z50 II and Fujifilm X-T30 II, all of which utilize a sensor with a resolution around the 24MP mark, which is impressive considering that the EOS R100 is a much cheaper camera.

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Cat portrait, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Trees in a common during a misty morning, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Photo of a misty landscape at first light, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Photo of a sunrise on a misty morning, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Photo of a lake with mist hoerving over the water and an arboretum behind it, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Silhouette of a tree at first light, vibrant orange sunrise, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Backlit pine trees with their shadows cast on the ground, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Blubell woodland at first light, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Closeup of wild garlic at first light, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Dew covered reeds, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

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Ducks in a pond, taken with the Canon EOS R100 — (Image credit: Tim Coleman)

All of the photos above were taken with either Canon's RF-S 18-45mm or RF-S 55-210mm.

Canon's RF-S 18-45mm kit lens doesn't quite match the quality of Nikon's 16-50mm kit lens, while the RF-S 55-210mm lens, which is available in a twin-lens kit with the EOS R100, is decent without overly impressing; detail is a little soft in the images of ducks, above, while bokeh in the cat portrait has an onion-ring effect.

To truly elevate image quality, I would recommend buying another lens. The photos included in the first gallery directly below are made with some of Sigma's DC DN Contemporary f/1.4 primes – the 16mm , 23mm and 30mm. In the second gallery below, all the photos are made with Sigma's 56mm lens, which is ideal for portraits.

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Sigma 23mm F1.4 DC DN Contemporary image gallery: a life ring next to a lake on a sunny day — (Image credit: Tim Coleman)

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Sigma 16mm F1.4 DC DN Contemporary image gallery: a tree-lined lake — (Image credit: Tim Coleman)

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Sigma 16mm F1.4 DC DN Contemporary image gallery – a dead tree in front of a blue sky — (Image credit: Tim Coleman)

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Sigma 30mm F1.4 DC DN Contemporary image gallery: three trees side by side in woodland, each with a different color bark. — (Image credit: Tim Coleman)

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Sigma 30mm F1.4 DC DN Contemporary image gallery: yellow gauze in a woodland, very shallow depth of field. — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: head and shoulder portrait of a man during first light, with dappled light through background foliage — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: a golden retriever dog sat at its owner's feet on a footpath during a cloudy day — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: young child, biking on a path during a sunny day — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: an expansive view of hills and trees — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: two ponies underneath a large tree in the countryside — (Image credit: Tim Coleman)

Video quality is rudimentary. Yes, the EOS R100 can shoot 4K, but only up to 30fps and with 8-bit color depth, which isn't as rich as 10-bit, which cameras like Fujifilm's X-M5 offer.

Flat color profiles for video, which would give color graders more to work with when editing, are missing too, as are custom profiles that can be uploaded to the camera, something that's available with the Nikon Z50 II via Nikon's Imaging Cloud

None of this is surprising given the EOS R100's price point and target user, though, and we're left with Canon's familiar range of color profiles which, thankfully, are better than most.

Image and video quality score: 3.5/5

Canon EOS R100: testing scorecard

Should I buy the Canon EOS R100?

Buy it if...

You're looking for a first 'proper' camera
With its small form factor, comfy grip, decent photo quality and changeable lenses, the EOS R100 is an excellent camera for budding photographers.

You want a cheap camera
The EOS R100 is not only Canon's cheapest mirrorless camera, it's the cheapest mirrorless camera from any brand – and there are usually superb deals during seasonal sales that further lower the price.

Don't buy it if...

You want versatile handling
The EOS R100's basic build quality and fixed rear screen with no touch functionality do limit where and how you can shoot.

You shoot photo and video
The EOS R100 has decent photography credentials, but its video specs are limited by today's standards.

Canon EOS R100: also consider

Olympus OM-D E-M10 Mark IV

The Olympus OM-D E-M10 Mark IV is arguably the best-value beginner mirrorless camera available, with its retro-styling, a capable 20MP sensor and superb image stabilization. As it's a Micro Four Thirds camera an enviable selection of lenses are available, and despite being launched in 2020 its tech is of a similar era to the EOS R100's.

Read our in-depth Olympus OM-D E-M10 Mark IV review

Fujifilm X-M5

For an additional outlay, the Fujifilm X-M5 is a superb alternative for beginners who want to shoot video and much as photos. The X-M5 is tiny, is supported by a superb selection of lenses, and comes with a 26MP sensor that delivers 6K video. However, like most other beginner mirrorless cameras, it's about twice the price of the EOS R100.

Read our in-depth Fujifilm X-M5 review

How I tested the Canon EOS R100

Canon EOS R100 camera on a table front angled — (Image credit: Future)

I picked up the EOS R100 more than six months before writing this review
During that time both I and my children have used it regularly
I've paired the camera with many lenses, primarily the RF-S 18-45mm kit lens, but also third-party ones

This review is a reflection of long-term testing over many months. And it's not just my thoughts and testing of the camera that have informed my thoughts, as my kids have taken a keen interest in the camera too.

Initially, I used the camera with just the RF-S 18-45mm kit lens, but we've also tried out Canon's RF-S 55-210mm telephoto zoom, plus four Sigma Contemporary lenses – 16mm, 23mm, 30mm and 56mm f/1.4 primes.

We've primarily used the camera for taking photos rather than video, shooting landscapes, portraits, wildlife, pets, closeups and more.

First reviewed April 2025

I’ve shot over 1,000 images on the new Nikon Z5 II, and it redefines what an entry-level full-frame camera can do

12:00 pm | April 22, 2025

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

Nikon Z5 II: two-minute review

The Nikon Z5 II may be the ‘entry-level’ model in the brand’s most recent lineup of mirrorless bodies, but it’s by no means the stripped-down back-to-basics affair that its predecessor was. Nikon has conspicuously taken the body up a notch in terms of performance and features – and, for that matter, price.

It inherits the lion’s share of specs from the outstanding Nikon Zf, and subsequently it’s a fully-fledged hybrid shooter that excels in all but the most extreme of use cases. Notwithstanding its position in the Nikon range, don’t think of this as an entry-level camera – it’s anything but.

Nikon Z5 II product shot — The Nikon Z5 II with the Nikkor 24-50mm f/4-6.3 kit lens (Image credit: Future / Alex Whitelock)

At the heart of the Nikon Z5 II is the same Expeed 7 processor that's in the recent higher-end Z-series bodies. Subject detection? Check. Super-sticky 3D tracking? Check. In terms of autofocus, video, and meaningful quality of life changes, this camera blows away the original Z5 in every area.

If I had to nitpick, I would say that the almost 25% price increase over the Z5 is a glaring sore point for this camera. I do, however, think the massive jump in performance makes this camera worth every penny; you pay more, but you also get substantially more camera. If you've been eying up the Zf, but were put off by its hipster charms and questionable ergonomics, then the Z5 II is the clear choice here.

It's also, arguably, the top choice in the entry-level to mid-range full-frame mirrorless market right now. It's carefully placed just below the Z6 III in terms of burst rates and video specs, but compares favorably to the likes of the Canon EOS R8, Panasonic S5 II, and Sony Alpha A7 III. All have their merits, but the Nikon Z5 II offers a compelling blend of price and performance without any glaring compromises. In short, it beats its competitors on either price or specs – it really is well positioned.

As a stills camera in particular, it's hard to fault the Z5 II. You get a tried-and-tested 24.5MP back-side-illuminated sensor that's capable of excellent results, and 12fps raw capture. I'd also argue that this is one of Nikon's best cameras for JPEG shooters yet, thanks to the inclusion of the handy Picture Control button and support for sharing custom JPEG recipes via Nikon Imaging Cloud.

The video specs are a little weaker considering that 4K 60fps video is cropped, but the Z5 II is still capable of full-width 4K video up to 30fps – that's significantly better than the previous model.

In the rare cases where you need 6K video capture or quicker readout speeds, the Z6 III is likely a worthwhile upgrade. Otherwise, however, the Z5 II is going to be an absolute winner for most users. Sure, it's not a resolution beast like the Z8, nor is it particularly quick like the Z6 III; but the Z5 II is a superb camera in its own right, and one that's going to have mass appeal, even outside the Z-Mount ecosystem.

Nikon Z5 II: price and release date

The Nikon Z5 II body-only costs $1,699 / £1,599 / AU$2,699
Zoom kit bundles starting at $1,999 / £1,899 / AU$3,249
Roughly 25% more expensive than first Z5

At $1,699 / £1,599 / AU$2,699 the Z5 II arrives with a significant price jump over the first-gen model. At launch it’s roughly 25% more expensive than the first iteration, and the price difference is even more glaring considering that the Z5 has hit as low as $999 in the US in recent months.

Judged in terms of specs, however, the Nikon Z5 II is an aggressively priced body. I’ll elaborate more later, but the Z5 II is simply in a different league to its predecessor when it comes to both performance and features, and in my book this quantum leap softens the blow of the price hike significantly.

You could easily compare it to the most recent offerings from Canon R8 or Panasonic S5 II, but I’d argue that the Nikon is the more fully featured camera for the price. The R8, for example, is cheaper at $1,499 / £1,629 / AU$2,489, but forgoes IBIS and a second card slot. The S5 II is more comparable in term of specs, but it’s pricier in the US and UK at $1,999 / £1,699, and the Z5 II inherits the outstandingly refined subject-detect autofocus of the higher-end Z-Mount bodies.

The Z5 II is also well placed to compete with older mid-range models like the Sony Alpha A7 III. Sony’s former hybrid king is still available for new for around $1,799 / £1,679 / AU$2,000, and features a compelling mix of excellent autofocus, extensive lens choices, and specs that still hold up for enthusiast users.

It’s a testament to the A7 III that even in 2025 it remains a competitive choice, but the Z5 II finally gives customers a better option than Sony's seven-year-old camera in this price bracket. Sony’s traditionally killer USPs of autofocus and lens choice are less deadly to rivals now – and the Z5 II also features meaningful quality of life upgrades like a fantastic EVF, flip screen, and excellent IBIS. The Z5 II is so well featured that it’s hard not to recommend it, despite the unfortunate price bump.

Price score: 4.5/5

Nikon Z5 II: specs

Nikon Z5 II: design and handling

Similar design to the Nikon Z6 III
Fully articulating display
Picture Control button for JPEGs

Despite the Z5 II’s internal similarities to the Zf, outwardly the two cameras couldn’t be any more different. Nikon has returned to its modern design language with the Z5 II, and like its predecessor it essentially shares the same body as the most recent higher-end Z6 model, aside from that camera’s top LCD panel.

The Z5 II’s design is typically Nikon. It’s function over form, although the brand has made subtle tweaks compared to its previous generation of cameras. For one, the body is slightly thicker, and Nikon has also made a few changes to the EVF housing, which now sweeps around to the generously sized Z mount on the front. It’s a blink-and-you’ll-miss-it change, but the camera looks more modern for it.

The button layout is essentially the same as on the previous model, but there are some changes. The playback button and sequential shooting menu have been switched, for example, and there’s now a handy ‘Picture Control’ button to quickly access JPEG settings. Either way, everything is in the right place, and if you’re already a Nikon shooter you’ll feel right at home. Notably the grip remains the same; chunky, with plenty of purchase for when you're using larger Z-mount lenses.

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As on the Z6 III, the top and back plates are made of a sturdy magnesium alloy, and you also get the large and bright EVF that’s typical for Nikon cameras. The EVF is the same 3.69k dot OLED panel as on the previous model, although Nikon says it can now reach up to 3,000 nits of brightness.

Perhaps the most meaningful design change for the Z5 II is the inclusion of a fully articulating display. Previously, the Z5 only featured a tilting display, so it’s nice to see the inclusion of a flip screen that’s particularly useful for talking-head scenarios. There’s some debate around whether a tilting screen is still superior, but I much prefer the fully articulating option personally in terms of versatility. Not only do you get that selfie and talking-head option, but the flip-out screen is great for getting low-angle shots in portrait orientation, plus it isn't partially obstructed by the viewfinder for waist-level shooting like the previous screen.

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Ports-wise, the Z5 II features micro a HDMI port, plus headphone and microphone jacks, and USB-C with charging support. Unlike some budget models from the competition, notably the Canon R8, the Z5 II also features two card slots. You get support for two UHS-II cards here rather than the CFExpress Type-B combination that’s common on Nikon’s higher-end bodies, but it's still a fantastic inclusion for an entry-level camera. It’s also a nod to the Z5 II’s intended enthusiast target market, since the supported cards here are much cheaper than the CFExpress cards.

I'm grasping at straws to find a valid criticism of the Z5 II's design, but there are a few minor quibbles. The PASM dial, for example, doesn't feature the usual locking mechanism you find on higher-end bodies. It's a minor thing, yes, but it's easy to knock the dial out of your mode of choice, and it seems like an easy thing to rectify. Otherwise, the Z5 II is almost perfect in terms of function for a modern body.

Design score: 4.5/5

Nikon Z5 II: features and performance

Inherits subject-detection autofocus from high-end bodies
Now shoots 4K 30fps footage uncropped
12fps burst for raw / 30fps JPEG with pre-capture

The previous Z5 was an entry-level camera through and through. It was capable of capturing lovely images, sure, but pedestrian autofocus performance and lesser specs meant it was best consigned to rather sedentary subjects.

The Z5 II, however, is a significant leap in terms of performance. With an almost identical specs sheet to the mid-range retro-bodied Nikon Zf, the Z5 II is in a completely different class to its predecessor.

There’s really no other way to express it: the Nikon Z5 II is just a superb camera for the vast majority of applications. The 24.5MP back-side-illuminated sensor in combination with the Expeed 7 imaging processor means the Z5 II is an extremely capable body regardless of the price tag.

Readout speeds, while not up to the level of the Z6 III with its stacked sensor, are dramatically better now. The Z5 II supports raw burst rates up to 12fps versus its predecessor’s pedestrian 5fps. If you’re happy to go with JPEGs, then you can crank that up to 30fps, with additional support for pre-capture.

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Video specs have also been improved significantly. The Z5 II now features full-width 4K footage at 30fps instead of the 1.7x crop of the Z5, and you also now get support for advanced formats like 12-bit N-RAW and 10-bit N-Log. Technically, the Z5 II can capture 4K at 60fps, but its 1.5x crop means it's still far behind the higher-end Z6 III when it comes to hybrid capabilities.

The two cameras do, however, share a lot of DNA, particularly when it comes to autofocus. The Z5 II inherits the various person, animal, and vehicle subject-detection capabilities from the higher-end Z Mount cameras, and is all the better for it.

Especially when compared to the older Z5 and Z6 models, the subject-detection autofocus is multitudes more effective here in all scenarios. On previous Z-mount bodies I was accustomed to having to manually steering the camera via tracking points or defined AF areas, but that’s not the case with the Z5 II.

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Nikon Z5 II next to the Nikon Z5 — The Nikon Z5 II has received a subtle redesign (Image credit: Future / Alex Whitelock)

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In testing, I found myself shooting with full-area continuous autofocus in the vast majority of scenarios, simply letting the camera do its thing. The Z5 II has no issues picking out people, birds, eyes, and moving subjects in crowded or otherwise demanding scenes. 3D tracking is also significantly stickier now, which is handy for the rare occasions when subject-detection fails.

In terms of price relative to performance, it’s extremely hard to fault the Z5 II here. Sure, it’s not the quickest camera from Nikon, or the prettiest, but it’s an extremely capable body that’s perfect for a wide range of users. The Z5 II really is a versatile camera that’s going to be a fantastic tool for the vast majority of enthusiast shooters.

Features and performance score: 4.5/5

Nikon Z5 II: image and video quality

24.5MP back-side-illuminated full-frame sensor
Now supports custom JPEG recipes
Internal 12-bit N-RAW and 10-bit N-Log video

The Z5 II’s sensor is a known quantity by now. It’s a sensor that’s been knocking around in Nikon cameras in some form or another since 2018. That’s by no means to its detriment, though, since this 24.5MP back-side-illuminated sensor is capable of providing incredible results across a wide range of subjects and scenarios. You could say it’s an old favorite, even.

I have a fair amount of experience with this particular sensor, having shot with the older Nikon Z6. So I was immediately at home with the Z5 II’s output, and I’m pleased to note that it’s more than capable of producing detailed images with pleasing color straight out of the camera. It’s hard to fault a sensor this good – there really aren’t any limitations aside from the relatively middling 24.5MP resolution limiting cropping potential in the most extreme circumstances.

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Nikon Z5 II Sample images — Images shot with the 24-50 and 24-200mm kit zoom lenses (Image credit: Future / Alex Whitelock)

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If you can live with ‘just’ 24MP, then you’ll find the Z5 II’s output excellent – JPEGs in particular are fantastic. The image stabilization is rated at an impressive 7.5 stops – this sensor was already known as a low-light beast, but the image stabilization really adds to the camera’s night photography credentials.

Looping back to the Z5 II’s excellent JPEG output, it’s worth mentioning just how Nikon has significantly upped its game with the Z5 II. The camera now supports the new Nikon Imaging Cloud, which unlocks a much smoother image upload workflow and the seamless sharing of image recipes a la Fujifilm.

Given that my processing app of choice (Adobe Lightroom) didn’t support my pre-production Z5 II’s raw output, I quickly found myself tinkering with numerous JPEG presets. Switching between presets is extremely easy thanks to the dedicated Picture Control button on the top of the camera, and the interface also enables you to tweak various settings like sharpness, contrast, and clarity.

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If I have a complaint, it’s that the various in-camera JPEG sliders are still rather basic, and the default profiles lack the polish of the likes of Fujifilm. The Nikon Z5 II, however, has a secret weapon in that it can store up to nine additional custom color profiles from the NX Studio app. This app fully supports color grading and other advanced options, so it’s perfect for really tailoring your JPEGs to match your raw workflow.

I imported a few presets onto my Z5 II, and was instantly able to get some superb results right out of the camera. The process is extremely smooth, and Nikon’s excellent in-camera retouch options easily allow you to test out your profiles on the various raw files already saved to your card.

Below are a few images showcasing what's possible with these in-camera presets.

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These presets can also be used for in-camera color grading, although advanced videographers will likely want to make use of the camera’s new internal N-Raw and N-Log formats for maximum flexibility and dynamic range. Generally speaking, video output is excellent here – especially with the oversampled 4K footage at 30fps.

If the Z5 II has any weaknesses when it comes to video, they're generally down to the sensor's middling readout speeds. Aside from the 1.5x crop at 4k 60fps you also get some rolling shutter when panning quickly, as with most bodies without a stacked sensor. If you want a more fully-featured and modern video platform, it could be worth investing in the higher-end Nikon Z6 III.

While we’re here, it’s worth mentioning the number of excellent lenses that are ready to pair up with the Z5 II. While the Z-Mount supports plenty of high-end glass, even modest choices like the Nikkor 24-50mm f/4-6.3 kit lens are capable of providing great results. My favorite lenses for the Nikon Z5 II in particular are the super-lightweight Nikkor 40mm f/2 and Viltrox 85mm f/1.8, both of which are great lower-cost lenses that pair perfectly with the Z5 II.

Most of the example images you can see here were shot with either those two lenses or the Nikkor 24-200mm f/4-6.3 zoom, which is another kit option for the Z5 II.

Image and video quality score: 4.5/5

Nikon Z5 II: testing scorecard

Should I buy the Nikon Z5 II?

Buy it if...

You want a great-value all-rounder
The Nikon Z5 II is fantastic jack-of-all-trades camera for a competitive price. It's a great choice if you want something that nails both photo and video without breaking the bank.

You're looking to upgrade
If you're already shooting with an older Z-mount body or even a Nikon DLSR then there's a strong argument for upgrading to the Z5 II. The autofocus in particular provides a massive jump in performance over the older bodies, even the higher-end Z6 II.

Don't buy it if...

You want a retro design
The Nikon Z5 II is almost identical to the Nikon Zf when it comes to performance and specs, so the latter is the obvious choice if you prefer a more retro look.

You need advanced video features
The Z6 III provides more headroom in terms of high-resolution video with its support for 6K/60p N-RAW.

You need resolution
The Z5 II's 24.5MP sensor isn't a high-resolution beast like the higher-end cameras in Nikon's lineup. If you need massive cropping potential there's the older Nikon Z7 II, pricier flagships, or look elsewhere.

Nikon Z5 II: also consider

Panasonic Lumix S5 II

The Lumix S5 II is another competitively priced full-frame body that offers a viable alternative to the Nikon Z5 II if you're looking for something more video-centric. The S5 II is capable of open-gate 6K / 30p recording at 10-bit, which gives it the edge for resolution and cropping video. That said, the Z5 II is cheaper at full list price, and inherits the outstanding autofocus from the higher-end Nikon Z-Mount bodies.

Read our in-depth Panasonic Lumix S5 II

Nikon Zf

On paper the Nikon Z5 II and Nikon Zf are extremely similar cameras in terms of performance. In form, however, the two couldn't be more different, with the Zf sporting a gorgeous retro design. If you'd prefer the same specs in a more classic, nostalgia-themed body, the Nikon Zf is the obvious choice. Expect to pay a little extra for the pleasure though.

Read our in-depth Nikon Zf

How I tested the Nikon Z5 II

Nikon loaned me the Z5 II and some lenses for two weeks
I tested it with the 24-50mm and 24-200mm kit zooms
I also used the Nikon 26mm and 40mm and Viltrox 85mm primes
I carried the camera daily, testing its video and photo capabilities
I shot over 1,000 images with the camera

I used the Nikon Z5 II as my everyday camera over a two-week period, which gave me the chance to shoot more than 1,000 images and videos. I was able to test the subject tracking, low-light performance, and image stabilization effectively thanks to using the camera in a diverse range of environments, both indoors and outdoors.

Nikon sent me the Nikkor 24-50mm and f/4-6.3 Nikkor 24-200mm f/4-6.3 zoom kit lenses to try, as well as the Nikkor 26mm f/2.8. I also made sure to use the camera with a third-party lens, in this case the Viltrox 85mm f1/.8.

First reviewed April 2025