Organizer
Gadget news
I tested the new Sony A7 V, and now it’s my favorite Sony camera ever
5:01 pm | December 2, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , , | Comments: Off

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

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 2 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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 Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 3

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)
Image 2 of 3

Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)
Image 3 of 3

Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 2

Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)
Image 2 of 2

Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 2 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 3 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 4 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 5 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 6 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 7 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
  • 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: , , , | Comments: Off

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

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 2 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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 Sony A7 V camera

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 3

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)
Image 2 of 3

Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)
Image 3 of 3

Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 2

Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)
Image 2 of 2

Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)

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.

Image 1 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 2 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 3 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 4 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 5 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 6 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 7 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
  • 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 Caira, the first Nano Banana AI camera – now I’m cancelling my Lightroom subscription
4:00 pm | November 19, 2025
Author: admin | Category: AI Platforms & Assistants Cameras Computers Gadgets | Tags: | Comments: Off

Caira camera: one-minute review

TechRadar AI Week 2025

TechRadar AI Week Logo

(Image credit: Future)

This article is part of TechRadar's AI Week 2025. Covering the basics of artificial intelligence, we'll show you how to get the most from the likes of ChatGPT, Gemini, or Claude, alongside in-depth features, news, and the main talking points in the world of AI.

The Caira snaps onto your iPhone using MagSafe, turns your phone into the control hub, and sets out to merge mirrorless camera-quality with smartphone ease.

The hardware is the real deal: a Micro Four Thirds mount and (Sony) sensor, a CNC’d aluminium chassis. It accepts proper lenses from Panasonic, Olympus, Sigma, and Leica - so this isn’t a toy pretending to be a camera. Its in a similar mold to the open source Alice Camera – a previous project from the makers of Caira.

Inside, Qualcomm’s Snapdragon chip and Google’s Edge TPU AI processor run three flagship tricks: voice control, smart styles and generative editing.

With voice control you can say “take a photo” and Caira actually does. Smart Styles are six tasteful AI-trained color profiles that make your footage look deliberate. Generative Editing – the headline feature – uses natural language prompts to restyle photos instantly, no laptop required.

Caira camera on a grid mat

(Image credit: Rashid Ahmad)

Yes, the real party trick is Google’s ‘Nano Banana’ generative AI – which sounds like a smoothie but is actually a powerful on-device editor. You can tell the camera to “turn this daylight shot into night” or “make my blazer burgundy,” and it’ll do it in seconds. It’s astonishing. It’s the first time I’ve seen Lightroom sulk because it’s now redundant.

The result is a camera designed to skip the “import - edit - export - scream” routine. Some will say that skipping that part also skips the soul of photography. I’m not one of them. I’m in favor of anything that lets you spend more time shooting and less time staring at a progress bar – I’ll leave the hand-wringing to other creators.

But before you start packing your MacBook away forever, that magical AI is only available if you pay $7 a month for the ‘Caira Pro’ plan (about £6 / AU$11). Because nothing screams modern camera like a monthly sub.

However, for every tinfoil hat wearing critic out there screaming for the days of old and terrified of AI, go back to shooting on film and paying $35 a month for every roll you develop. My Lightroom subscription costs a lot more than Caira Pro, and I will use it a lot less.

Caira camera: price and availability

  • Priced at $995 (£760 / AU$1,500 approx)
  • Available to early crowdfunding backers for $695 (£529 / AU$1,070 approx)
  • First deliveries expected from January 2026

Caira camera on a grid mat alongside classic cameras

(Image credit: Rashid Ahmad)

Caira is available through Camera Intelligence's Kickstarter campaign, which runs from November 4 to November 30. As always, back crowdfunding campaigns at your own risk!

The campaign lists the camera (body only) price for $995 (around £760 / AU$1,500), while optimistic Super Early Bird backers can bag one for $695 (about £529 / AU$1,070).

According to its makers, the Caira delivery window is January to February 2026, (assuming no global crises intervene).

To get the most out of Caira's AI skills, you'll want the Caira pro subscription, which costs $7 per month. Backers get six months free, nine if funding hits its goals.

Caira camera specs

Caira camera specs

Sensor:

11MP Micro Four Thirds, quad-bayer HDR and dual ISO

Mount:

Micro Four Thirds

Processor:

Qualcomm Snapdragon with 8 - core CPU, GPU, DSP

AI Chip:

Google Edge TPU

Video:

4K 30fps & 1080p 60fps

Battery:

5,000 mAh

Storage:

Internal 64GB + SSD External storage via USB-C, straight onto Apple photos

Connectivity:

iPhone MagSafe connector, WiFi

Dimensions:

112.5mm (W) x 85mm (H) x 21.5mm (D). Handle depth is 42.5mm

Weight:

10.2oz / 290g (w/out lens)

Caira camera: Design

  • No screen – you MagSafe your iPhone instead
  • Premium CNC-milled aluminum body
  • 64GB internal memory

Caira camera on a grid mate alongside Alice Camera

Caira alongside the Alice Camera, designed by the same makers (Image credit: Rashid Ahmad)

Imagine if Leica built a GoPro after a long lunch - that’s the Caira. There's Sigma BF vibes, too. A sleek, screen-less slab of CNC-milled metal that looks premium and feels it too.

The design strips away almost all buttons, because the company says creators are “overwhelmed by controls.” Fair. Now you’ll be overwhelmed by menus instead.

The MFT mount opens a vast lens ecosystem, from affordable pancakes to glass that costs more than your phone. And the 5,000 mAh battery means you can actually use it all day.

Best of all, there are no memory cards. You shoot, and the files appear in your iPhone’s Photos app almost instantly. It’s dangerously convenient.

Cair camera: Performance

  • 11MP Four Thirds sensor with dual base ISO
  • Basic video specs – 4K video up to 30fps
  • Really effective Nano Banana voice control and generative edits

The Caira behaves like two products; a legitimate camera, and an unashamed AI experiment.

The camera hardware delivers – the 11MP Sony sensor combined with proper MFT glass (I used several of my Lumix lenses, including the 12-60mm f/2.8-4 lens) is an obvious leap from a smartphone, particularly in low light. Depth, sharpness, and texture all feel natural. The AI-tuned colour profile leans a little toward “Instagram - ready,” but never offensively so.

Caira's Smart Styles are surprisingly tasteful presets, that make you look more competent than you are. You can get a feel in the examples in the gallery below.

Image 1 of 3

Caira camera user interface with a photo of a lady in a red dress

An original photo taken with Caira (Image credit: Future / Rashid Ahmad)
Image 2 of 3

Caira camera user interface with a photo of a lady in a red dress, image processing

Turn the dress black (Image credit: Future / Rashid Ahmad)
Image 3 of 3

Caira camera user interface with a photo of a lady in a red dress now changed to lady in a black dress

About 20 seconds later, the new image appears. (Image credit: Future / Rashid Ahmad)

The Caira's show piece is its AI features. Voice Control is genuinely handy when both hands are busy, or sticky with espresso, but Generative Editing is the main event.

Prompts like “make it nighttime” or “change his navy blazer to burgundy” return results in seconds – clean, convincing, a bit spooky.

Generative Editing is the feature that flattens the learning curve and streamlines the creative workflow. It’s powerful, fast, and feels like magic.

To its credit, the company has guardrails in place: no altering skin tone or facial features. I tried. It refused, nicely.

The Caira is a bold step. It’s a bet that the next generation of creators values AI-powered speed and flexibility as much as – or perhaps more than – traditional photographic purity. And based on what I’ve seen, it’s a bet they just might win.

Image 1 of 2

Lady in a red dress

The original photo, using one of the more vibrant color profiles Caira has (Image credit: Future / Rashid Ahmad)
Image 2 of 2

Lady in a black dress, photo taken with the Caira camera

Now with the generative prompt 'turn the dress black', which returned results way quicker than an outfit change. (Image credit: Future / Rashid Ahmad)

The Caira feels like a product born out of collective exhaustion. Someone, somewhere, finally admitted that no one actually enjoys editing - they just enjoy pretending they do. It’s bold, a little absurd, and far more capable than it has any right to be.

It won’t replace your main camera, and it won’t replace your phone either - but it might just replace your willpower to open Lightroom ever again.

It’s the perfect tool for those of us who still like the idea of photography - the ritual, the gear, the illusion of artistry - but who secretly just want the photo to look brilliant the moment we take it.

And truthfully? That’s probably the entire modern photographer.

Should you buy the Caira camera?

Buy it if...

You want a seamless shoot and edit experience, through your smartphone

Other cameras add way too many steps to the shoot - upload - edit - share process. Caira simplifies the whole process.

You want powerful edits in seconds, without the need for expensive editing software

Caira churns out the sorts of edits that used to take way more time with pricey software, and it does so directly on your phone.

Don't buy it if...

You want high-resolution photos

Just 11MP is pretty low by today's standards.

You're unsure about crowdfunding campaigns

To be fair, Caira's makers delivered with a previous project, the Alice Camera, but back at your own risk (or wait).

Caira camera on a grid mat alongside Lumix lenses

Caira accepts Micro Four Thirds lenses, like these two Lumix ones (Image credit: Rashid Ahmad)

How I tested the Caira camera

  • I tested Caira for two weeks
  • I paired it with Lumix lenses, including the 12–60mm f/2.8-4 lens
  • I connected my iPhone and made use of the various Nano Banana features

Camera Intelligence sent me one of just 50 pre-production units for a two week trial. I used it mostly to photograph things that didn’t deserve this much computing power.

It locks to the iPhone via MagSafe and connects over Wi-Fi through the Caira iOS app. Setup takes seconds, and then you’re in. I paired it with a Lumix 12–60mm f/2.8-4 – a brilliant lens that I immediately wasted on photographing coffee cups, pool balls, and other cameras.

  • First reviewed November 2025
I tested Caira, the first Nano Banana AI camera – now I’m cancelling my Lightroom subscription
4:00 pm |
Author: admin | Category: AI Platforms & Assistants Cameras Computers Gadgets | Tags: | Comments: Off

Caira camera: one-minute review

TechRadar AI Week 2025

TechRadar AI Week Logo

(Image credit: Future)

This article is part of TechRadar's AI Week 2025. Covering the basics of artificial intelligence, we'll show you how to get the most from the likes of ChatGPT, Gemini, or Claude, alongside in-depth features, news, and the main talking points in the world of AI.

The Caira snaps onto your iPhone using MagSafe, turns your phone into the control hub, and sets out to merge mirrorless camera-quality with smartphone ease.

The hardware is the real deal: a Micro Four Thirds mount and (Sony) sensor, a CNC’d aluminium chassis. It accepts proper lenses from Panasonic, Olympus, Sigma, and Leica - so this isn’t a toy pretending to be a camera. Its in a similar mold to the open source Alice Camera – a previous project from the makers of Caira.

Inside, Qualcomm’s Snapdragon chip and Google’s Edge TPU AI processor run three flagship tricks: voice control, smart styles and generative editing.

With voice control you can say “take a photo” and Caira actually does. Smart Styles are six tasteful AI-trained color profiles that make your footage look deliberate. Generative Editing – the headline feature – uses natural language prompts to restyle photos instantly, no laptop required.

Caira camera on a grid mat

(Image credit: Rashid Ahmad)

Yes, the real party trick is Google’s ‘Nano Banana’ generative AI – which sounds like a smoothie but is actually a powerful on-device editor. You can tell the camera to “turn this daylight shot into night” or “make my blazer burgundy,” and it’ll do it in seconds. It’s astonishing. It’s the first time I’ve seen Lightroom sulk because it’s now redundant.

The result is a camera designed to skip the “import - edit - export - scream” routine. Some will say that skipping that part also skips the soul of photography. I’m not one of them. I’m in favor of anything that lets you spend more time shooting and less time staring at a progress bar – I’ll leave the hand-wringing to other creators.

But before you start packing your MacBook away forever, that magical AI is only available if you pay $7 a month for the ‘Caira Pro’ plan (about £6 / AU$11). Because nothing screams modern camera like a monthly sub.

However, for every tinfoil hat wearing critic out there screaming for the days of old and terrified of AI, go back to shooting on film and paying $35 a month for every roll you develop. My Lightroom subscription costs a lot more than Caira Pro, and I will use it a lot less.

Caira camera: price and availability

  • Priced at $995 (£760 / AU$1,500 approx)
  • Available to early crowdfunding backers for $695 (£529 / AU$1,070 approx)
  • First deliveries expected from January 2026

Caira camera on a grid mat alongside classic cameras

(Image credit: Rashid Ahmad)

Caira is available through Camera Intelligence's Kickstarter campaign, which runs from November 4 to November 30. As always, back crowdfunding campaigns at your own risk!

The campaign lists the camera (body only) price for $995 (around £760 / AU$1,500), while optimistic Super Early Bird backers can bag one for $695 (about £529 / AU$1,070).

According to its makers, the Caira delivery window is January to February 2026, (assuming no global crises intervene).

To get the most out of Caira's AI skills, you'll want the Caira pro subscription, which costs $7 per month. Backers get six months free, nine if funding hits its goals.

Caira camera specs

Caira camera specs

Sensor:

11MP Micro Four Thirds, quad-bayer HDR and dual ISO

Mount:

Micro Four Thirds

Processor:

Qualcomm Snapdragon with 8 - core CPU, GPU, DSP

AI Chip:

Google Edge TPU

Video:

4K 30fps & 1080p 60fps

Battery:

5,000 mAh

Storage:

Internal 64GB + SSD External storage via USB-C, straight onto Apple photos

Connectivity:

iPhone MagSafe connector, WiFi

Dimensions:

112.5mm (W) x 85mm (H) x 21.5mm (D). Handle depth is 42.5mm

Weight:

10.2oz / 290g (w/out lens)

Caira camera: Design

  • No screen – you MagSafe your iPhone instead
  • Premium CNC-milled aluminum body
  • 64GB internal memory

Caira camera on a grid mate alongside Alice Camera

Caira alongside the Alice Camera, designed by the same makers (Image credit: Rashid Ahmad)

Imagine if Leica built a GoPro after a long lunch - that’s the Caira. There's Sigma BF vibes, too. A sleek, screen-less slab of CNC-milled metal that looks premium and feels it too.

The design strips away almost all buttons, because the company says creators are “overwhelmed by controls.” Fair. Now you’ll be overwhelmed by menus instead.

The MFT mount opens a vast lens ecosystem, from affordable pancakes to glass that costs more than your phone. And the 5,000 mAh battery means you can actually use it all day.

Best of all, there are no memory cards. You shoot, and the files appear in your iPhone’s Photos app almost instantly. It’s dangerously convenient.

Cair camera: Performance

  • 11MP Four Thirds sensor with dual base ISO
  • Basic video specs – 4K video up to 30fps
  • Really effective Nano Banana voice control and generative edits

The Caira behaves like two products; a legitimate camera, and an unashamed AI experiment.

The camera hardware delivers – the 11MP Sony sensor combined with proper MFT glass (I used several of my Lumix lenses, including the 12-60mm f/2.8-4 lens) is an obvious leap from a smartphone, particularly in low light. Depth, sharpness, and texture all feel natural. The AI-tuned colour profile leans a little toward “Instagram - ready,” but never offensively so.

Caira's Smart Styles are surprisingly tasteful presets, that make you look more competent than you are. You can get a feel in the examples in the gallery below.

Image 1 of 3

Caira camera user interface with a photo of a lady in a red dress

An original photo taken with Caira (Image credit: Future / Rashid Ahmad)
Image 2 of 3

Caira camera user interface with a photo of a lady in a red dress, image processing

Turn the dress black (Image credit: Future / Rashid Ahmad)
Image 3 of 3

Caira camera user interface with a photo of a lady in a red dress now changed to lady in a black dress

About 20 seconds later, the new image appears. (Image credit: Future / Rashid Ahmad)

The Caira's show piece is its AI features. Voice Control is genuinely handy when both hands are busy, or sticky with espresso, but Generative Editing is the main event.

Prompts like “make it nighttime” or “change his navy blazer to burgundy” return results in seconds – clean, convincing, a bit spooky.

Generative Editing is the feature that flattens the learning curve and streamlines the creative workflow. It’s powerful, fast, and feels like magic.

To its credit, the company has guardrails in place: no altering skin tone or facial features. I tried. It refused, nicely.

The Caira is a bold step. It’s a bet that the next generation of creators values AI-powered speed and flexibility as much as – or perhaps more than – traditional photographic purity. And based on what I’ve seen, it’s a bet they just might win.

Image 1 of 2

Lady in a red dress

The original photo, using one of the more vibrant color profiles Caira has (Image credit: Future / Rashid Ahmad)
Image 2 of 2

Lady in a black dress, photo taken with the Caira camera

Now with the generative prompt 'turn the dress black', which returned results way quicker than an outfit change. (Image credit: Future / Rashid Ahmad)

The Caira feels like a product born out of collective exhaustion. Someone, somewhere, finally admitted that no one actually enjoys editing - they just enjoy pretending they do. It’s bold, a little absurd, and far more capable than it has any right to be.

It won’t replace your main camera, and it won’t replace your phone either - but it might just replace your willpower to open Lightroom ever again.

It’s the perfect tool for those of us who still like the idea of photography - the ritual, the gear, the illusion of artistry - but who secretly just want the photo to look brilliant the moment we take it.

And truthfully? That’s probably the entire modern photographer.

Should you buy the Caira camera?

Buy it if...

You want a seamless shoot and edit experience, through your smartphone

Other cameras add way too many steps to the shoot - upload - edit - share process. Caira simplifies the whole process.

You want powerful edits in seconds, without the need for expensive editing software

Caira churns out the sorts of edits that used to take way more time with pricey software, and it does so directly on your phone.

Don't buy it if...

You want high-resolution photos

Just 11MP is pretty low by today's standards.

You're unsure about crowdfunding campaigns

To be fair, Caira's makers delivered with a previous project, the Alice Camera, but back at your own risk (or wait).

Caira camera on a grid mat alongside Lumix lenses

Caira accepts Micro Four Thirds lenses, like these two Lumix ones (Image credit: Rashid Ahmad)

How I tested the Caira camera

  • I tested Caira for two weeks
  • I paired it with Lumix lenses, including the 12–60mm f/2.8-4 lens
  • I connected my iPhone and made use of the various Nano Banana features

Camera Intelligence sent me one of just 50 pre-production units for a two week trial. I used it mostly to photograph things that didn’t deserve this much computing power.

It locks to the iPhone via MagSafe and connects over Wi-Fi through the Caira iOS app. Setup takes seconds, and then you’re in. I paired it with a Lumix 12–60mm f/2.8-4 – a brilliant lens that I immediately wasted on photographing coffee cups, pool balls, and other cameras.

  • First reviewed November 2025
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: , , , | Comments: Off

OM System OM-5 II: two-minute review

OM System OM-5 II

The OM-5 II is an affordable enthusiast camera that can turn its hand to just about any genre of photography. (Image credit: Rod Lawton)

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.

OM System OM-5 II

Is the OM-5 II's high-res mode just a gimmick? I'm not convinced the 50MP handheld mode delivers a lot more detail, but I set this shot up to check the 80MP tripod mode... (Image credit: Rod Lawton)

OM System OM-5 II

Here's a zoomed-in comparison that shows the 80MP tripod mode (left) does offer significantly more detail than the regular 20MP version (right). (Image credit: Rod Lawton)

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.

OM System OM-5 II

The OM-5 II has a 20MP Micro Four Thirds sensor that's really not far behind the quality of APS-C and full-frame sensors, and features excellent image stabilization. It's a generation behind the stacked sensors in the OM-1 II and OM-3, though (Image credit: Rod Lawton)

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.

OM System OM-5 II

Can the OM-5 II handle high ISOs? I would probably stop at ISO 6,400, but you can get good results beyond that, especially with today's AI denoising tools (Image credit: Rod Lawton)

OM System OM-5 II

Beware of Lightroom's default noise settings for raw files! If you shoot raw you might be dismayed by the noise at ISO 25,600 (right), but the OM-5 II's in-camera JPEGs (left) show how it should be done (Image credit: Rod Lawton)

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

OM System OM-5 II

(Image credit: Rod Lawton)

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

OM System OM-5 II

This gives you an idea of just how compact the E-M5 II and 12-45mm lens combo actually is – remember, this lens is equivalent to a 24-90mm in full-frame terms (Image credit: Rod Lawton)
  • 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.

OM System OM-5 II

I think the OM-5 II is actually pretty good for casual video work, but the placement of the Record button is annoying, and it's too easy to press the CP button by mistake. Those twin control dials, however, are superb (Image credit: Rod Lawton)

OM System OM-5 II

I'm not a big fan of power switches away from the shutter release, but I do like the drive mode and display mode buttons on the top (Image credit: Rod Lawton)

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

OM System OM-5 II

The 12-45mm f/4 kit lens is great for travel photography. This was taken at its 24mm equivalent widest setting (Image credit: Rod Lawton)

OM System OM-5 II

At the opposite end of the zoom range, the 90mm equivalent focal length gives you a much flatter perspective for tighter cropping and fewer distractions (Image credit: Rod Lawton)

OM System OM-5 II

The color rendition is great and there's plenty of detail from this 20MP sensor (Image credit: Rod Lawton)

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).

OM System OM-5 II

The IBIS on this smaller sensor verges on the uncanny. I shot this handheld at 1/2 sec to blur the windblown grasses in the foreground. (Image credit: Rod Lawton)

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

OM System OM-5 II

The OM-5 II's raw files process very nicely, with similar highlight recover to larger sensor cameras, though you might not want to bring up the shadows quite as far (Image credit: Rod Lawton)

OM System OM-5 II

What I especially like about the OM system is the consistent quality of the Pro lenses. With the 12-45mm f/4 you don't have to worry about edge detail or longer focal lengths – it's great at every zoom setting and every lens aperture (Image credit: Rod Lawton)

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

OM System OM-5 II

(Image credit: Rod Lawton)

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.

Canon EOS R1 review: a five star high-speed powerhouse for pros, with a sky-high price
4:00 pm | January 25, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , | Comments: Off

Canon EOS R1: two-minute review

The Canon EOS R1 follows design conventions passed down from professional high-speed DSLR cameras, such as the EOS 1D X Mark III, in that it also features a built-in vertical grip and high-capacity batteries for extended shooting times, complete with seriously impressive high-speed shooting capabilities. If you want a no holds barred camera for sports and wildlife photography, this is the speediest Canon camera on offer.

Its flagship features, functionality and performance excel for the rigors of pro press photography – the few that might actually be able to afford the EOS R1's eye-watering price tag will consequently be equipped for demanding jobs with one of the best Canon cameras currently available.

Canon EOS R1 mirrorless camera in the hand with a basketball court background, under the lights

(Image credit: Future | Tim Coleman)

The camera sports a 24.2MP full-frame BSI stacked CMOS sensor and can capture photos at up to an incredible 40fps, plus 6K raw video at up to 60fps. There's also a slew of useful features including the ability to capture bursts of JPEGs while shooting Full HD video, but we'll cover those in more detail later.

Autofocus is fast and accurate with up to 4,368 AF points depending on the AF mode selected, and the in-body image stabilization (IBIS) is amazing and highly effective, so you can rest assured you have a camera that works for you. The biggest issue with the EOS R1 is the cost, which will put it out of the reach of many photographers, and it's certainly more camera than any enthusiast could ever need.

Canon EOS R1: price and release date

  • Expensive at $6,299 / £6,999 / AU$10,499
  • Body only with no kit options
  • Available now

The EOS R1 was announced in July 2024 and is available now with a body-only price of $6,299 / £6,999 / AU$10,499. This is, of course, expensive, and will put the camera out of the reach of even many professional photographers. This is a similar price, however, to the EOS 1D X Mark III – the quickest DSLR ever made – so with inflation that's pretty impressive.

As a camera designed for professional photographers, some of whom will inevitably be EOS 1D X Mark III owners, the EOS R1 works incredibly well with adapted EF DSLR lenses. For professionals with plenty of expensive EF L-series glass, this softens the financial blow because they can be confident that they won't have to upgrade all of their glass to RF lenses all at once.

Naturally, using native lenses will be preferable to most photographers, but the ability to only need to do this as and when the natural upgrade cycle completes is incredibly useful. Even professionals, who spend more on photo kit than the average enthusiast will appreciate this.

  • Price score: 3.5/5

Canon EOS R1: specs

Canon EOS R1: design and handling

  • Built-in vertical grip mirrors the camera's regular control layout
  • Versatile articulating LCD screen
  • Generously large viewfinder is easy to use

In terms of the overall design, the EOS R1 looks every inch a professional camera thanks to its built-in vertical grip for horizontal and vertical shooting. There are dual CF Express Type B card slots on one side of the camera, while on the other you'll find the physical ports which include USB-C, Ethernet, HDMI, mic, headphones and PC sync for flash. The EOS R1 also offers Bluetooth and WiFi connectivity.

Surprisingly, the EOS R1 isn't overly cumbersome despite its large and hefty size – that's 6.2 x 5.88 x 3.43in / 157.6 x 149.5 x 87.3mm with a weight of 2.7lbs / 1,115g, including a battery and memory card (but no lens), which is largely thanks to the well-contoured vertical and horizontal grips, plus the new camera coating that provides a secure grip. The camera also balances well with both smaller lenses and larger telephotos. Overall build quality is excellent as you'd expect for a professional camera.

Image 1 of 5

Canon EOS R1 top plate with OLED screen

(Image credit: James Abbott)
Image 2 of 5

Canon EOS R1 rear view with LCD screen hidden

(Image credit: James Abbott)
Image 3 of 5

Canon EOS R1 rear view with LCD screen showing camera menu

(Image credit: James Abbott)
Image 4 of 5

Canon EOS R1 dual memory card slots

(Image credit: James Abbott)
Image 5 of 5

Canon EOS R1 Side view of ports

(Image credit: James Abbott)

One of the immediate differences you notice when compared to mid-range cameras such as the EOS R6 Mark II, and even the EOS R5 Mark II, is the sheer number of direct access controls on offer. The AF-ON button serves a dual purpose in that it offers two programmable functions with the sensor in the center allowing you to use swipe actions with your thumb to move around zoomed images or to adjust autofocus, for example – it's a slick design feature.

Having many direct access controls is standard for high-end professional cameras like the EOS R1, because you don't want to otherwise be scrolling through menus to find and make adjustments when in fast-paced shooting environments. Also, many controls are duplicated on the vertical grip so you can enjoy the same level of convenience and comfort when shooting in both formats.

Image 1 of 8

Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
Image 2 of 8

Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
Image 3 of 8

Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
Image 4 of 8

Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
Image 5 of 8

Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
Image 6 of 8

Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
Image 7 of 8

Canon EOS R1 mirrorless camera 's battery

(Image credit: Future | Tim Coleman)
Image 8 of 8

Canon EOS R1 mirrorless camera in the hand, no lens attached

(Image credit: Future | Tim Coleman)

On the rear, you'll find the 2.1m-dot 3.2-inch articulating touchscreen which is useful because it can be positioned in many ways. But it's the generously large, almost cinema-like, 9.44m-dot viewfinder that truly caught my eye. Not only is the viewfinder window large, but so too is the immersive EVF screen itself.

The EOS R1's menu system is intuitive and easy to navigate, but like most cameras these days there are so many options available, including button customization, and so it'll take some time to full familiarize and set up the camera for your shooting needs. Some features do require you to delve into the menu to switch them on or off, despite all of the direct access controls, but this approach is standard for all cameras.

  • Design score: 5/5

Canon EOS R1: features and performance

  • Dual processors deliver Canon's best-ever speed, including 40fps continuous shooting
  • Advanced autofocus with dedicated sports modes and face recognition

The EOS R1 features a new high-speed 24.2MP full-frame BSI stacked CMOS sensor that reduces rolling shutter at the expense of a slight reduction in dynamic range. This reduction certainly wasn't noticed shooting a range of subjects during testing.

The sensor is powered by dual processors: the DIGIC X and the DIGIC Accelerator. These processors allow for large volumes of data, fast image capture, fast AF and produce excellent image quality, as well as facilitating the Deep Learning technologies for in-camera image upscaling and noise reduction.

The EOS R1 is packed with so many features that it's impossible to cover them all, but there are undoubtedly some that stand out from the crowd. The EOS R1 is a camera designed for speed and can capture raw files at up to 40fps with the electronic shutter enabled, or 12fps with the mechanical shutter active. The mechanical shutter extends to 1/8000 sec while the electronic shutter pushes further to a lightning-fast 1/64,000 sec.

Canon EOS R1 with 85mm f/1.2 attached

(Image credit: James Abbott)

Autofocus is incredible; it's fast, accurate and intelligent in maintaining the EOS R1's focus on speed. During testing when photographing seals on a beach, the subject detection worked flawlessly to identify eyes and faces with near-perfect accuracy, even though obstacles were sometimes present in the frame.

The AF system uses Canon's Dual Pixel Intelligent AF where subjects are accurately tracked, while Canon says it's able to identify faces and bodies. There's also subject detection, which works incredibly well, while cross-type AF makes focusing more precise and effective, even in low light and low contrast situations.

Canon EOS R1 with 15-35mm f/2.8 lens attached

(Image credit: James Abbott)

There's also a new Action Priority mode that according to Canon recognizes movements in basketball, soccer and volleyball while tracking the ball and switching between subjects as the action unfolds. I didn't personally have the opportunity to test Action Priority, but TechRadar's Cameras Editor Tim Coleman did during the camera launch, and the sentiment is that Action priority has game-changing potential for sports photographers.

Then there's eye-control AF, which, as the name suggests, tracks the movement of your eye and where you're looking in the viewfinder as a guide to position the active AF point(s). Eye-control AF has to be configured via the camera menu. Again, Tim Coleman has written a dedicated feature about Eye-control AF.

Image 1 of 3

Basketball player, shot with the Canon EOS R1

Before the basketball game started, I took a portrait of this player and selected him as the player for the EOS R1 to prioritize as the primary subject to focus on. (Image credit: Future | Tim Coleman)
Image 2 of 3

Basketball player, shot with the Canon EOS R1

After doing this, the hit rate of sharply focused photos on the player was virtually perfect. (Image credit: Future | Tim Coleman)
Image 3 of 3

Basketball player, shot with the Canon EOS R1

The EOS R1 is able to do this subject priority trick for up to 10 faces. (Image credit: Future | Tim Coleman)

Another interesting and useful feature is pre-continuous shooting which, when enabled, allows the camera to buffer 20 frames while the shutter button is halfway depressed. When you fully release the shutter button, the buffered frames are also captured to provide a greater hit rate in fast-paced situations when your reactions might not be up to speed.

20 frames equates to half a second of pre-capture when shooting at the maximum frame rate. This is great, of course, but isn’t a feature you'd want to use all of the time because of the sheer number of frames you'd be capturing and needing to edit.

  • Features and performance score: 5/5

Canon EOS R1: image and video quality

  • Excellent high ISO handling
  • AI-powered upscale and noise reduction
  • Up to 6K Raw video

EOS R1 images are beautifully sharp, which can in part be attributed to the new low-pass filter that reduces moire and false color alongside maintaining sharp detail. Image quality is excellent with raw files naturally providing the greatest degree of flexibility. JPEGs are also fantastic out of camera which will undoubtedly appeal to press photographers delivering images directly to picture agencies.

JPEG color profiles can be tweaked with custom profiles so photographers can adjust settings such as brightness and contrast. The Standard profile provides great results but images can be further improved using levels to adjust the black and white points in Photoshop. Colors are pleasing and Canon has long been well respected for its color science, so there are no complaints here.

Image 1 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 2 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 3 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 4 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 5 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 6 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 7 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 8 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
Image 9 of 9

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)

A feature within the camera is AI-powered upscaling and noise reduction. These are frustratingly only available for JPEGs and the former increases file sizes 4x to 96MP. Fine details are preserved while color and contrast are maintained, but it's a shame that this functionality isn’t available for raw files. Adobe users, however, can take advantage of Super Resolution to increase raw files by the same factor.

Noise reduction certainly works but the closer you get to the maximum ISO within the camera's standard range, the less effective the results are.

AI upscaling example

Image 1 of 3

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens showing AI upscaling from original JPEG

AI upscaled JPEG with original photo inset (Image credit: James Abbott)
Image 2 of 3

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

Full AI upscaled photo (Image credit: James Abbott)
Image 3 of 3

Seal on a beach shot with the Canon EOS R1 and 200-400mm lens 100% zoom of an AI upscaled JPEG

100% crop of the AI upscaled photo to show detail (Image credit: James Abbott)

Video is a major component of the EOS R1 too, with the ability to capture 6K 12-bit raw video in-camera, up to 60fps. 2K and Full HD video can be captured at up to 240fps, while 4K is available up to 120fps. Canon C-Log flat color profiles are also available alongside the ability to capture proxy video to one memory card, with full-resolution files recorded to the other.

This is all just the tip of the iceberg but gives you an idea of what the EOS R1 is capable of. Plus, a video feature that could be useful for hybrid press photographers is the ability to capture Full HD video and 17MP JPEGs at 10fps at the same time when the Dual Shooting function is switched on.

  • Image and video quality score: 5/5

Canon EOS R1: testing scorecard

Should I buy the Canon EOS R1?

Buy it if...

You're a pro sports, wildlife or press photographer
The EOS R1 is aimed squarely at sports, wildlife and press photography, with features and functionality that make image capture and delivery in these situations highly efficient.

You need fast continuous shooting
If a maximum frame rate of 40fps will enhance your photography, alongside pre-capture buffering of 20 frames, the EOS R1 will help you to capture the decisive moment and then some.

You'd like exceptional autofocus
The autofocus system employed by the EOS R1 is excellent and sets a new bar for AF technology when it comes to capturing sharp images of fast-moving subjects in complex situations.

Don't buy it if...

You need a higher resolution
Despite in-camera JPEG upscaling to increase resolution by 400%, the EOS R1's true resolution is 24.2MP, and there are plenty of alternatives that produce higher resolution raw files and excellent image quality.

You don’t require speed
Not all photographers require the level of speed on offer here, such as landscape and portrait photographers. The EOS R1 is also heavy and bulky for landscape photography with more suitable cameras available.

You're not a professional
Of course, anyone with deep pockets can buy the EOS R1, but unless you’re a professional working in specific areas of photography, it's much more camera than you will ever need it to be.

Canon EOS R1: also consider

Nikon Z9

The Nikon Z9 is a few years old now but it continues to match flagship cameras from competitors thanks to impressive performance, speed and its 45.7MP sensor. It only uses an electronic shutter, but to fully experience the EOS R1's speed of capture this is the shutter type you have to use in any case.

Read our in-depth Nikon Z9 review

Canon EOS R5 Mark II

The Canon EOS R5 Mark II was launched alongside the EOS R1 and offers many of the same features and functionality in a smaller and less expensive body. What's more, the control layout is similar and the EOS R5 Mark II offers a higher resolution 45MP BSI stacked sensor.

Read our in-depth Canon EOS R5 Mark II

Sony A9 III

Believe it or not, the Canon EOS R1 isn't the out and out fastest camera around – that award goes to the Sony A9 III, a flagship camera for sports that we called 'the high-speed camera to beat'. A true design innovation, the A9 III is the first camera of its kind with a global shutter which, among other things, realizes burst shooting speeds up to 120fps, plus extremely fast shutter and flash sync speeds. It's also Sony's best designed camera yet, though you'll want the optional grip to bulk it out like the EOS R1 when using telephoto lenses.

Read our in-depth Sony A9 III review

How I tested the Canon EOS R1

James Abbott shooting seals with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
  • I had the EOS R1 for a couple of weeks, along with three Canon lenses
  • I captured a range of subjects, from wildlife to landscapes
  • I tested Canon's in-camera Deep Learning features such as upscaling

I mainly tested the Canon EOS R1 for shooting wildlife, but also to capture landscape and night photography, and I had three Canon lenses to choose, including the RF 85mm F1.2L USM and RF 200-800mm F6.3-9 IS USM. It might not be the obvious choice for landscape photography, given it is heavy and bulky, but I gave it a go none the lens and it performs exceptionally well in this situation too.

I tested as many features and functions as possible were tested, with my main focus being the speed of the camera's autofocus and continuous burst shooting. It was also important to familiarize myself with the control layout so the camera could be used as if it were my own.

I also tested Canon's in-camera 'Deep Learning' features in order to provide a thorough overview of the camera in terms of professional image capture.

First reviewed January 2025

Blackmagic Pyxis 6K review – a filmmaker’s workhorse with quality full-frame sensor
3:20 pm | January 24, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: , , , | Comments: Off

Blackmagic Pyxis 6K: two-minute review

The Blackmagic Pyxis is the company's first venture into box-style cameras, and at its core lies a proven full-frame sensor, delivering up to 6K resolution and 13 stops of dynamic range. The key benefit of this high resolution is that you can use the full width and height of the 3:2 surface area of the sensor, allowing for much greater flexibility when you need to produce content for multiple platforms.

The camera’s UI is generally a triumph, with large touch controls, clear navigation, and sensible menu structures. However, when you turn the camera to film vertically, the UI stays fixed; on the older Pocket 6K, the UI rotates to suit the new orientation, so it’s clear that Blackmagic had thought about this problem and had come up with a simple solution, and it’s odd that they’ve yet to implement it on the Pyxis, which lends itself even more to shooting in different orientations. That said, even during my brief time with the camera the company released significant updates to both the camera and the Blackmagic Camera App that delivered functionality and performance improvements, so I’m confident that it will address smaller issues like this in time.

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

In terms of hardware, the camera's standout feature is its machined aluminum construction, which offers professional-grade modularity and heat dissipation. However, the positioning of its cooling mechanism draws air from the base of the camera and forces it out through the top, and while it’s great for warming your hands on a chilly day, it does leave the camera feeling particularly exposed to inclement weather.

It features a multitude of mounting points on its bottom, top and side, where you’ll find its modular accessory plate, which can be used to install a rosette plate for a grip or an SSD holder for example. While the $2,995 / £2,645 / AU$4,899 (approx) starting price is competitive, buyers should factor in additional costs for essential accessories like an EVF, monitor, handle, and other rigging solutions, although many people buying this camera are likely to already have some compatible accessories.

Blackmagic Pyxis 6K camera on set, with optional monitor

(Image credit: Jon Devo)

The camera excels in its versatility with its comprehensive I/O (input / output) options, including BP-U battery compatibility, a nice common standard, as well as a 12G-SDI port and USB-C connectivity. The USB-C port on the front of the camera can transmit a video signal out to an HDMI source (without visual assist tools like false color), and the one on the rear can be used to tether the camera to a mobile device for remote wireless control, monitoring and synced recording across multiple connected Blackmagic cameras. Other professional features like timecode sync, Ethernet connectivity, SSD recording, and cloud workflow integration are also included.

The Pyxis delivers impressive image quality with Blackmagic's highly regarded color science, though it lacks some features that mirrorless shooters will be used to, like advanced autofocus and optical image stabilization. Some form of internal ND filter system would have been a big bonus, but nothing in this price range or class offers that, so expecting it would be unreasonable. While its few limitations are worth consideration, if you’re in the market for a true workhorse camera that can be adapted to a wide range of shooting scenarios the Blackmagic Pyxis makes a strong case for itself, especially when you consider that the purchase of a Blackmagic camera includes a full license for the DaVinci Resolve Studio editing suite, worth $295 / £235 / AU$440.

Blackmagic Pyxis 6K: price and release date

  • Body-only price: $2,995 / £2,645 / AU$4,899 (approx)
  • Available now in three lens mount versions; EF-mount, L-mount of PL-mount (the latter costs $100 / £100 / AU$180 extra
  • You'll want additional accessories

The Blackmagic Pyxis 6K was announced at NAB Show Las Vegas in April 2024 and is available to order now. It can be picked up for a list price of $2,995 / £2,645 / AU$4,899 body-only in EF or L-mount, while the PL mount version costs $100 / £100 / AU$180 (approx) extra.

That price represents five star value given how the camera handles and what it is capable of for filmmaking. However, you will also need to factor in multiple accessories to improve the shooting experience, including an optional monitor, viewfinder, top handle and more.

  • Price score: 4.5/5

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

Blackmagic Pyxis 6K: specs

Blackmagic Pyxis 6K: design and handling

  • Excellent build quality with machined aluminum construction
  • Modular design, requires accessories to maximize its potential
  • UI doesn’t rotate as on the Pocket 6K

The Blackmagic Pyxis 6K is a relatively compact camera given what it's capable of, but it still weighs in at a hefty 3.3lbs / 1,500g, which is roughly the weight of two Lumix S5 IIX mirrorless cameras. Measuring 119 x 106 x 151mm (H x W x D), and with a fixed LCD display on its left side, the Pyxis feels like it needs an additional accessory for monitoring. If you want to stay on brand, your options include the Blackmagic URSA Cine EVF, the specially designed Blackmagic Pyxis Monitor, or a Blackmagic Video Assist. I had the chance to pair the camera with the Pyxis monitor, and it was ideal for run-and-gun-style shooting without being overly conspicuous, and its built-in pop-up hood is a nice touch. It’s a solid addition to the camera's accessory lineup, and provides full camera control via its touchscreen and the three customizable function buttons on its rear.

I also got to use the URSA Cine EVF, and it would be a great option for filming Electronic News Gathering (ENG) / documentary-style work, as it immerses you in the frame by blocking out off-camera distractions. The setup is highly flexible, with the EVF being easy to position. It comes with an extension arm, as well as USB-C to USB-C cables of various lengths, so that you can place the EVF in the most comfortable orientation possible for your style of shooting. A nice detail sees the EVF’s USB-C cables come with screw fixtures so that they can’t be easily pulled out, and I also like that the EVF has a tally light built into it.

Image 1 of 4

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
Image 2 of 4

The Blackmagic Pyxis 6K camera's top handle, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
Image 3 of 4

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
Image 4 of 4

Closeup of the Blackmagic Pyxis 6K camera's I/O options, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

Returning to the side of the camera, the Pyxis has physical controls for all key functions, and offers three customizable function buttons so that you can save your most commonly used tools – I set mine to focus assist, false color and LUT view. If you use the EVF, it also has physical buttons, three of which can be independently customized from the ones you’ve assigned on the body. I found that the buttons and control dial click and scroll responsively, and while I would have preferred an additional record button on the front or right side of the camera, the placement of the physical controls is generally logical, and will be swiftly committed to muscle memory with regular use.

People who are new to cinema-style box cameras may be in for a slight shock when they realize just how much additional kit they need to buy in order to make their camera functional – while its starting price seems competitive, the camera doesn’t even come with a battery in the box. So you will want to factor in additional costs, as they can stack up quite quickly. As well as power, the optional £165 / $199 (around AU$325) top handle feels like a necessity too, not least because it's critical for working with the EVF or Pyxis monitor. I’d most likely purchase the Pyxis monitor first, but the EVF is a nicely designed piece of kit; for me, as somebody who often shoots handheld outside, it definitely elevates the functionality of the camera.

Image 1 of 6

Memory card in the Blackmagic Pyxis 6K camera's card port

(Image credit: Jon Devo)
Image 2 of 6

Rear of the Blackmagic Pyxis 6K camera, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
Image 3 of 6

Top view of the Blackmagic Pyxis 6K camera, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
Image 4 of 6

Closeup of the Blackmagic Pyxis 6K camera's controls, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
Image 5 of 6

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
Image 6 of 6

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

The camera's layout is professional and purposeful, although the built-in screen’s position on the left side of the camera body forces you to touch it while holding it, quite a lot, which will undoubtedly jar some people. Helpfully, in the latest update (9.2) you’re able to lock the screen while still having full access to the camera’s physical controls, which is a welcome improvement in functionality. For audio, the camera offers a 3.5mm stereo input on the front, as well as a mini XLR input, which will give you phantom power. You can run the camera directly from mains power via its +12V 2-pin Lemo connector, which is handy for me, as someone who predominantly shoots in studios and controlled indoor environments. Its dual CF Express Type B card slots are protected by a rubber cover, and the locking USB-C ports add security for monitor connections. The overall build quality is excellent, especially given the camera’s competitive pricing, although the rubber media door could be more robust, and the lack of weather sealing is notable, albeit typical for this style of camera body.

  • Design score: 4/5

Blackmagic Pyxis 6K: features and performance

  • Internal 12-bit Raw video, but no ProRes
  • Filmic quality to footage
  • Versatile rigging options
  • Professional I/O
  • No in-body image stabilization
  • No continuous AF

The Blackmagic Pyxis 6K offers impressive connectivity options, including 12G-SDI output, USB-C, and Ethernet. The dual native ISO provides flexibility in various lighting conditions, while the dual card slots offer redundancy and extended recording times. Its best-in-class menu system is intuitive for newbies and familiar to Blackmagic users, offering logical functionality and decent customization options.

Professional features include built-in timecode, streaming capabilities, and cloud workflow integration. It also comes with a range of exposure tools that will ensure you’re gathering as much usable Raw imaging data as possible while recording. Typically, I would rely on false color, which I assigned to one of the camera’s three customizable function buttons. But it was great to see the addition of the RGB traffic light indicator system, which has possibly been borrowed from RED’s Komodo cameras. When any one of the camera’s pixel channels are beginning to clip, that light will stay illuminated, indicating that you need to lower your exposure. It’s a great at-a-glance exposure tool that’s been seamlessly integrated into the general display UI. Although it doesn’t work for underexposure, there are plenty of other tools, like false color, histogram, and zebra patterns available to help here.

Closeup of the Blackmagic Pyxis 6K camera's monitor, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

During my review window Blackmagic released a couple of relatively major updates, one for the Blackmagic Camera App (iOS v2.2) and the other for the Pyxis 6K. The improvements introduced with Firmware 9.2 included some handy connectivity features. If its running the latest firmware, the Pyxis can now use a compatible iPhone as a monitor when acting as a personal wireless hotspot and tethered via the rear USB-C port (the Pyxis itself has no Wi-Fi transmission module), and when functioning like this, you can use your iPhone to control multiple cameras and even initiate synchronized recording, which is a great solution for people who often rely on multi-camera setups. The new firmware also provided a significant boost to the camera’s power efficiency, adding roughly 30-40% more operating time in my experience. Of course, your mileage may vary, but before the update I was already able to get about 35 minutes out of a BP-U-30 (28Wh) battery, and after the update I was getting another 20-30 minutes or so extra. Battery life monitoring was also improved by the update, so the camera will now go all the way down to 1% before eventually shutting off.

Some may be disappointed to learn that the Pyxis 6K has no stabilization whatsoever, but it does record gyro data to offer reasonable stabilization in post. There’s also noticeable wobble caused by rolling shutter when you’re moving with the camera, particularly when shooting in 6K open gate mode; it’s not horrendous, but it would encourage me to shoot more static-style shots when using this camera in particular. The visible effects of rolling shutter diminish as you reduce the sensor area used for recording, and are barely noticeable when shooting at 4K/60p in 17:9 aspect ratio, so I’d say it’s worth being conscious of what your output may be. Shooting for your end output instead of belligerently spamming open gate may be the wiser choice – you can save open gate for shots with less camera movement that need the flexibility of the sensor’s full readout. It’s worth mentioning that Davinci Resolve is also able to use the camera’s gyro data to mitigate some of the warping that you may see when moving the camera around while recording.

Closeup of the Blackmagic Pyxis 6K camera's LCD monitor, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

Wrapping up my niggles, the autofocus system is basic and offers no continuous AF, but it does have some handy focusing tools, which can be adjusted to suit your preferences. You can also use the dedicated push-to-focus button at the top-left side of the camera, and there’s an Iris button above that, which can help you nail exposure in a pinch. The camera also works well with external focus solutions like the DJI Focus Pro, which would be a typical approach for working with a camera like this.

A final, positive operating observation is just how quickly the camera powers up. Within five seconds of switching it on, the camera is up and ready to record. If you’re not familiar with cinema cameras, this may seem like a long amount of time, but in this realm, the Pyxis is relatively speedy, and it’s refreshing.

  • Features and performance score: 4/5

Blackmagic Pyxis 6K: image and video quality

  • Excellent image quality in most conditions
  • Better noise-handling than the Z50 at the same ISO
  • 4K/60p video with a 1.5x crop

The Pyxis captures images that are typically attractive for Blackmagic cameras, if it’s a look you’re familiar with. By this, I mean that the footage looks detailed, without looking sharp, and highlights roll off softly, delivering a cinematic look that needs very little work to get it ready to publish. The quoted 13 stops of dynamic range provides good flexibility in post-production, especially if you expose for the highlights and utilize DaVinci Resolve’s highlight recovery in post, when needed. Color reproduction is excellent thanks to Generation 5 color science, and the OLPF effectively controls moiré, which is great for shooting buildings, or clothing like silk and denim.

Low-light performance is good within the camera’s limitations, though not class-leading. However, Resolve is armed with comprehensive tools for reducing the impact of sensor noise. If you have the time and the aptitude, Blackmagic RAW files are really easy to work with, and can be honed to deliver an attractive look in most situations. While it’s not a no-light camera, the Pyxis would be perfectly capable of delivering attractive video in bar/club lighting scenarios or other low-ambient-lighting scenarios. The ability to shoot up to 6K resolution with a full-frame sensor with frames for various aspect ratios provides excellent flexibility for different delivery formats.

  • Image and video quality score: 4.5/5

Blackmagic Pyxis 6K: testing scorecard

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

Should I buy the Blackmagic Pyxis 6K?

Buy it if...

You’re a solo filmmaker or a small production unit that needs a professional solution
The Blackmagic Pyxis 6K is clearly built with pro work in mind, and is incredibly versatile.

You value image quality and want RAW video
Blackmagic RAW is one of the easiest pro video formats to work with, and even at its lowest bitrate settings the Pyxis delivers sumptuous video when exposed well.

You have a higher-end cinema camera and need a B-cam
The combination of the Pyxis 6K’s sensor and Blackmagic’s color science provide an excellent starting point for delivering cinematic video. However, the camera produces an image that is robust and flexible. If you or your colorist has a basic understanding of grading, matching your clips with footage from another high-end camera should be straightforward enough.

Don't buy it if...

You need a compact all-in-one solution
The Pyxis is designed to be rigged up and utilized in a wide variety of ways. For this reason, it’s relatively stripped back, but provides users with plenty of options for customizing its form and functionality to suit their needs.

You don’t need RAW video
If color grading your footage is not something your work (or pleasure) typically requires, there’s no need to pick up a camera that offers no compressed recording formats. You’ll be adding an unnecessary step to your workflow, which will cost you time and may cost you enthusiasm.

You need high-frame-rate, high-resolution video
The Pyxis 6K can shoot 6K at up to 50/60fps in the 17:9 and 2:4:1 aspect ratio respectively. It also shoots 2K at up to 100fps. However, if high-frame-rate video is a must for you, there are other cameras to consider that are more specialized for this type of filmmaking

Blackmagic Pyxis 6K: also consider

Canon EOS C70

Canon's smallest cinema camera, the EOS C70 can be had for a similar price seccondhand to the Pyxis 6K. It's a Super 35 format camera (a smaller crop-sensor) with 4K video up to 120fps in 10-bit 4:2:2 plus 12-bit RAW recording. It boasts up to 16 stops dynamic range and utilizes Canon's RF-mount and features autofocus, while it features most of the I/O options demanded by serious filmmakers. Both the Pyxis 6K and EOS C70 put forward unique strengths.

Z CAM E2-F6 Mark II

Another cinema camera with modular box design iz Z CAM'S E2-F6 Mark II. Like the Pyxis 6K, it features a full-frame sensor and is able to record 6K video, but up to 60fps, plus it supports ProRes RAW and 10-bit color, with 15 stops dynamic range. There's SDI and full-size HDMI ports, plus a BNC timecode port and genlock. There's also the E2-S6 Mark II version which is largely the same, only it has a smaller Super 35 sensor. At $3,499, Z CAM's box camera is pricier than the Pyxis 6K

How I tested the Blackmagic Pyxis 6K

Blackmagic Pyxis 6K camera on set, with optional monitor

(Image credit: Jon Devo)
  • I had a briefing and sneak peak of the camera before its unveiling at NAB in 2024
  • I paired the camera with a variety of L-Mount lenses, and a IRIX T1.5 via a Viltrox PL-L adapter
  • I connected the camera to the Blackmagic Camera app

I was sent the Blackmagic Pyxis for review to test for a couple of weeks, due to a firmware update being released during my review window. The kit that came with the camera included the Blackmagic URSA Cine Handle, the Blackmagic URSA Cine viewfinder, a 1TB Angel Bird memory card and reader, as well as a Sigma 24-70mm F2.8 lens.

The first thing I did after receiving the camera was to conduct my endurance tests, which include battery run-downs and heat management. I set the camera up on a tripod in an ambient temperature environment of 70F / 21C, and left it filming continuously while connected to mains power and on battery power alone.

I then took the camera out with me on some street walks, and to a couple of family and evening events. I performed sound-quality tests in a small studio environment.

First reviewed January 2025

Nikon Z50 II review: a pocket rocket at a competitive price
7:03 pm | January 7, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: | Comments: Off

Nikon Z50 II: two-minute review

A tidily packaged APS-C camera with great handling and plenty of features at decent price, we rated the original Nikon Z50 highly. Its successor takes that recipe and supercharges it, with the help of an Expeed 7 processor. The result is a versatile mirrorless camera that’s perfect to learn and grow with.

Its dimensions are neat enough to compete with the best travel cameras, yet Nikon hasn’t sacrificed ergonomics. Slightly larger than the original, the Z50 II feels fantastic in the hand. With a deep grip and plenty of direct-access controls, as well as a useful vari-angle touchscreen and upgraded viewfinder, it’s a satisfying camera to shoot with, whether you’re capturing stills or video.

Under the hood, Nikon’s latest Expeed 7 processor runs the show – the same silicon found in the Nikon Z9 and Z8. It might be pitched as an entry-level option, but that chip gives the Z50 II some serious pace. The interface is quick as you like, while autofocus performance is superlative. Equipped with detection modes for nine different subject types, including people, animals and vehicles, it’s as fast and accurate as many of Nikon’s more expensive models.

Processor aside, a lot remains unchanged from the Z50. That includes the APS-C sensor which, at 20.9MP, is bettered by many of the best beginner mirrorless cameras. That said, it’s still capable of producing detailed and realistic images when paired with a quality Z mount lens. If you already own a Z50, you won’t notice a huge difference in overall quality – although noise performance has been improved thanks to the Expeed 7 processor, meaning stills are cleaner at the same ISO settings.

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

Nikon has also bolstered the video capabilities of the Z50 II, boosting its status as an all-rounder. 4K frame rates now top out at 60fps, albeit with a 1.5x crop, and it becomes the first Nikon APS-C camera to support 10-bit N-log video – giving videography enthusiasts more flexibility when color grading in post. A headphone socket is a welcome addition, too.

The features above are complemented by a new Product Review mode, which allows influencers to produce content where the focus shifts seamlessly from presenter to product. There’s also a Picture Control button on the top plate, which gives easy access to color presets, with the option to add downloaded Creator Recipes alongside the built-in presets.

Taken as a whole, the Z50 II proves that one camera can work effectively for different creative styles and experience levels. Buy it as a beginner and it will quickly yield impressive results. Stick with it as you improve and the Z50 II has the controls and capabilities to continue delivering.

Nikon Z50 II: price and release date

  • Body-only price: $909.95 / £849 / AU$1499.95
  • With the 16-50mm kit lens: $1,346.95 / £1,199 / AU$ N/A
  • Available now

Like the original Z50, the Z50 II is positioned at the entry-level end of Nikon’s Z mount line-up. With a body-only price of $909.95 / £849 / AU$1499.95, that feels like a competitive offer for such a well-rounded APS-C camera.

In Australia and the US, the Z50 II costs pretty much the same as the original did at launch. In the UK, it’s cheaper by £50. That makes it excellent value. While the Z50 can now be found at a discount online, we think the second-gen version is the smarter buy: it’s not a total upgrade, but its powerful processor and video upgrades make it the more accomplished all-rounder.

That price also makes it slightly cheaper than the Canon EOS R10, our current favorite camera for beginners and arguably the Nikon Z50 II’s closest rival. Both are compact APS-C cameras with modern autofocus and comparable video skills. Which is right for you will come down to more than cost alone, but the Z50 II wins on price.

The Z50 II can also be picked up with bundled lenses. If you’re not already bought into the Z mount system, this is a great way to save on entry-level glass. Options include a single-lens kit with a 16-50mm VR lens for $1,049.95 / £999, and a twin-lens kit which throws in a 50-250mm VR number for $1,299.95 / £1,199. There’s also an 18-140mm kit in the UK and Australia for £1,299 / AU$2,279.

  • Price score: 5/5

Nikon Z50 II: specs

Nikon Z50 II: design and handling

  • Upgraded viewfinder and vari-angle touchscreen
  • Slightly bigger dimensions with a deeper grip
  • Dedicated Picture Controls button for style presets

At first glance, the Nikon Z50 II bears a strong resemblance to the original Z50. It’s a tidily packaged camera, very much in the established mold of entry-level mirrorless models. Its dimensions are compact enough to be travel friendly, yet it also benefits from a sturdy build and comfortable ergonomics.

That’s in part because the Z50 II is marginally bigger and heavier than the first version. In the hand, we found its grip substantial enough to wrap our fingers around, without being cumbersome. We also appreciated the extra grams: the body features plenty of plastic, but doesn’t feel flimsy in use.

Look closer at the Z50 II and you’ll find several welcome refinements. The tilting screen of the original has become a fully articulating display, a much more flexible solution for framing on the move. This is especially useful for videography and vlogging, as it can flip all the way around to face the front. So is the addition of a headphone port, which allows aspiring filmmakers to monitor audio in real time when recording footage.

The viewfinder has also received the attention of Nikon’s product developers. It has the same 2.36m-dot resolution as before, but is now twice as bright at up to 1000 nits. In practise, that makes the EVF an easier adjustment for the eyes when framing and shooting in daylight conditions.

Image 1 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
Image 2 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
Image 3 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
Image 4 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

Eagle eyes will also discover new additions to the control layout. In our review of the Z50, we complimented the layout and balance of its buttons and dials, praising its resemblance to full-frame Nikon siblings like the Z6 and Z7. The Z50 II gets closer still, with the addition of five new buttons.

You still don’t get a joystick, which means selecting the AF point requires use of the touchscreen. What you do get are zoom buttons, a display button and a dedicated drive button. These aren’t game-changing additions, but we valued their presence: they bolster the Z50 II’s chops for aspiring enthusiasts, making it easier to change key settings, without cluttering the interface.

Image 1 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
Image 2 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
Image 3 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
Image 4 of 4

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

The fifth new button sits on the top plate. A first for any Nikon camera, it gives instant access to Picture Controls – a library of aesthetic presets. To seasoned users, this might sound like a fad, but we think it will appeal to learners who want to get creative while shooting JPEGs. 31 profiles come pre-installed, with the option to adjust them through NX Studio. You can also download Creator Recipes from Nikon Imaging Cloud, and select which appear in the list.

The button’s presence leans into the Z50 II’s status as a camera for all kinds of creators. So does the fact that you can re-program its function, a useful option which will appeal to users as they move into shooting RAW stills and making color edits in post.

  • Design score: 4.5/5

Nikon Z50 II: features and performance

  • Expeed 7 processor drives subject-recognition AF
  • Same 20.9MP APS-C sensor as the Nikon Z50
  • First Nikon APS-C camera with 10-bit N-log video

If you already own a Nikon Z50, you’ll find a lot of familiar numbers on the spec sheet. The Z50 II uses the same 20.9MP APS-C sensor as its predecessor. Its mechanical burst speeds max out at 11fps. And, like many of the best mirrorless cameras for beginners, it still doesn’t offer in-body image stabilization. What it does have is a new engine.

The headline upgrade for the Z50 II is its Expeed 7 processor – the same chip used by the flagship Nikon Z9 and, subsequently, the Z8. This is the first time it’s been fitted to an APS-C body. As the motor that drives everything from autofocus to burst shooting speeds to video frame rates, it has a lot to do. Based on our experience, the Expeed 7 makes the Z50 II a proper pocket rocket.

Chief among the benefits of that new chip is top-spec subject-recognition autofocus. It might be an entry-level model, but the Nikon Z50 II can detect and lock on to targets rapidly and reliably. It has dedicated detection modes for nine different subject types, including people, animals, birds and cars, as well as an auto setting which can pick up a range of subjects at the same time.

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

In our experience, the Z50 II’s autofocus performance feels just as snappy in action scenarios as many of Nikon’s more expensive full-frame Z series models. With a new High-Speed Frame Capture+ mode which allows you to shoot at up to 30fps using the electronic shutter, this is a camera that’s perfectly comfortable covering action. We did encounter some rolling shutter when using this mode, but it's nevertheless an impressive feature for an entry-level camera.

It helps that the SD card slot now supports UHS-II cards for faster read and write speeds. The USB port has also been upgraded to a Type-C number, which brings a host of benefits: as well as 5Gbit/s transfer rates, it can be used to charge the camera directly, while UVC/UAC compatibility means it can be used as a webcam without the need for additional software.

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)

Nikon has pitched the Z50 II as a hybrid, which is reflected in its video skills. Even with the same sensor as the Z50, Nikon has harnessed the power of the Expeed 7 to squeeze more recording performance out of it. That includes the ability to capture 4K/60p video, albeit with a 1.5x crop. Uncroppped 4K footage is shot at 30fps, oversampled from 5.6K.

It’s also the first Nikon APS-C camera to support 10-bit N-log video, as well as the option to use RED Luts. This makes the Z50 II a camera with the flexibility for budding filmmakers to grow with, as they learn the ropes of videography and start to explore the possibilities of color grading.

These enthusiast-grade video capabilities might go beyond what most beginners need, but the Z50 II is also well-equipped for first-timers. A new Product Review mode seamlessly adjusts focus from the presenter to an object brought into the frame, similar to the Product Showcase feature found on cameras like the Sony ZV-1. It won’t be relevant to everyone, but if you have ambitions of becoming an influencer, it’s an effective tool.

Like the Z50, the Z50 II features electronic vibration reduction to help steady handheld footage. As before, this applies a 1.3x crop to video. Nikon claims that the feature has been improved for the Z50 II, though our tests found that it still isn’t a replacement for full in-body image stabilization.

  • Features and performance score: 4.5/5

Nikon Z50 II: image and video quality

  • Excellent image quality in most conditions
  • Better noise-handling than the Z50 at the same ISO
  • 4K/60p video with a 1.5x crop

On the whole, images from the Z50 II are as they were with the Z50: realistic, vibrant and clear. While its competitors offer higher resolutions, the 20.9MP sensor inside the Z50 II still does an admirable job of capturing detail.

Image 1 of 4

Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)
Image 2 of 4

Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)
Image 3 of 4

Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)
Image 4 of 4

Sample images shot with the Nikon Z50 II

(Image credit: Chris Rowlands)

With the white balance on automatic, we found stills out of the camera to be nicely saturated and just the right amount of dynamic range, without straying too far from neutral. The metering system coped well in a range of lighting scenarios, delivering well-judged exposures. We found that skin tones in particular were rendered faithfully in natural lighting, with a touch of warmth only detectable when shooting under heavy artificial lighting.

While its sensor size and ISO range are unchanged, we found that the Nikon Z50 II handles noise better than the Z50, thanks to the Expeed 7 processor. It was always going to lose out to its full-frame siblings, but you can get away with pushing the ISO number higher on the Z50 II before significant smoothing becomes an issue. ISO 12800 is still the upper limit, but you can comfortably lean on ISO 6400 if the conditions demand it.

Image 1 of 6

Nikon Z50 II sample images

(Image credit: Chris Rowlands)
Image 2 of 6

Nikon Z50 II sample images

(Image credit: Chris Rowlands)
Image 3 of 6

Nikon Z50 II sample images

(Image credit: Chris Rowlands)
Image 4 of 6

Nikon Z50 II sample images

(Image credit: Chris Rowlands)
Image 5 of 6

Nikon Z50 II sample images

(Image credit: Chris Rowlands)
Image 6 of 6

Nikon Z50 II sample images

(Image credit: Chris Rowlands)

If you’re purely a stills photographer, you will get better resolution elsewhere. What sets the Z50 II apart as a value offering is its autofocus performance, as well as its hybrid video abilities. As noted above, stabilization isn’t perfect, but the same adjectives are true of 4K footage from the Z50 II as for its stills.

We found 4K/60p video to be well-defined and nicely balanced. In our tests, the Z50 II adapted well to different light sources and levels, producing lifelike footage that’s good for grading. Used with a tripod, we can’t see content creators having any issues with the video that the Nikon Z50 II captures.

  • Image and video quality score: 4.5/5

Nikon Z50 II: testing scorecard

Should I buy the Nikon Z50 II?

Buy it if...

You want top-spec autofocus
Driven by Nikon’s Expeed 7 processor, the Z50 II offers autofocus performance to rival the flagship Z9. With subject detection modes for people, animals and more, it’s rapid and reliable.

You value ergonomics and handling
A deeper grip makes the Z50 II even more comfortable to shoot with. A vari-angle touchscreen is helpful for framing, while new buttons bring its control layout in line with full-frame Z models.

You want to shoot a mix of stills and video
With 4K/30p footage oversampled from 5.6K, plus support for N-log 10-bit recording and a useful Product Review mode for vloggers, the Z50 II has the video capabilities of a proper hybrid.

Don't buy it if...

You already own the Z50
Performance improvements from the Expeed 7 processor are notable, but with few other changes to the overall package, there’s probably not enough here to justify upgrading from the original Z50.

You need in-body image stabilization
Like many entry-level mirrorless cameras, the Z50 II lacks in-body image stabilization. Electronic video stabilization is available with a crop, but you’ll need a VR lens for optical shake reduction.

You want high-resolution stills
At 20.9MP, the Z50 II’s APS-C sensor doesn’t have the highest pixel count. If the number of megapixels matters to you, other entry-level mirrorless cameras offer more for similar money.

Nikon Z50 II: also consider

Canon EOS R10

Our top pick for beginners, the R10 is a similarly priced entry-level mirrorless camera with a compact design, impressive autofocus and rapid burst speeds. It also benefits from a deep grip. Like the Z50 II, it has no in-body image stabilization and puts a crop on 4K/60p video.

Read our in-depth Canon EOS R10 review

Olympus OM-D E-M10 Mark IV

Its 20MP Micro Four Thirds sensor is smaller than the APS-C type inside the Z50 II and has (fractionally) fewer megapixels, but the Mark IV impresses in other ways. It offers excellent in-body image stabilization, classic styling and a compact body, all at a more accessible body-only price.

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

Nikon Z fc

Another APS-C Nikon Z mount camera, the Z fc offers a stunning blend of old and new. It uses the same sensor as the Z50 II, packaged in a body inspired by the retro FM2. You also get a vari-angle touchscreen, making this a great value casual alternative.

Read our in-depth Nikon Z fc review

How I tested the Nikon Z50 II

Nikon Z50 II mirrorless camera on a wooden tabletop

(Image credit: Future / Chris Rowlands)
  • Tested a production model over a fortnight
  • Shot with multiple Nikon Z mount lenses
  • Used with Nikon’s SnapBridge smartphone app

I tested the Nikon Z50 II for a fortnight, shooting with it on a daily basis. Nikon supplied me with three Z mount lenses for this review: the Z 35mm f/1.4, the Z 85mm f/1.2 S and the Z 70-180mm f/2.8. This allowed me to cover a range of subjects and scenarios with the Z50 II, from street scenes to portraits.

To assess its hybrid capabilities, I used the Z50 II to shoot a combination of stills and video. I also shot fast-moving subjects, including children and dogs, to put its autofocus and burst speeds to the test. During testing, I used one of the best SD cards, a SanDisk Class 10 U3 model, to ensure that performance wasn’t throttled by the memory card.

I also tested the Z50 II at various times of day and in different weather conditions, from bright sunlight to overcast skies. The resulting stills let me assess the white balance out of the camera, as well as how effectively the Z50 II handled noise at different ISO settings.

First reviewed January 2025

Leica MP review: take it slow
6:00 pm | September 21, 2024
Author: admin | Category: Cameras Computers Gadgets | Tags: | Comments: Off

Leica MP: two-minute review

If there's one antidote to today's digital imaging with its instant gratification and AI-powered editing trickery, it's analog. And if you want a double dose of the old school, a fully manual rangefinder, such as the Leica MP, will do the trick. 

Part of Leica's famed M-mount, the MP isn't as old as it looks, being released as recently as 2003, and it's one of few Leica cameras still being produced today and is therefore available new.

It's arguably the best premium film camera that you can buy new today, but like most Leica's, its price is eye-watering, being available from the Leica stores and leading retailers for $5,995 / £,5080 / AU$10,190, and that's without a lens. I had the MP with the 28mm f2 Summicron-M APSH lens which is around the same price as the camera. Gulp.

Suppose it's the retro camera experience you're after, and the same 35mm film format hits the spot. In that case, you can find alternative analog cameras elsewhere, secondhand, for a mere fraction of the cost of a Leica MP.

You don't even need to buy analog to bag the retro look, even the likes of Taylor Swift have been spotted with the cheap Olympus OM-D E-M10 IV, one of our favorite mirrorless cameras for beginners.

But Leica is more than just the retro look. It's an aspiration. That famed red dot means something, whatever depth the admirer's connection is. In the case of the Leica MP, it also means a premium "Handmade in Germany" analog camera that runs as smooth as butter.

As a rangefinder, the MP is an altogether different camera experience to your cameraphone or one of the best mirrorless cameras. 

Learning the exposure triangle is necessary; how shutter speed, aperture, and the ISO of the loaded film interplay. You can download a free light meter on your phone to take a light reading and adjust shutter speed or aperture accordingly based on the film's ISO, or purchase a dedicated light meter if you want to avoid your phone altogether and be assured that you've bagged the correct brightness in your photo, even if you won't truly know until the developed film is returned. (The MP does also have an LED gauge built into the viewfinder that indicates how much you need to brighten or darken your exposure settings based on its evaluative metering.)

Beyond the exposure triangle, it's the manual focus experience of a Leica rangefinder, such as the MP, that is as challenging as it is addictive. This is a far cry from 2024's best autofocus systems – there's no rushing with a rangefinder, and together with its lens system that's limited between focal lengths of 21mm to 135mm, it's unsuitable for many genres of photography.

You won't be able to nail sharply focused, shallow depth of field portraits of people or animals on the move, unless you get really, really lucky.

Image 1 of 10

Leica MP camera top plate, on a table

(Image credit: Future | Tim Coleman)
Image 2 of 10

Leica MP ISO dial

(Image credit: Future | Tim Coleman)
Image 3 of 10

Closeup of the Leica MP film compartment lock

(Image credit: Future | Tim Coleman)
Image 4 of 10

Leica MP camera with a roll of film ready to load

(Image credit: Future | Tim Coleman)
Image 5 of 10

Closeup of the Leica MP inside with film loaded

(Image credit: Future | Tim Coleman)
Image 6 of 10

Closeup of the Leica MP battery slot

(Image credit: Future | Tim Coleman)
Image 7 of 10

Closeup of the Leica MP film rewind

(Image credit: Future | Tim Coleman)
Image 8 of 10

Closeup of the Leica MP film rewind

(Image credit: Future | Tim Coleman)
Image 9 of 10

Closeup of the Leica MP film wind crank

(Image credit: Future | Tim Coleman)
Image 10 of 10

Closeup of the Leica MP shutter

(Image credit: Future | Tim Coleman)

Outside of working with near-infinity focusing and a closed aperture, say f/11, where ultimately everything is just about in focus, your subjects will need as much patience as you while you manually rock the focus back and forth to line up the split image in the marked out central area of the viewfinder to nail sharp focus.

Taking a picture with a rangefinder is slow, purposeful, and frustrating but ultimately a wonderful creative process for those who persevere. It's not a camera for all the time, but it is a camera that could just renew your love for photography. Sadly, however, with the Leica MP, most people are priced out of enjoying the experience.

Leica MP: Specs

Leica MP: Price and availability

  • Body only: $5,995 / £,5080 / AU$10,190
  • Many lenses and accessories to choose from

The Leica MP was launched in 2003 and is one of the few Leica analog cameras that is still available to buy new. On the Leica store, it costs $5,995 / £,5080 / AU$10,190.

Lens choice is decent, if costly, with the lower end of the price range close to the price of the MP camera itself. There are third party lens makers such as Thypoch that have created Leica M-mount lenses that cost a mere fraction of the price. with a number available for under $1,000 / £700. 

The MP is also compatible with a host of Leica accessories, ranging from leather cases to viewfinders that are dedicated to specific lens focal lengths.  

Leica MP: Design

  • Stunning all-metal build
  • Can be bought new and its mechanics are reliable
  • Supported by a range of Leica M lenses

Leica cameras are expensive, but the build quality of these "Handmade in Germany" devices is undeniable. Every mechanical component runs as smooth as butter, from the film crank to move onto your next photo, to the film rewind mechanism once the roll is done. 

You'll need to insert a tiny CR 1/3N battery to power the camera's evaluative exposure metering, which is displayed in the viewfinder as a too-bright / too-dark scale and is linked to the ISO setting on the camera's rear ISO dial (the new Leica M11-D digital rangefinder's design pays homage to this). However, as a fully manual camera, you'll need to adjust the shutter speed and aperture yourself. I always use a separate light meter with a Leica just to be doubly sure I've set the exposure correctly. 

But you'll need to insert a roll of 35mm film first. Leica's design ethos here is simple and reliable; a fully metal twist lock on the underside must be unscrewed to open up the camera's underside, and you remove the entire bottom plate to gain access to the film's holder. Inserting the film thereafter is a tad fiddly but in truth, once you've done it a couple of times, it's pretty easy. 

Leica MP camera in the hand

(Image credit: Future | Tim Coleman)

I only tested the Leica MP with a 28mm f2 lens, which again, is a gorgeous bit of kit, offering a generous manual focus grip, handy focus distance scale, and an aperture ring. With Leica you get the whole package; a lens and camera built to high standards and with a complimentary aesthetic. 

There's little to say about the camera's external controls. You've got the shutter speed dial on the top, the beautiful film crank that reveals its brass innards through the scuffs picked up over time and heavy use, a shutter button that can accept a screw-in cable release, plus the ISO dial on the camera's rear. The aperture is adjusted on the attached lens. 

For me, it's the experience of manually focusing with a rangefinder that is everything about the MP: it's as frustrating as it is addictive. For all the will and the practice in the world, you won't be able to nail sharp focus on a moving subject when focusing closely and with a wide aperture and therefore shallow depth of field. 

Sure, you can improve your hit ratio and speed at which you can obtain sharp focus, but ultimately, the Leica MP is a camera that slows you down, and in today's fast-paced world, it's cathartic. 

If you're taking portrait pictures, too, that extra moment it takes to get your MP's settings correct can open up your subject as they relax and give you a window to their soul – you're in it together. Or, the slow process just makes them feel super awkward instead, or you miss the moment. It can go either way. 

Leica MP camera in the hand

(Image credit: Future | Tim Coleman)

Leica MP: Performance

  • Superbly sharp lenses on offer
  • Reliable mechanics
  • Shutter speed maxes out at 1/1000sec which is limiting in bright light

One benefit in choosing the MP over another Leica is that it's still available new, and with that comes certain reassurances that you may not be afforded when buying secondhand should you run into any issues. However, I wouldn't expect that of the MP – it's a super-reliable camera that should last you a lifetime.

Naturally, the quality of the photos produced by an analog camera is determined by the lens attached, your shooting technique, and, of course, your film choice. 

The Leica MP enjoys a range of excellent albeit eye-wateringly expensive lenses, like the 28mm f2 Summicron-M ASPH that I had for this review. If money is no object, you can pick up a range of Leica M prime lenses that cover the focal range of 21mm to 135mm.

Image 1 of 9

Leica MP black and white film scan of pews in a church bathed in light

(Image credit: Future | Tim Coleman)
Image 2 of 9

Leica MP black and white film scans

(Image credit: Future | Tim Coleman)
Image 3 of 9

Leica MP black and white film scan of a bible on a pew in an old church

(Image credit: Future | Tim Coleman)
Image 4 of 9

Leica MP black and white film scan of an old church exterior

(Image credit: Future | Tim Coleman)
Image 5 of 9

Leica MP black and white film scan of plants growing up a rail

(Image credit: Future | Tim Coleman)
Image 6 of 9

Leica MP black and white film scan of a fence post surrounding a field of horses

(Image credit: Future | Tim Coleman)
Image 7 of 9

Leica MP black and white film scan of a footpath leading to a lone tree

(Image credit: Future | Tim Coleman)
Image 8 of 9

Leica MP black and white film scan of a horse in a field with the focus on foreground grass

(Image credit: Future | Tim Coleman)
Image 9 of 9

Leica MP black and white film scan of a horse in a field and expansive vista

(Image credit: Future | Tim Coleman)

The photos above were made with a roll of Ilford HP5 film, ISO 400. 

Next time I use a Leica analog camera, I'd really love to try a 50mm f/1.4-type lens and some of the other lenses for portraits, but the wide angle lens I had for testing is similar if a tiny bit tighter to the field of view of your phone's main camera and an excellent documentary lens.

Here lies the 'Leica quality' that fans talk about. Sure, you'll struggle to beat Leica's sharpness in the analog game, but if you're expecting the clarity you get from one of today's best digital cameras, you might have to think again. One thing that digital can try with all its might yet never quite achieve, however, is the film look. 

You aren't buying an analog Leica for its outright image quality over a digital counterpart such as the Leica M11. No, you're buying it because it's film that you want to explore, including its imperfect quality. Plus, it's a rewarding hobby, if you can stomach the ongoing costs of film and development. 

Image 1 of 9

Leica MP color film scan of an quaint English pub front

(Image credit: Future | Tim Coleman)
Image 2 of 9

Leica MP color film scan of a grassroots football game with rainbow in the sky

(Image credit: Future | Tim Coleman)
Image 3 of 9

Leica MP color film scan of yellow flowers closeup

(Image credit: Future | Tim Coleman)
Image 4 of 9

Leica MP color film scan of adolescent boy

(Image credit: Future | Tim Coleman)
Image 5 of 9

Leica MP color film scan of a trampled rose on a pavement

(Image credit: Future | Tim Coleman)
Image 6 of 9

Leica MP color film scan of commuter in the underground

(Image credit: Future | Tim Coleman)
Image 7 of 9

Leica MP color film scan of two horses by a tree at last light

(Image credit: Future | Tim Coleman)
Image 8 of 9

Leica MP color film scan of a field with horses at last light

(Image credit: Future | Tim Coleman)
Image 9 of 9

Leica MP color film scan of adolescent boy illuminated a little by last light coming through a window

(Image credit: Future | Tim Coleman)

The above photos were made with a very out of date Fujifilm Superior X-Tra ISO 400 roll of film. It's best practice to use a film within date, but you can get some whacky one-of-a-kind effects. Sadly on this occasion, besides a purple-ish hue, the risk didn't pay off – many of the photos came out underexposed. 

There are very real limits to the Leica MP, namely its maximum shutter speed which is just 1/1000sec. If you're shooting in bright light and with a wide aperture – like I wanted to shoot at f2 with the 28mm lens – you'll need an ISO 100 film or even slower. However, ISO 400 is a more versatile film speed if you're going to be shooting in mixed lighting. Once the film roll is inserted, you're locked in, you can't switch ISO for every photo like you can with a digital camera. 

Should you buy the Leica MP?

Buy it if...

Don't buy it if...

Leica MP camera in the hand

(Image credit: Future | Tim Coleman)

How I tested the Leica MP

  • Regular use over the course of two weeks
  • Paired with the 28mm f2 Summicron-M APSH lens
  • Both color and black and white film developed

Leica loaned me the MP together with the 28mm f2 Summicron-M ASPH lens for two weeks, during which time I photographed everything from sweeping vistas to busy London street scenes. I have shot with both color and black and white film, usually sticking with versatile ISO 400 films. 

I sent the films to a lab to be developed and was provided with standard-quality digital scans to assess image quality. 

  • First reviewed September 2024
Canon EOS R5 Mark II review: arguably the most versatile and easy-to-use pro camera yet
9:11 am | September 11, 2024
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , , | Comments: Off

Canon EOS R5 Mark II: Two-minute review

When I originally wrote my Canon EOS R5 review, I called it the brand’s “best ever stills camera”. Four years later and I'm going to have to repeat myself – this time, however, I have to take it a step further and say that the EOS R5 Mark II is also Canon's most versatile camera yet.

There are quite a few significant differences between the two R5 generations that makes the Mark II feel more like an entirely new series rather than an upgrade. In fact, it has more in common with the Canon EOS R1 than the EOS R5, with the two new flagships sharing the headline features. So, essentially, what the Nikon Z8 is to the Nikon Z9, the R5 II is to the R1 – a smaller, albeit higher-resolution, version.

While the sensor resolution remains at 45MP, the R5 II now uses a stacked design that enables speedier readouts to minimize rolling shutter distortions, just like on the Nikon Z8. This, however, has resulted in a slight loss of dynamic range compared to the R5, but not so much that it will bother most photographers in real-world use.

The R5 II gains a second imaging processor – working in conjunction with the Digic X chip, the Digic Accelerator enables burst speeds of up to 30fps when shooting RAW, with an additional 15 frames available with pre-recording enabled. The Nikon Z8 tops out at 20fps in RAW.

Speed aside, the autofocus accuracy here is also better than what I experienced with the original R5 and, during my testing, the Mark II was more than ready to take on a challenge straight out of the box. In fact, I think the AF performance here is better than the Nikon Z8, which is my daily shooter. Not only has Canon improved its AF algorithm, it’s also added a couple of new features that make it really hard to miss a shot – you can select specific people to prioritize as your main subject in People Priority mode, while the new Action Priority feature uses deep-learning algorithms to tell the camera when a specific action is about to take place and automatically shift the focus point accordingly. The latter, however, is still a work in progress with only three team sports supported at launch.

Canon has been using Eye Control AF in its pro sports cameras – namely the EOS 1D X Mark III DSLR and the EOS R3 – but it’s now available on the R5 II. While it’s been improved in some ways, it’s still hard to calibrate it for all users.

Also new are a couple of AI-driven features that allow you to edit shots in-camera. The Image Upscaling feature can enhance resolution by 4x, after which you crop it in-camera to zoom in closer to a distant subject. It’s a handy feature to have, but only works for images shot as JPEG/HEIF and can be impractical for some photographers in the field. Photographers who find the need to push the limits of a camera’s ISO performance will be glad to know there’s a Neural Network Noise Reduction feature built in that can be employed, but you will need to shoot in RAW for this feature to work and the processed file is then saved as a JPEG.

Video specs have also been improved, with the R5 II capable of shooting 8K/60p clips (versus 30fps on the R5) for up to 120 minutes with a new Cooling Fan Grip. Importantly, Canon’s C-Log2 – the video encoding option previously only available in the brand’s cinema cameras – is now supported on the R5 II, offering better dynamic range and easier color grading compared to C-Log3.

Where it falls short compared to its predecessor is battery life. Despite a new high-powered LP-E6P pack, it’s only rated for 630 shots compared to the 950 that the LP-E6NH was rated for in the R5. To be fair, though, it is powering the new features and the higher speed.

Of course, new features come at a cost, but if they all do what they say on the tin, then it could be argued that the R5 II would be a worthy investment despite a higher price. What makes it even more so is that this camera truly does make pro photography easy and, given it can handle any scenario, it's a remarkably versatile shooter as well. Thankfully, though, Canon has priced its flagship well, with only a 10% increase over the launch price of the EOS R5.

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Release date and price

  • Body-only price is $4,299 / £4,499 / AU$6,499
  • Available since August 2024
  • Three optional grips: Standard BG-R20, battery BG-R20EP and cooling fan CF-R20EP

With a body-only suggested retail cost of $4,299 / £4,499 / AU$6,499, the EOS R5 II is quite competitively priced. It’s slightly more than the R5’s body-only launch price in some markets (which was $3,899 / £4,199 / AU$6,899 in July 2020), and that’s to be expected given the slew of updates it’s got over its predecessor.

Aussie photographers, though, should be overjoyed if they’ve been holding out for a worthy upgrade from an older camera, especially since it’s cheaper than the Nikon Z8’s launch price too ($3,999 / £3,999 / AU$6,999). That said, it’s now possible to find the Z8 at discounts of about $700 / £450 / AU$1,000 – making it a compelling alternative to its Canon competition.

The R5 II was slated for an August 2024 release and is now available to purchase from authorized retailers in the US and Australia, but is still listed as a pre-order in the UK at the time of publication.

It’s possible to also pick up a single-lens kit for $5,399 / £5,749 / $AU$7,999, which bundles the RF 24-105mm f/4 L IS lens with the R5 II.

For the first time for any camera maker, Canon has also released three optional grips that can be purchased separately, which includes a Cooling Fan Grip ($399 / £549 / AU$829) that improves video recording times but lacks the vertical control layout. For that, you’ll need to opt for the Battery Grip that will set you back $349 / £489.99 / AU$699.

• Price score: 4.5 / 5

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Design and handling

  • Small changes to top plate control layout
  • Improved blackout-free 5.76m-dot OLED EVF with Eye Control AF
  • Under-camera cooling vents keep the body slim

At first glance it’s easy to think the EOS R5 Mark II body is identical to its predecessor, but there’s one change Canon has made that makes me rather happy – the power controls that were on the left of the top plate on the R5 are now a ring around the Mode button on the top right of the Mark II. This means it’s a lot easier to switch the camera on and off in one hand. The old power wheel is now the toggle to switch between stills and video capture.

Canon EOS R5 II key specs

Sensor: 45MP full-frame BSI stacked CMOS sensor
AF system: Hybrid with phase-detect Dual Pixel AF
EVF: 5.76m-dot OLED
ISO range: 100 to 51,200 (ISO 50-102,400 extended range)
Video: 8K/60fps raw, 4K/120fps, 1080p/240fps
LCD: 3.2-inch vari-angle touchscreen, 2.1m-dots
Max burst: 30fps (electronic shutter, continuous autofocus)
Connectivity: USB-C 3.2, Wi-Fi 6E, Bluetooth 5.3
Weight: 656g (body-only), 746g including battery and card

The one other minor change on the top plate is the new hot shoe cover. The R5 test unit that was sent to me for review in 2020 didn’t have such a cover, so this is new to me and I love the clean design – it makes the top of the R5 II look… well, ‘unblemished’ is the only word I can think of to describe it. As much as I like it, the cover is nigh impossible to release. I spent a lot of time trying to get it open and failed, meaning I wasn’t able to get a peek at the hot shoe during my few weeks with the camera.

The rest of the control layout remains exactly the same as on the R5, which is a wise move as Canon’s designs have always been intuitive. It is, however, oh-so-slightly heavier than the older camera, tipping the scales at 26.3oz / 746g. That’s lighter than the Nikon Z8 (32oz / 910g) and more in line with the Sony A7R V. It feels comfortable in the hand during long periods of use, even with the beefy RF 24-70mm f/2.8L standard zoom and RF 100-500mm f/4.5-7.1L IS USM telephoto lenses that I used for this review.

Another small but significant refinement is the 5.7 million dot OLED viewfinder – Canon says it’s twice as bright and blackout free. While I can’t vouch for the ‘twice’ part, it’s definitely a significant difference compared to the R5 and I prefer it over the 3.69m-dot EVF on the Nikon Z8. The new EVF also inherits Canon’s Eye Control AF that debuted on the EOS 1D X Mark III. This feature tracks your eye movements as you scan the scene through the viewfinder and shifts the focus point accordingly.

As with all Canon cameras, build quality is excellent. The R5 II features a magnesium-alloy chassis with a fully weather-sealed exterior, and the controls are robust. That said, I found the rear wheel movement on the R5 II a little clunky compared to what it feels like on the R1, where movement is nicely dampened and rotation is smooth.

Image 1 of 6

The sensor shutter and the LCD screen opened on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)
Image 2 of 6

The side of the Canon EOS R5 Mark II with port covers closed

(Image credit: Sharmishta Sarkar / Future)
Image 3 of 6

The rear of the Canon EOS R5 Mark II camera

(Image credit: Sharmishta Sarkar / Future)
Image 4 of 6

The rear of the Canon EOS R5 Mark II with the LCD display set at an angle

(Image credit: Sharmishta Sarkar / Future)
Image 5 of 6

Card slots in the Canon EOS R5 Mark II camera

(Image credit: Sharmishta Sarkar / Future)
Image 6 of 6

The front of the Canon EOS R5 Mark II with the sensor shutter open

(Image credit: Sharmishta Sarkar / Future)

Everything else from a design standpoint is standard fare for a pro camera – an illuminated top LCD display, a textured AF joystick on the rear and dual card slots. One of these supports a CFexpress Type B device while the other supports a SD card with UHS-II speed, but you’ll need to invest in the former if you want to take full advantage of the R5 II’s speed.

Filmmakers will appreciate the fact that the EOS R5 II has a full-size HMDI port (the EOS R5 doesn't) and a tally lamp to indicate when you're recording. Moreover, key shooting information can be displayed on-screen.

There are also cooling vents on the camera's underside and they do an admirable job of keeping temperatures down when shooting high-resolution clips. In fact, temperature regulation is a lot better here than when I first tested the R5 (which was prior to the firmware updates that improved recording times). That said, I found that the R5 II can begin to get warm even when shooting constant bursts with Servo AF engaged, something sports photographers will likely need to do, but the temperature warning that appears on the display (or the EVF) never went beyond the first bar during my testing.

Naturally, there are both mic and headphone ports, plus USB-C for charging. The battery is an improved LP-E6P unit, which delivers up to 640 shots on a full charge, although that number will be a lot higher if you're capturing lots of high-speed bursts. Case in point, I ended up shooting over 8,000 frames during one testing session before the battery life dropped by three-quarters, but I couldn’t do much more as my 128GB CFexpress card was full.

• Design score: 5 / 5

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Features and performance

  • New People and Action Priority modes
  • In-camera editing features
  • 15 frames of pre-recording

I’ve already listed the R5 II’s feature set at the start of this review, including the new stacked design for the sensor and the second processing unit that aids in maintaining the camera’s speed. Between the two, the R5 II is capable of rattling off at 30fps using the electronic shutter with autofocus engaged, and at a decent 1/160 second. While this helps with keeping rolling shutter distortions down to a minimum, a stacked sensor can reduce dynamic range, which is the case here, but it’s so insignificant that it would hardly be an issue in real-world use.

Buffer memory is better compared to the older R5, with the Mark II capable of saving up to 93 frames (or 3.1 seconds of capture) when shooting RAW to a memory card at 30fps (compared to 83 for the R5) or 230 RAW frames (or 8 seconds) when at 12fps (versus 180 with the R5). Buffer memory is over 1,000 frames when shooting JPG/HEIF, although I found that shooting constant bursts at 30fps in any format can bring up the temperature warning and slow the camera down a smidge.

Menu system on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)

Despite that, the speed the R5 II offers is great for sports and wildlife photographers alike, and the additional 15 frames of pre-capture means it can be quite hard to miss a shot – that’s an extra half second of captures. Paired with what I think is arguably the best and easiest-to-use autofocus system in the camera world, the R5 II makes pro photography incredibly simple.

And I do mean ‘simple’. Straight out of the box, the camera is ready to shoot, but engage either the new People Priority or Action Priority modes and sports photography becomes incredibly easy – all you need to do as a photographer is get your framing right and the camera will do the rest.

People Priority takes face detection to the next level and is ideal for team sports or wedding photography. Within the camera’s menu system is the option to ‘register’ a face… or 10. You'll need to take a head shot – and it doesn’t even have to be perfect – or capture an image of the person(s) from the internet to Register People Priority. Depending on the order you capture the faces, the camera prioritizes them from 1 (most important) to 10 (least important) and will focus on the people within the frame with the highest priority.

Image 1 of 2

Two surfers in the water at a wave park

The People Priority feature is intelligent enough to know when to shift subject tracking... (Image credit: Sharmishta Sarkar / TechRadar)
Image 2 of 2

A surfer at a wave park

..and when to stick with it. (Image credit: Sharmishta Sarkar / Future)

I didn’t get to try it with the maximum of 10 people during my testing, but it worked with pinpoint accuracy with three people in the frame. I also found that if a person with the highest priority within a scene only has a tiny fraction of their face turned to the camera (aka in partial profile), the R5 II will automatically shift the focus to the next highest priority face if it’s more visible. On the other hand, if a non-registered person appears in the frame, the camera can stick with the main subject even if only the back of the head is visible. That is intelligent autofocus indeed!

Action Priority is perfect for team sports that have a spherical ball in constant play but, at launch, Canon only has this feature set up for three sports – basketball, football (soccer) and volleyball. Using deep-learning algorithms, Canon has figured out how to ‘teach’ the camera to recognize body movements so the focus can shift to a player who either has the ball in possession or is about to get it. That means the R5 II can, in theory, predict where the ball is going next and focus on the right ‘moment’ rather than on a specific player.

I say ‘in theory’ because I didn’t get the opportunity to test this mode out on the three preset sports, but my colleague based in the UK got a chance to test Action Priority using a pre-production camera unit at a basketball game and it seemed to work then. That said, three sports is very limited and it would be great if Canon can start adding more (not just those with spherical balls) as quickly as possible. In fact, it’s the same case with the EOS R1 too, and it's as yet unclear whether the balls need to be a specific size to trigger the camera's response (aka, will it handle sports like tennis or cricket – that use smaller balls – just as well?).

Image 1 of 3

Neural Network Noise Reduction feature on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)
Image 2 of 3

Neural Network Noise Reduction feature on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)
Image 3 of 3

Neural Network Noise Reduction feature on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)

There’s no easy way to switch between the two modes without delving back into the menu system, but nearly all the buttons on the camera can be customized. For example, I swapped the AE Lock button to trigger Action Priority and set the AF-On control on the rear panel for People Priority mode. I also set the M-Fn function to trigger Eye Control AF.

Speaking of which, this is the only autofocus feature on the R5 II that I had trouble with. While my colleague was suitably impressed, I just couldn’t get the calibration right – I even reset the camera to try again and failed. And this is despite Canon claiming they’ve made improvements to the Eye Control AF that makes it easier for people who wear glasses (like me) to use it. Seems like this isn’t an isolated problem as others have reported a similar issue.

Even without Eye Control AF, the R5 II’s autofocus and tracking is excellent and Canon has improved low-light AF sensitivity to -7.5EV (compared to -6EV in the older model, although the Nikon Z8 is effective at -9EV). The native ISO range remains steady at 100 to 51,200, or 50 to 102,400 expanded. While noise is very well controlled up to ISO 6400, even images shot at ISO 12,800 are usable if you don't need to crop in to zoom. And if noise at this high ISO is an issue for you, Canon’s new Neural Network Noise Reduction feature can help – it can denoise selected images in-camera by up to 2 stops as long as they're RAW files.

Within the Playback menu settings is the option to Process RAW Files, where the noise reduction editing feature is nestled. There are three options to choose from – Low, Standard and High – and they can be utilized in a pinch to cut down on some grain. The processed file is then saved as either a JPEG or HEIF.

I'm uncertain why Canon choose to enable this processing for RAW files only, and I'm hoping a future firmware update will allow for JPEGs/HEIFs to also be edited in-camera in the same way.

Image 1 of 5

A whisky decanter on a bar top shot at ISO 1250

Captured at ISO 1250 (Image credit: Sharmishta Sarkar / Future)
Image 2 of 5

A whisky decanter on a bar top shot at ISO 12,800

Captured at ISO 12,800 (Image credit: Sharmishta Sarkar / Future)
Image 3 of 5

A whisky decanter on a bar top shot at ISO 12,800

In-camera noise reduction applied to a RAW file at ISO 12,800 (Image credit: Sharmishta Sarkar / Future)
Image 4 of 5

A close crop of the base of a whisky decanter at ISO 12,800

The original ISO 12,800 file cropped to show noise (Image credit: Sharmishta Sarkar / Future)
Image 5 of 5

A close crop of the base of a whisky decanter shot at ISO 12,800

In-camera processed file to show noise reduction with NR Standard applied (Image credit: Sharmishta Sarkar / Future)

In a similar vein, if you want a higher resolution version of a particular image, you can upscale it in-camera to add up to 4x the pixel count using AI to extrapolate the image’s EXIF data, creating stills of up to 180MP from the original 45MP shot. While this is an excellent option for landscape photographers, it turned out to be rather impractical when shooting bursts. Pro sports and wildlife photographers will end up with so many shots that it could be hard to find the specific one you want to select to be upscaled.

Image 1 of 5

Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

The original 45MP resolution (Image credit: Future | Tim Coleman)
Image 2 of 5

Closeup crop of a portrait of blonde model taken with the Canon EOS R5 II

A close-up crop of the original 45MP file (Image credit: Future | Tim Coleman)
Image 3 of 5

Canon EOS R5 II portrait

The same crop on the upscaled 180MP, demonstrating how much bigger the file is (Image credit: Future | Tim Coleman)
Image 4 of 5

Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

The closeup of the original 45MP image again (Image credit: Future | Tim Coleman)
Image 5 of 5

Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

And the upscaled 180MP version at the same size which should appear sharper (Image credit: Future | Tim Coleman)

Thankfully Canon has thought of that and you can select a range of images to upscale, but that will eat into your memory card’s free storage. Moreover, I found that Lightroom (my go-to image editing software) struggled with the larger files, crashing four times before I was able to view them – and this is on a MacBook Pro equipped with Apple’s decently powerful M3 Pro processor.

The main caveat for this feature is that it only works for JPEG/HEIF files and not RAW. Perhaps this will change down the line via future firmware updates, but it's still handy to have.

Menu system on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)

In terms of video, the R5 II is a powerhouse, with better heat management than its predecessor. Without the Cooling Fan Grip, Canon says the R5 II can shoot up to 18 minutes in 8K/60p RAW internally when ambient temperature is about 23ºC / 73ºF, although during my testing I managed about 4 minutes before I got the temperature warning, then another 2.5 minutes before the temperature gauge went into the red. Another minute later, the camera stopped recording with the warning that no more footage could be captured until the camera cooled down. That’s just 7.5 minutes but, to be fair, the ambient temperature was 26ºC (78.8ºF) and I was standing in direct sunlight.

Recording times increase as the resolution is lowered, with the possibility of up to 45 minutes when shooting 45K/60p without the fan. If you invest in the Cooling Fan Grip, there is theoretically no recording time limits with the fan set to high.

While not all the exciting features on the R5 II work as well as Canon would like us to think (I’m referring to Eye Control AF here), and there are dedicated hybrid cameras that handle pro filmmaking better, it’s really hard to fault the R5 II when everything else makes taking great shots really easy.

• Features & performance score: 5 / 5

Image 1 of 7

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
Image 2 of 7

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
Image 3 of 7

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
Image 4 of 7

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
Image 5 of 7

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
Image 6 of 7

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
Image 7 of 7

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Image and video quality

  • Gorgeous colors but slightly lower dynamic range
  • Great details and sharpness, even in shadows
  • Top notch video results

Not everyone needs a high-resolution camera but many prefer it. With 45MP on tap, there's more than enough sensor resolution here to suit most photographers, and having fewer pixels compared to the 61MP Sony A7R V and the 45.7MP Nikon Z8 means the Canon can handle speed better than some of its competition.

Even on a pre-production model of the R5 II, I was able to get excellent results, with colors that I personally find pleasing, plus focus and subject tracking practically pinpoint perfect. And that performance was just as impressive when I tested the final production model.

Image 1 of 3

An image of a surfer at a wave park

(Image credit: Sharmishta Sarkar / TechRadar)
Image 2 of 3

An image of a surfer at a wave park

(Image credit: Sharmishta Sarkar / TechRadar)
Image 3 of 3

A surfer at a wave park

(Image credit: Sharmishta Sarkar / Future)

It’s been really hard to find fault with the results of the R5 II, despite the limitations of its stacked sensor design. As I’ve mentioned previously, this gives the camera its speed but comes at the cost of a little bit of dynamic range. I didn’t have the older R5 with me to do a direct comparison but, in my real-world testing, I found this compromise to be so small, even when shooting with the electronic shutter, that it’s hardly worth commenting on. Unless you plan on significantly cropping an image, the resulting noise in darker areas will not be a problem because of the lower dynamic range.

Otherwise, images shot using the R5 II are sharp, with very reliable autofocus and subject tracking performance – meaning all a photographer needs to think about is composition.

Image 1 of 3

A black-and-white photo of the Sydney Harbour Bridge

(Image credit: Sharmishta Sarkar / Future)
Image 2 of 3

A bridge across a river at dawn

(Image credit: Sharmishta Sarkar / Future)
Image 3 of 3

The Sydney skyline at sunrise

(Image credit: Sharmishta Sarkar / Future)

I also pushed the R5 II’s ISO sensitivity to see how well it holds up at the higher end of the spectrum and was suitably impressed. While there is some noise at ISO 6400, it’s hard to discern unless you crop significantly. Even at ISO 8000 or 12,800, the noise is decently controlled and, if in a pinch you think there’s too much visible graining, the option to use the Neural Network Noise Reduction feature is there… as long as you’re shooting RAW. And there are always photo editors like Topaz Photo AI that will help reduce the grain.

Image 1 of 6

A white-faced heron chick ruffling its feathers on the banks of a lake

(Image credit: Sharmishta Sarkar / Future)
Image 2 of 6

A silver gull with wings stretched landing in a lake

(Image credit: Sharmishta Sarkar / Future)
Image 3 of 6

A spoonbill with its beak wide open

(Image credit: Sharmishta Sarkar / Future)
Image 4 of 6

A female superb fairy wren with her juvenile

(Image credit: Sharmishta Sarkar / Future)
Image 5 of 6

A black swan in a lake with two cygnets

(Image credit: Sharmishta Sarkar / Future)
Image 6 of 6

A bee on a yellow flower

(Image credit: Sharmishta Sarkar / Future)

While video quality is also very good, I doubt pro creators will opt for the R5 II – there are other hybrid cameras, like the Panasonic Lumix S5 II or the Sony A7S III that would be better suited for professional videography. Still, if it’s 8K video that you’re after, I think it’s as good as the Nikon Z8 / Z9, if not better. And with better recording times out of the box than its predecessor, the R5 II can be a worthy investment for hybrid work.

It uses the full sensor to shoot 8K/60p and 12-bit RAW footage internally, but there are a few different resolutions and frame rates to shoot from if 8K is overkill for your needs. You can shoot in either DCI (17:9) or UHD (16:9), with a bunch of codecs to choose from. Perhaps the best news for videographers is the addition of Canon’s C-Log 2 custom picture profile. This has, so far, only been available on Canon’s EOS cinema cameras, but it offers better dynamic range and more natural colors compared to C-Log 3, which makes it easier for video creators to color grade and produce more appealing visuals.

There is now no 4GB video recording limit and, during my testing, I had no issues with heat buildup with video clips of 50 seconds to 1-minute in duration when shooting in 4K. the temperature gauge, however, will appear on the display (or EVF), which I found handy, as it's a visual indication of how warm (or hot) the camera is getting with use.

Image stabilization for video and stills is also quite impressive. While I’m not a good videographer at the best of times, I struggled to hold the R5 II steady with the RF 100-500mm f/4.5-7.1L IS USM telephoto lenses at 500mm for durations of over 10 seconds, but found it a little easier to handle at 300mm.

• Image & video quality score: 5 / 5

Should I buy the Canon EOS R5 Mark II?

Buy it if...

You’ve been holding out for a great full-frame high-res camera

Whether you want to upgrade from your Canon EOS 5D Mark IV DSLR or any of the older EOS R-series cameras – or even just keen to change systems – it’s really easy to recommend the R5 II.

You want an easy-to-use pro camera

Its fast and accurate performance aside, the R5 II has very intuitive physical controls and the menu system is simplified, making this pro camera really easy to wrap your head around.

You want a versatile camera for any kind photography

While its in-camera editing features have some caveats, the R5 II will be as comfortable shooting landscapes and nature as it would be in a sports arena or a war zone. It has the chops – and then some – to handle it all, plus even some decent video skills.

Don't buy it if...

You’re a pro video content creator

It might have good video prowess but, if filmmaking is your priority, you might be better off with a camera that was designed specifically for video.

You don’t want to drain your savings

While the R5 II is well priced compared to its predecessor and the competition, I wouldn’t call it ‘affordable’ or ‘cheap’. If money is a constraint, you could consider dropping a sensor size and yet retain high resolution if that was important to you.

You exclusively shoot landscapes or architecture, or do mostly studio work

If you aren’t going to put the R5 II’s speed and accuracy to good use, it might be overkill for your needs. Moreover, some photographers who do more studio work – like portraits or product shots – might be better served with a medium format sensor, and it’s now possible to get one for about the same price or lower.

Also consider

Nikon Z8

In direct competition with the R5 II, the Nikon Z8 is arguably the easiest alternative to recommend. While the physical setup is different to Canon's, and it might lack the new autofocus and in-camera editing features, the Z8 is a superb shooter that offers just as much speed (even more, in fact, if you're willing to forgo some resolution). It even allows you to shoot with a crop (DX) if you want more reach.
Read our full Nikon Z8 review

Sony A7R V

If resolution is important to you, then the 61MP sensor in the A7R V might be just what you're after. While you won't be able to get the speed, you will gain Sony's rather good autofocus system with its own nifty AI features, like knowing exactly what to focus on and where. It doesn't have the video chops as the R5 II or the Z8 listed above, but landscape photographers might prefer this high-res shooter.
Read our in-depth Sony A7R V review

Fujifilm GFX100 II

Again, if resolution is more important and money isn't an issue, the GFX100 II is arguably the most powerful medium format camera on the market. It can handle both stills (102MP shots at up to 8fps) and video (8K/30p) well, although the lens options will be limited if AF speed is important.
Read our full Fujifilm GFX100 II review

How I tested the Canon EOS R5 Mark II

  • Tested over a period of three weeks; paired with RF 24-70mm f/2.8L and RF 100-500mm f/4.5-7.1L IS USM lenses
  • Used to shoot mostly wildlife with high-speed bursts and Servo AF engaged
  • Captured several video clips to test frame rates and resolutions

Having already tested the original R5, and as a current Nikon Z8 user, I am in a unique position to judge the R5 II as it gives me a couple of different points of comparison.

I had the Canon EOS R5 Mark II for about three weeks for this review and did my best to try it out in different scenarios. While there weren't any local sports to capture during my testing period, I pushed the camera's speed limits by capturing birds at a waterbird refuge. I also took the camera on a whale-watching cruise (sadly the humpbacks weren't very active on that day).

This was done with the camera set to capture at 30fps using the electronic shutter and Servo AF engaged. I used some of these images to test the upscaling feature.

The waterbird refuge is also where I did most of the video testing, using the birds as my subjects.

I also captured some urban landscapes as single shots. My testing of the stills including some indoor captures to test the ISO performance, and I used this to see how well the camera's built-in noise reduction feature works.

Read more about how we test

[First reviewed September 2024]

Next Page »