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.
(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.
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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.
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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.
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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.
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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.
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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)
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After doing this, the hit rate of sharply focused photos on the player was virtually perfect. (Image credit: Future | Tim Coleman)
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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.
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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
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AI upscaled JPEG with original photo inset (Image credit: James Abbott)
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Full AI upscaled photo (Image credit: James Abbott)
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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.
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.
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.
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.
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.
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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.
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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.
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
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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.
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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.
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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.
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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.
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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
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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
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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.
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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.
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.
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.
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.
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.
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.
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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.
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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.
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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.
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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.
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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...
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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.
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.
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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
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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.
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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
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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.
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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.
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The People Priority feature is intelligent enough to know when to shift subject tracking... (Image credit: Sharmishta Sarkar / TechRadar)
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..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?).
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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.
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In-camera noise reduction applied to a RAW file at ISO 12,800 (Image credit: Sharmishta Sarkar / Future)
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The original ISO 12,800 file cropped to show noise (Image credit: Sharmishta Sarkar / Future)
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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.
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The original 45MP resolution (Image credit: Future | Tim Coleman)
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The same crop on the upscaled 180MP, demonstrating how much bigger the file is (Image credit: Future | Tim Coleman)
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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.
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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
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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.
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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.
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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.
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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/2.8Land 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.
The Panasonic FZ80D / FZ82D (Confusingly, Panasonic seems to call it the latter, but it most retailers call it the former) is an updated variant on the Lumix FZ80 bridge camera launched back in 2017. The new version has been refreshed with USB-C charging and improved resolution for the EVF and rear screen. Otherwise, it’s pretty much the same camera, so it’s more of a relaunch than a new camera.
The specifications look pretty spectacular on paper, including a huge 60x zoom, a very useful 20mm equivalent wide-angle capability, 4K video, and Panasonic’s clever 4K Photo modes, which can grab an 8MP still from a continuous 4K video sequence, or focus on a subject after you’ve shot it by capturing a short video sequence with multiple focus points.
They key drawback with cameras of this type, though, is the sensor size. The FZ80D / FZ82D uses a tiny 1/2.3-inch sensor no bigger than those in a smartphone, as it’s the only way to get this incredible zoom range in an affordable, portable camera.
This impacts heavily on the image quality, and it’s compounded by a drop-off in lens performance at long zoom settings. At short-to-medium zoom settings images are about as good as those from a smartphone, but by the time you reach the longest zoom setting – which is probably one of the reasons why you bought the FZ80D / FZ82D – the definition has fallen through the floor, and is not really adequate.
The FZ80D / FZ82D delivers a huge list of features for the money, but its plasticky build quality, and especially its variable performance, could leave you disappointed. It does an awful lot, but it does none of it very well.
The Panasonic FZ80D / FZ82D is priced at $478 / £429 / AU$699, and is available now. That puts it at a similar price to some of the cheaper best beginner mirrorless cameras, but none of these will come with zoom lenses that match the Panasonic’s zoom range – such lenses don't exist for mirrorless cameras, although of course you can swap lenses on a mirrorless camera, and there are telephotos available that give you something like the same reach. The difference is the image quality – images from the FZ80D / FZ82D do not approach the quality of those from the best mirrorless cameras, and you don’t need to be an expert to see the difference.
The Panasonic FZ80D / FZ82D definitely looks the real deal. It’s the same size and shape as an old-school beginner DSLR like a Canon EOS Rebel, for example, with the same rounded corners and big viewfinder housing on the top. The difference is apparent when you turn it on and use the zoom lever to extend that huge 60x zoom – you could never do that on a DSLR.
The body does have a plasticky feel, though the dials and buttons work pretty well. There’s only one control dial rather than two, which is often the case with beginner-oriented cameras, and there’s no spinning dial around the four-way pad on the back, which is actually a bit of a relief since these seldom work well.
While the FZ80D / FZ82D does have improved EVF and rear screen resolution compared to the original FZ80, it’s not all good news. For a start, there’s no eye sensor to detect when you’ve taken the camera from your eye – if you want to compose a shot on the rear screen instead you have to press a button next to the viewfinder.
Worse, the rear screen is fixed – it doesn’t even have a tilt mechanism. That’s a real surprise in an era when just about every camera has some kind of rear screen articulation, and it’s going to make the FZ80D awkward for low-angle shots or video. Cheaply made but not cheap – that’s not a good combination.
Happily there’s not too much else to complain about. The menus are big, clear, and easily navigated, and the main mode dial has custom settings for those who like to shoot with specific setups. The memory card slot is next to the battery in the base of the camera, which is always a bit of a nuisance, but pretty normal in a lower-end camera.
Design-wise, the FZ80D / FZ82D is a mixed bag. It’s a good size and fits your hand well, but the finish and controls have a budget feel, and the viewing system is primitive.
The major disappointment with the Panasonic FZ80D / FZ82D is its performance at longer zoom settings, which is especially annoying because the huge zoom range is probably what convinced you to buy this camera. It does indeed zoom to an amazing 1200mm-equivalent (in full-frame terms) focal length, but by this point the image detail is very soft and there’s visible color fringing around object outlines. In fact, judging by the processed look of fine details and textures, it looks as if there’s some heavy image processing going on at the long zoom settings to try to compensate for the lens’s limitations.
This doesn’t just affect the maximum zoom setting. You can see the fine detail rendition starting to fall away even at 400mm-equivalent, and it just gets worse from there. I wouldn’t use the FZ80D / FZ82D past its 400mm setting for this reason, which means a lot of the focal range would be wasted for me.
There’s another issue with shooting at the 1200mm-equivalent maximum zoom: camera shake. The FZ80D / FZ82D does have image stabilization, and this works well at shorter focal lengths. But at 1200mm, it just can’t cope – if you try to shoot handheld the viewfinder image leaps all over the place, and even if you brace the camera against a wall or railing, getting a sharp-ish shot at this focal length is a lottery.
At shorter focal lengths and for everyday subjects, the FZ80D / FZ82D performs pretty well. Images look sharp, crisp, and clear, though highlight detail in bright skies is often lost, and the camera does not have the HDR modes that smartphones have. You might think it’ll be a step up if you switch from a smartphone to a bridge camera like this, but in some respects it’s a step down.
The autofocus is nice and snappy, and there’s a macro mode for close-up shots, which makes this camera even more versatile. The 4K Photo mode is good for extracting single frames from extended bursts, and the Post Focus mode is almost uncanny in the way it lets you choose the focus point after you’ve taken the shot. In fact, here the camera is capturing a short video with a focus that shifts from near to far, so it’s not magic after all – it just feels like it.
The issue with the 4K Photo and Post Focus modes is that they're based around 4K video capture, which means the images you extract are just 8 megapixels. If you want to capture a full-resolution sequence you’ll need to switch to the high-speed shooting mode, which tops out at 10fps, and that’s with the focus fixed on the first frame. 4K Photo mode aside, the FZ80D / FZ82D is okay for action sequences, but not great.
It did okay in my ISO tests, though. You can see fine details and textures start to slip away by ISO 400, but even at ISO 3200 images look reasonable as long as you don’t blow them up too much. This is where the FZ80D’s small sensor really holds it back; on a DSLR or mirrorless camera you'd be able to go way beyond these ISO settings before starting to lose quality.
Panasonic FZ80D / FZ82D: Sample images
Here’s a gallery showing our penguin at different focal length settings: 1200mm, 800mm, 400mm, 200mm, 100mm, 50mm and 20mm, moving the tripod nearer each time to keep the penguin more or less the same size in the frame to check for image quality at different zoom settings.
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Panasonic FZ80D at 1200mm (Image credit: Rod Lawton)
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Panasonic FZ80D at 800mm (Image credit: Rod Lawton)
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Panasonic FZ80D at 400mm (Image credit: Rod Lawton)
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(Image credit: Rod Lawton)
Panasonic FZ80D at 200mm
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Panasonic FZ80D at 100mm (Image credit: Rod Lawton)
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Panasonic FZ80D at 50mm (Image credit: Rod Lawton)
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Panasonic FZ80D at 20mm (Image credit: Rod Lawton)
Here are some more sample images shot at a range of focal lengths, and which are more representative of casual day-to-day photography.
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The 20mm wide-angle setting is wider than most lenses go and undeniably useful. (Image credit: Rod Lawton)
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Here's an overall shot of a scene at 20mm. (Image credit: Rod Lawton)
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And here's a zoomed-in shot of a water lily in the foreground – it's not very sharp. (Image credit: Rod Lawton)
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It is useful to be able to pick out interesting details at a distance. (Image credit: Rod Lawton)
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The colors and exposures are good, but the FZ80D is prone to blowing out highlights in bright skies. (Image credit: Rod Lawton)
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You don't really need the FZ80D's zoom range for shots like this, and it's not exactly inconspicuous. (Image credit: Rod Lawton)
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The FZ80D is certainly versatile, as you can get up close for short-range subjects too. (Image credit: Rod Lawton)
The FZ80D / FZ82D covers a zoom range wider and longer than most people will ever need, with a macro mode for close-ups, 4K video and more.
You’re on a tight budget and still experimenting
The FZ80D / FZ82D is cheaper than all but a few low-end mirrorless cameras, and none of them can match its zoom range. It might help you decide which direction to take in your photography.
You’re not that bothered by outright image quality
Lots of people aren’t. It’s only at longer zoom settings that the FZ80D / FZ82D starts to fall apart, and in regular shooting it can hold its own against a smartphone.
Don't buy it if...
You’re looking for a ‘second’ camera
If your main camera is a DSLR or mirrorless system, you’re unlikely to be happy with the results from the FZ80D / FZ82D, despite its do-it all convenience.
You don’t really need that huge zoom range
Look instead at bridge cameras with larger 1-inch sensors. They cost more and the zoom ranges may be shorter, but the image quality will be a whole lot better.
You’re looking for a handy ‘travel’ camera
The FZ80D / FZ82D is too big for a coat pocket and the image quality is not good enough for once-in-a-lifetime experiences. It’s not small enough and, to be honest, not good enough.
• I shot the same subject at different zoom settings with the camera on a tripod and the ISO set to 80 for absolute best quality
• I also tested the camera’s ISO performance using a tripod
• I checked the image stabilization across the zoom range
• I shot a range of subjects at different zoom settings handheld to get a feel for the kind of results average users can expect
The key feature of the Panasonic FZ80D / FZ82D is its massive 60x zoom range, but this is of limited use if it can’t maintain a good level of image quality at longer zoom settings. This is a regular failing of long-range bridge cameras, and likely to be a major disappointment for users who bought the camera specifically for that range.
It was also important to check the overall image quality and ISO performance. The FZ80D / FZ82D has a 1/2.3-inch sensor that's far smaller than the sensors in even cheap mirrorless cameras, and this can be a serious limiting factor.
Sitting at the more affordable end of Nikon’s range of full-frame models, the Z6 III is designed to be an all-rounder, which can tackle a variety of subjects, whether that’s for photo or video.
What makes it more affordable is its 24.5MP sensor, which is just shy of half that of other pricier models in the line-up, including the Z7 II, the Z8 and the Z9. However, it's an exciting new “partially stacked” sensor, which unleashes ultra fast shooting speeds available, making this a real powerhouse when it comes to sports and action - and marking a major improvement on its predecessor, the Z6 II.
There’s up to an incredible 120fps shooting available - with some big caveats - but up to 20fps at full resolution in raw with full AF/AE. In practice, this turns out to be more than you’ll need for most types of action and returns a fantastic hit rate where almost every shot is in focus thanks to the superb autofocusing system which has been brought over from the Z8 and Z9 cameras.
With the 24-120mm f/4 lens, a great all-rounder lens that suits the Z6 III incredibly well (Image credit: Amy Davies)
For video, there’s now 6K up to 60fps available, as well as 4K at a range of frame rates up to 120fps. Being able to create oversampled video at 4K thanks to its 6K shooting ability will be appealing to lots of content creators, and gives you scope to get more shooting angles from whatever lenses you have.
In terms of body design and layout, much has stayed the same or similar since the Z6 II, however the III is now toting a fully articulating screen, making it far more suited to video work than ever before.
We’ve also got a brand new viewfinder and it's Nikon's best yet, with a 5,760k-dot resolution and an ultra-wide color gamut, plus a 60fps refresh rate. These specs all combine to make the Z6 III’s viewfinder one of the best experiences on the market.
The Nikon Z6 III has a new fully articulated screen (Image credit: Amy Davies)
Image quality doesn’t show a revolutionary improvement from the Z6 II, which is pretty much as we’d expect. However, it's easier to get the shots you want thanks to improved autofocus and burst shooting performance, so while individual shots might not be an improvement in terms of things like dynamic range, color and detail, the fact that you can get more shots in focus is what makes the big difference. Video quality is also great.
When it comes to pricing, the Z6 III is more affordable than the Z8 and Z9, but you will be paying a premium for how much better it is than the Z6 II, especially considering that camera is now on sale since the Z6 III was announced. In fact, you’ll also be paying a premium right now over the high-resolution Z7 II. Between those two cameras, it’s up to you to decide whether you want high resolution at the expense of speed, or the other way around.
If you mainly shoot landscapes and other still subjects, the Z7 II might be the better choice, but if you ever shoot anything moving - or at least think you might - then the Z6 III is a much better choice.
Nikon Z6 III: release date and price
Body only price is $2,496 / £2,699 / AU$4499
Available now
The Z6 series has always been on the more affordable end of Nikon’s pro-spec line-up. Although it’s higher in value than the Z5 series, it’s generally cheaper than the Z7, Z8 or Z9 cameras. That said, the feature-packed Z6 III will set you back more than its predecessor did at launch by around 25%, and with the Z6 II on sale, the Z6 III is £1000/$1000 more expensive for the body only version at the time of this review. Right now, the Z6 II feels like a comparative bargain, especially if you can live without some of the Z6 III's improved autofocusing and burst rates.
The Z6 III is also currently more expensive than the Z7 II, so if you need higher resolution, you might opt for that model instead - again though, you’ll be missing out on things like fast shooting. If Nikon hasn't given up on the Z7 series, we could see a speedier Z7 III, but that would be treading a little too close to the Z8 and we think a new Z7 model is unlikely.
Perhaps the best thing to compare the Z6 III within Nikon’s own line-up is the Z8, with which it shares similar focusing capabilities. Here you’ll need to fork out an additional £600, and use a larger and heavier camera - but you do get higher resolution.
In the end, it likely comes down to speed vs resolution. If you need speed, go for the Z6 III, if you need resolution, the Z7 II or the Z8 if you can stretch to that is the best choice.
What about compared to other brands? Well, the Z6 III is significantly more expensive than its current main competitors, the Canon EOS R6 II, or the Sony A7 IV - both models which are also ripe for an upgrade. Although more expensive, you will get more for your money from the Z6 III, so if you’re particularly after some of its impressive features, then it’s likely to be worth the extra expense.
Price score: 4/5
The Nikon Z6 III's side on profile - it's pretty similar to the previous Nikon Z6 II (Image credit: Amy Davies)
Nikon Z6 III: design and handling
New vari-angle touchscreen
Super high-res EVF
Chunkier grip
New additional battery grip
If you’re looking for a fast Nikon, then you might have had your head turned by the Nikon Z8 or even the Nikon Z9, but then been quickly put off by the size of either of those models. The Z6 III is a a much more easy-to-manage size than either the Z8 or the Z9, although it's little heavier than its predecessor (760g vs 705g body only) – that's mostly down to the chunkier hand grip which I'm all for because it gives a secure hold.
Layout and button placement remains largely unchanged from the Z6 II, with a mode dial to the left of the viewfinder, plus all of your regularly used buttons and dials on the right hand side. A relatively minor tweak, but one which makes a decent bit of difference, is the drive mode and playback buttons have been swapped over. This means you can hit playback with your right thumb, rather than having to bring in your left hand to quickly scroll through the images you’ve just taken. I find this particularly handy when I’m shooting and want to have a quick check in the viewfinder that whatever I’ve just photographed is in focus - then I can have another go if something hasn’t come out quite right.
The Nikon Z6 III's new articulating screen is handy for a variety of reasons (Image credit: Amy Davies)
Overall, the Z6 III is a fairly intuitive camera to use with everything pretty much where you’d like it to be. A useful joystick can be employed to move the AF point around, an "i" button houses a host of quick settings, and the rear and front dials work in tandem to control shutter speed and aperture.
Elsewhere, a pretty big difference compared with the old Z6 II is the new screen, which is now a fully articulated device designed to appeal to the video crowd. It’s also useful for shooting things like selfies, or anything awkwardly positioned that you want to frame vertically. Previously, we had a tilting display, which personally I prefer for stills, but I can see why articulating made more sense in this all-rounder model. The size and resolution of the screen, at 3.2”/2100k-dots remains the same as in the Z6 II.
Nikon Z6 III key specs
Sensor: 24.5MP AF System: Hybrid phase-detection / contrast AF EVF: 0.5in, 5760k-dot UXGA OLED electronic viewfinder, 0.8x magnification ISO range: 100-64000 (50-204800 extended) Video: 6K 60p / 4K 120p / Full HD 240p LCD: Vari-angle TFT touch-sensitive, 2100k-dot Max burst: 120fps (crop mode) Connectivity: Wi-Fi 5GHz, Bluetooth 5.0 Weight: 670g (body only), 760g (with battery and memory card)
The EVF has also had a bit of a glow-up. While the previous 3,690k-dot resolution EVF of the Z6 II was by no means bad to use, once you look through the 5,670k-dot device found on the Z6 III, you might find the Z6 II's viewfinder has been well and truly ruined for you. Not only is the Z6 III's high in resolution, it has also got an ultra-wide color gamut (DCI-P3, the first time this has been used in a mirrorless camera), and a fast 60fps refresh rate for a smooth display even shooting at high frame rates.
As with the Z6 II, we’ve got dual memory card slots. One is for CFExpress B, and is also compatible with the older XQD format. Another is the more widely used SD format with support for the faster UHS-II version, which is good news for anyone who doesn’t necessarily want to fork out on expensive memory cards to use this camera.
The screen can also be folded away when not in use (Image credit: Amy Davies)
If you want extra battery power, or better handling when shooting vertically, there’s an optional MB-N14 battery grip you can also buy. If you’ve already got an older battery grip, it’s a bit annoying that the old MB-N11 or MB-N12 battery grips from previous Z series models aren’t compatible here, though. On the plus side, the MB-N14 is compatible with both the newer and older models, so if you’re toting a multi-device setup, you can at least swap between the two.
The top of the Nikon Z6 III - its a sensible and intuitive layout on the whole (Image credit: Amy Davies)
The playback button used to be here where the delete button is now found - a sensible swap (Image credit: Amy Davies)
The Z6 III has two memory card slots available (Image credit: Amy Davies)
Design score: 4.5/5
Nikon Z6 III: features and performance
Up to 120fps shooting with Pre-Release Capture
World’s first partially-stacked 24.5MP sensor
8-stops in-camera image stabilization
3D tracking and subject detection focus, plus focusing down to -10EV
6K video up to 60fps
New Nikon Imaging Cloud service
The Z6 series has always been Nikon’s “all-rounder”, with a lower resolution sensor than the likes of the Z7 and the Z8/Z9, at a more attractive price and more-rounded feature set.
With the Z6 III, you really do get an incredibly versatile piece of kit that's markedly more powerful for landscapes to sports and action, as well as meeting video and content creators needs too.
Although resolution has stayed on the “low” side at 24.5MP (only by comparison with the super high-resolutions we’ve become a little bit spoiled by), we now have what’s known as a “partially-stacked” sensor which has been designed to be fast, without quite such a high-cost as we’d expect from a fully-stacked sensor found in the Z8 or Z9 camera. It’s also got the same EXPEED 7 processor as found in the Z8 and Z9.
So, while the Z6 III's sensor is still not quite as speedy as the Z8/Z9, it’s still 3.5x quicker than that found in the Z6 II, and what’s more, it’s better equipped to deal with rolling shutter distortion that you might expect to see when recording moving subjects.
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You can shoot at 20fps in raw with full AF/AE (Image credit: Amy Davies)
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Alternatively, up to 120fps is available in crop mode - as shown here (Image credit: Amy Davies)
As a result, we get up to a ludicrously fast 120fps shooting available - though you will have to shoot DX (APS-C) format JPEGs which end up at only 10MP. You do get full AF/AE while recording though.
For full-frame shooting, up to 60fps is available (JPEG only), which should still be more than you really need for most types of moving subject. As if that wasn’t enough, there’s also pre-release capture which will start recording frames before you’ve even fully engaged the shutter button - super handy if you’re not sure exactly when a piece of action is about to begin. If you want RAWs to go along with JPEGs, you can shoot at 20fps with the electronic shutter.
Having super-fast frame rates is no good without a great AF system to go with it and there's good news there too. You get the latest autofocusing system available from Nikon, as seen in the Z8 and Z9, to give you 3D tracking and subject-detection options including humans, animals and a range of vehicles.
It’s got to the point now where I’ve stopped using single-point AF, and leave it on automatic subject recognition and let the camera decide for me at least half of the time. If I’m photographing anything that is likely to move around the frame, such as my baby or my dog, then it just makes sense to let the tracking do what it does best and keep up with them.
Also new is the ability to focus down to -10EV, making it superb at locking onto the subject in low-light too. There’s no messing about here.
Image stabilization has also been given a boost, with the Z6 III benefiting from the same 8-stop system as seen in the Nikon Zf. This 8-stops is measured using the 24-120mm f/4S that I’ve been using myself during this review. I’ve found that I can happily shoot with the telephoto end of this lens, at a fairly narrow aperture, in less than perfect lighting conditions and still get sharp shots almost all of the time, and the same is true of using longer lenses too.
Content creators who crave decent video specs should find a lot to like about the Z6 III too, with this being a real hybrid shooter. There’s 6K recording and a variety of different frame rates, plus the ability to shoot at different bit rates and codecs including Nikon’s N-raw, Pro Res Raw HQ, ProRes 422HQ / H.265, H.264 codecs in 12-bit raw, and 10-bit log recording.
OK, so there’s no 8K available, but 6K gives you lots of flexibility to crop in and produce oversampled 4K video, which is the quality most people require right now. Other functions here include 240p slow-motion, up to 120 minutes of record time, and the ability to use an external mic as a line-level input for recording sound directly in camera as you go. Having the screen now articulating means that those who want to record pieces to camera can do so easily, too.
It’s worth mentioning Nikon’s new Imaging Cloud service here. This is an instant backup and transfer service that will store your images for free for up to 30 days after they’re first transferred. It’s a neat way to back up your images on the fly, and only requires setting up the service once. Then, so long as you can connect freely to a WiFi network you can use it easily - although it's worth noting that if you need to login via a web browser it won’t work, which could be a problem in public locations such as cafes and hotels.
As part of Nikon's new cloud service, you also get color-profile image recipes which can be transferred to the camera, as well as firmware updates that can be transmitted and either installed automatically or manually. For now, this is only available for the Z6 III, but it is due to come to other Nikon models at a later date.
Features and performance score: 5/5
Nikon Z6 III: image and video quality
Similar performance to Nikon Zf
Great detail and and sharpness
Good colors and dynamic range
Excellent video results
Although there will always be those who are drawn to very high resolution cameras, models such as the Z6 III show that you don’t necessarily need all those megapixels to still get excellent shots - and there’s actually plenty of benefits to sticking on the low side too.
Pair the Z6 III with excellent Nikon Z glass and you'll find that you’ve got some incredibly sharp images, and while you don’t have the kind of fine-grain detail you’d expect from the likes of the Z7 II, the Z8 or the Z9, for most ordinary all-rounders, you’ve got plenty to be getting on with here.
That said, with the lower pixel count, shooting in DX (APS-C) crop mode leaves you with only 10MP, which is a bit less usable than you would get from the same setup with Nikon's 45MP cameras. If this is something you think you’ll find yourself doing frequently, you might want to consider whether it’s worth paying the extra cash for the Z8.
That said, it really does depend on what you intend to do with your images. I’ve taken some impressively sharp images of my dog using the 120fps DX-crop mode, which are - as you might imagine - more than fine to share on social media, or print at what you might call “normal” sizes (A3 or below).
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Eye-detection works on different species, including birds (Image credit: Amy Davies)
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You can still achieve finely detailed shots even with a lower resolution sensor (Image credit: Amy Davies)
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Shot at a high ISO (64000), the JPEG has come out pretty cleanly (Image credit: Amy Davies)
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(Image credit: Amy Davies)
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Eye-detect tracking AF is useful for portraits - especially of erratic subjects (Image credit: Amy Davies)
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(Image credit: Amy Davies)
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(Image credit: Amy Davies)
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(Image credit: Amy Davies)
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(Image credit: Amy Davies)
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(Image credit: Amy Davies)
There have been some reports that the new partially stacked sensor found inside the Z6 III performs worse for dynamic range than the predecessor, the Z6 II, in lab tests. While that may be true, it’s not something I can say I’ve noticed in my real-world shots, and I’ve actually found the colors and dynamic range to be excellent.
Most of the time the “Auto” Picture Style results in colors which are a decent blend of vibrant and realistic - if you're shooting in raw you’ve got plenty of scope to adjust colors exactly how you want after the fact, too. Nikon’s Active D-Lighting does a great job of producing well-balanced exposures that require minimal post-production tweaking too, with good detail in the shadows and keeping blown-out highlights under control. Similarly, automatic white balance generally produces accurate results in a variety of situations.
It’s often the case that lower resolution sensors perform better in low light situations, so if that’s something you do quite a bit of, the Z6 III could be a good choice. I’ve found it to produce very clean images in low light situations, with even very high ISO shots (such as ISO 64000) resulting in a high-detail, low noise JPEG. There’s more noise in the corresponding raw file, which gives you the option to tweak noise-reduction settings as you see fit.
Overall, image quality here is pretty similar to the Nikon Zf, which also has a 24.5MP sensor, as well as the Z6 II. There was never really an issue with the quality of the final image from the Z6 II, but it was undeniably more difficult to get what you desired if you were shooting fast-moving subjects - in short the new sensor and focusing system makes the journey to a great picture far more achievable.
4K video sample
6K video sample
Video quality is just as great as picture quality, with plenty of detail and very little in the way of rolling shutter effect, thanks to the new sensor. You don’t have 8K video here, but the 6K option is excellent, as is the oversampled 4K. The internal mic is fine for clips on the fly, coping relatively well with some background noise. Of course, serious content creators will likely invest in external audio kit. Either way, there’s really a lot for hybrid content creators to get their teeth into here.
Image quality score: 5/5
Nikon Z6 III: testing scorecard
Should I buy the Nikon Z6 III?
Buy it if...
Don't buy it if...
Nikon Z6 III: also consider
How I tested the Nikon Z6 III
Three week-review period
Paired with 24-120mm f/4, 50mm f/1.8, 14-28mm f/2.8 and 70-180mm f/2.8 lenses
I’ve had three weeks with the Nikon Z6 III, having previously used all of Nikon’s Z series since the format was first introduced in 2018.
During my two weeks with the Z6 III, I have tried it in a number of different shooting situations. I’ve photographed landscapes and interiors to get a feel for general image quality. I photographed my dog in action to give fast shooting and AF capability a good test run, as well as photographing birds to check that the Eye AF works across different species. I also photographed my daughter in a number of different situations to get a feel for how portraiture feels with the Z6 III.
I have been using the Z6 III with four different lenses. The 24-120mm f/4 lens was chosen for its versatility and used most frequently. It was joined by the 70-180mm f/2.8 lens for action and (fairly close) wildlife, as well as portraits, the 14-28mm f/2.8 for interiors and landscapes and the 50mm f/1.8 for portraits, street and candid shots.
At first glance, the Panasonic Lumix GH7 is identical to its predecessor, the Lumix GH6. The two cameras’ bodies and control layouts may be the same, but Panasonic has spent the two years since the GH6’s arrival working out any kinks and building on its strong showing. The result is the GH7, a multi-talented mirrorless camera with no great weaknesses.
The GH6 had a dizzying range of video options, plus a built-in cooling system that allows for unlimited video recording; great connectivity, fast continuous stills shooting and incredibly effective in-body image stabilization. All of these things remain the case with the GH7, but its new sensor improves image quality, and its new phase-detection autofocus system fixes the one area where the GH6 felt noticeably behind the times.
It’s not the perfect camera, of course. The cooling setup makes it fairly bulky by Micro Four Thirds standards, with its body weighing more than the full-frame Panasonic Lumix S5 II, and its battery life still feels a bit stingy by modern standards. But it’s tough to find any truly significant faults, and given that the price is the same as the GH6’s was at launch in 2022, it feels like great value for money too. Bang for buck, the GH7 is one of the best video cameras available.
Big body, small sensor: the Lumix GH7 feels like a full-frame camera. (Image credit: Future | Sam Kieldsen)
Panasonic Lumix GH7: release date and price
Available now
$2,199 / £1,999 / AU$3,899 body only
Also sold in a kit with 12-60mm lens
The Panasonic Lumix GH7 is available now, with a list price of $2,199 / £1,999 / AU$3,899 body-only. It can also be purchased in a kit with a Leica DG Vario-Elmarit 12-60mm F2.8-4 zoom lens for $2,799 / £2,499 / AU$4,899. That’s the same list price at which the GH6 was launched a couple of years ago, so I have no complaints about Panasonic’s pricing decisions here.
Price score: 4.5/5
The Panasonic Lumix GH7 camera with 12-60mm Leica lens attached. (Image credit: Future | Sam Kieldsen)
Panasonic Lumix GH7: design and handling
Body and control layout virtually identical to GH6
Fairly bulky for Micro Four-Thirds camera
Articulated swivel-and-tilt touchscreen
Built-in fan cooling system
If you’ve used the GH6 you’ll find the GH7 pleasingly familiar. In fact, the two camera bodies are essentially the same – put them side by side and the name tag on the front is the only way to tell the difference. That’s not a bad thing by any means, although I will say that the GH7, like its predecessor, is bulky by Micro Four Thirds standards. At 25.4oz / 721g, the body is heavier than the full-frame Lumix S5 (26.1oz / 714g); it’s a chunky 138.4 x 100.3 x 99.6mm in size too. So, if you’re expecting its small sensor to result in a lightweight and easily portable camera, you’re going to be disappointed.
Still, I found it manageable, and it’s also important to note that MFT lenses are generally much lighter and smaller than full-frame L-mount lenses, so you’ll likely be reducing the overall weight by opting for the GH7 over a full-frame model. I also like the fact that it remains dust- and splash-proof, if not officially IP-rated or guaranteed to remain undamaged if it does get wet or sandy.
(Image credit: Future | Sam Kieldsen)
The built-in cooling system is the main culprit for the bulky build. As with the GH6, it sits at the rear of the camera, behind the screen, and uses a fan to suck in cool air and blow out warm air. This system is essential for one of the GH7’s key selling points, though: its ability to record unlimited 4K 60fps video clips. With many cameras limiting 4K clip duration due to overheating (and some requiring a lengthy cooldown period after the forced shutdown), I think the advantage of that cooling setup is a fair trade-off for the extra weight and size.
Panasonic Lumix GH7 key specs
Sensor: 25.2MP BSI CMOS MFT sensor AF system: Phase-detection autofocus EVF: 3.68m-dot OLED ISO range: 100-25600 (100 to 12800 video range) Video: 5.8K/30p 4:2:0, C4K/60p 4:2:2 LCD: 3-inch TFT free-angle touchscreen Max burst: 14fps (continuous AF), 75fps (electronic shutter) Connectivity: Wi-Fi 2.4/5GHz, Bluetooth 5.0 Low Energy Dimensions: 138.4 x 100.3 x 99.6mm Weight: 721g
As with the GH6, the 3-inch screen is excellent: not only does it flip out and swivel, it also features a two-stage tilting mechanism that enables you to move it away from any cables that might be plugged into the camera. Even if it didn’t originate on the GH7, it’s still probably the most flexible screen design I’ve seen on a mirrorless camera.
The control setup is great too, with plenty of easily accessible buttons. The highlight for me is the fact that there’s an extra record button on the front of the camera, which is something content creators who spend a lot of time filming themselves will appreciate. There are also front and rear tally lamps, making it immediately clear if you’re recording or not.
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Connectivity remains as impressive as on the GH6. There’s a full-size HDMI output (capable of carrying 5.8K RAW video to an external recorder), USB-C (capable of recording directing to an SSD right out of the box), 3.5mm mic in and 3.5mm headphone out. There’s also a hot shoe for flashguns and accessories, while the dual-card storage setup has one CFexpress Type B slot (required when recording videos with 800Mbps or higher bit rates) and one SD slot.
There’s no USB-C webcam function here, which seems to be a Panasonic quirk, but you can live-stream directly from the camera to YouTube Live or other RTMP-based services if you wish. Both the USB-C and Wi-Fi connections support this.
Design score: 4/5
(Image credit: Future | Sam Kieldsen)
Panasonic Lumix GH7: features and performance
New phase-detection autofocus system
Excellent in-body image stabilization
14fps continuous shooting
Short-ish battery life
32-bit float audio recording (with XLR2 mic adapter)
Perhaps the biggest feature improvement in the Lumix GH7 is the addition of a hybrid autofocus system that includes phase-detection autofocus, replacing the pure contrast-based autofocus setup of the GH6. Where the GH6 could still hunt somewhat when attempting to lock on to a subject, the GH7 is deadly accurate; it locks on quickly and stays locked on, making life for vloggers and YouTubers who self-shoot significantly easier. It’s a major improvement over the GH6, bringing the GH7 in line with its competitors on the autofocus front.
The autofocus system can be set to recognise and stay locked onto humans faces and eyes, humans in general (which includes body shapes), animals, cars, motorcycles, trains, and airplanes. The menu gives additional control over how it behaves too, and overall it feels like a great system for content creators.
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The GH6’s in-body image stabilization system was excellent, and the GH7’s is just as good; and if you don’t mind a slight crop to your video, the additional electronic stabilization improves things further. Mount a lens with built-in OIS and things gets even better, with the systems combining to deliver an almost gimbal-like experience when shooting handheld. Again, it’s something vloggers and content creators will adore, as they can self-shoot beautifully stable walk-and-talk videos with little more than a GorillaPod or similar handle.
Another strong area of performance is shooting speed. When you’re shooting stills using its mechanical shutter, the GH7 can capture continuously at a brisk 14fps – and that’s with autofocus enabled. Switch to the electronic shutter and the speed goes up to 75fps with manual focus and 60fps with autofocus. That’s very fast indeed.
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Battery life, on the other hand, is one of the GH7’s weaker aspects. In my experience, a fully charged battery was only good for around an hour of video recording, so you’ll want to pack extras if you’re planning a long day of shooting, although it’s worth noting that the USB-C port allows for easy on-the-go recharging and constant power supply too.
There’s another feature which I think deserves mention, even if it’s only available for users who buy the optional XLR2 microphone adapter: the ability to record in 32-bit float audio, which is a world-first on a mirrorless camera. 32-bit float is an audio format with much wider dynamic range, making it less prone to clipping and much more flexible when it comes to post-production adjustment. What shooting in raw is for images, 32-bit float is for audio.
Features and performance score: 4.5/5
Panasonic Lumix GH7: image and video quality
Same 25.2MP CMOS image sensor as G9 II
5.7K 30p ProRes RAW HQ internal recording
4K 120p and FHD 240p slow-motion video
Supports real-time LUTs
It wasn’t long ago that journalists and influencers in certain quarters were declaring Micro Four Thirds dead, but the GH7’s image performance is definitive proof of life. Like the triumphant Lumix G9 II launched earlier this year, the GH7 uses Panasonic’s new 25.2MP CMOS sensor, and its imaging performance appears to be largely identical.
In spite of its relatively small size, this sensor delivers excellent quality for both video and stills. While I’d still opt for a full-frame camera like the Lumix S5 II over the GH7 if I was primarily shooting in low light, the GH7’s Micro Four Thirds sensor feels like it can go toe-to-toe with the best APS-C cameras in any lighting condition, mostly thanks to a Dynamic Range Boost setup that captures and merges two outputs in parallel.
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The GH6’s sensor had the same Dynamic Range Boost setup, and while I personally encountered no great issue with it during my own review of that camera, many users complained of major problems in very high-contrast conditions. This seemed due to the fact that the base ISO started too high, and the result was the appearance of unsightly horizontal streaks. That’s been fixed now, thankfully, and you can pretty much shoot in any situation without experiencing anything except a mild bit of noise at higher ISOs.
Whether you’re recording video or snapping photos, there’s a huge dynamic range here considering the sensor size. Images are bursting with detail in both bright and darker areas, and the general color science and look of Panasonic’s standard shooting modes is as good as ever. For users who want to wring every bit of dynamic range from their videos, shooting in V-log gives you a whole extra stop according to Panasonic, taking the full range to over 13 stops (it’s over 12 in standard modes).
I don’t have the space here to detail every one of the plethora of video shooting modes available on the GH7. What I will say is that it’s a truly impressive lineup that caters to all levels of video creator (as was the GH6’s before it), including 5.7K 30p Apple ProRes RAW (with a staggering 4.2Gbps bitrate), 5.8K 30p/5.7K 60p 10-bit 4:2:0 MOV and C4K 120p 4:2:0 MP4. Like many Panasonic cameras it also offers ‘open gate’ recording, which captures video using the entire surface of the sensor – all the better for cropping to your desired aspect ratio in post-production.
The camera can also record 4K at 120fps and Full HD at 240fps for smooth slow-motion playback, both with audio included – although users should note that the Dynamic Range Boost is disabled for any recordings over 60fps, which does detract slightly from the image quality of high-speed recordings.
Panasonic has made it easy to apply LUTs in-camera too, allowing you to ‘bake-in’ LUTs to your photos and video as you shoot them. You can use the preset LUTs that come on the GH7 or add your own. The easiest way to do this is with a smartphone and the Lumix Lab app – the app lets you download LUTs made by Panasonic or other users and transfer them to the GH7, where they can then be accessed via the menu system.
Image quality score: 4.5/5
Panasonic Lumix GH7: testing scorecard
Should I buy the Panasonic Lumix GH7?
(Image credit: Future | Sam Kieldsen)
Buy it if...
Don't buy it if...
Panasonic Lumix GH7: also consider
How I tested the Panasonic Lumix GH7
One week review period
Vlogging plus run-and-gun videos
Used with two lenses: Leica 12-60mm F2.8-4 and the Leica 9mm F1.7
I tested the Panasonic GH7 for a week, using it in a wide range of scenarios: vlogging at home with a tripod and while walking around town with the help of a Joby GorillaPod; taking snapshots and landscape photos; and capturing b-roll footage in a range of different formats and frame rates. I used two Panasonic lenses during the review process: the Leica DG Vario-Elmarit 12-60mm F2.8-4 zoom and the Leica DG Summilux 9mm F1.7 wide-angle prime.
The ZV-E10 II is a highly recommendable compact vlogging camera. Its diminutive size is deceptive, as it houses a number of key components and features that are shared with Sony’s pricier and more advanced APS-C cameras.
This camera is built around the proven 26MP Exmor R sensor and BIONZ XR imaging engine combo, which is capable of producing crisp 4K video from an oversampled 6K readout. One of the biggest upgrades over its predecessor is that the ZV-E10 II is capable of recording videos in XAVC HS/XAVC S 10-bit 4:2:2 color up to 4K/60p with a data rate of up to 200Mbps. To take advantage of its dynamic range and color upgrade, it also comes with S-Cinetone and Log recording, along with the ability for users to upload a maximum of 16 LUTs via the Creators’ App, which can be baked into footage for quick delivery. It’s a much less elegant approach to deploying custom looks compared to Fujifilm’s famous film simulations or Panasonic’s seamless Real Time LUT and LUMIX Lab solution, but it’s a welcome addition to Sony’s entry-level offering all the same. It can also record proxy files in XAVC HS HD or XAVC S HD with a max data rate of 16Mbps, despite only having a single UHS-II card slot. The ZV-E10 II offers a strong set of features for what is ostensibly a beginner/vlogging camera.
However, considering that it’s built around the same sensor, processor and power platform as the A6700 and FX30, it’s a shame that Sony wasn’t able to include the 4K/120p video recording that’s available in those cameras, even if it came with a time limitation and the same 1.58x crop. It’s also disappointing to see that the mechanical shutter in the ZV-E10 has been ditched, meaning the ZV-E10 II is electronic shutter only. But with that said, the readout speed is fast, which will significantly negate the impact of rolling shutter in both video and stills. In terms of stabilization, the camera body has no sensor-shift IS, so you’re restricted to Optical Steady Shot (Standard) with compatible lenses or Active SteadyShot, which comes with a hefty crop. Alternatively, you can take advantage of Sony’s free Catalyst Browse desktop software, which uses gyroscopic metadata for the camera to stabilize your footage and reduce rolling shutter effects even further. The software works incredibly well, but it’s an extra step that some may find tedious, especially some people in the target audience for this camera.
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As you might expect, the autofocusing capabilities of this camera are second to none in its price range, and much better than those of rival APS-C cameras from competitors; the upgraded 759-point PDAF system finds subjects with ease and tracks them stubbornly. Like the ZV-E10, the newer model has a maximum continuous firing rate of 11fps, but with a more advanced AF system your ‘keeper’ ratio from mode shooting is going to be higher. Product focus mode was one of the standout features in this camera’s predecessor, and it works better than ever with this new model. When activated by pressing the trash icon, the camera will intelligently detect and seamlessly pull focus to a product when it's held up, then return to the person’s face when the product is lowered. It’s a unique feature that makes this an ideal camera for social media content creators who do tutorials, product reviews or promotions.
In terms of design, the ZV-E10 II is almost identical to its predecessor – the button layout is unchanged and the form factor will be familiar to owners of the older model, and while this camera being slightly larger and heavier, you couldn’t describe it as large or heavy relative to the competition. I like that it has a decent-sized grip, despite being super compact, and it feels great to hold and shoot with. Due to its size there’s no EVF, which may turn off some beginners who are more inclined towards photography – they might want to spend a little more and pick up the A6700.
Having only the articulated screen to compose shots on isn’t a problem, but it did become a bit of a struggle on sunny days, as I didn’t find it bright enough, even on its maximum setting. I also found the default Shooting Screen UI cluttered, but you can (and really should) make adjustments to the look and feel of it in the menu. To Sony’s credit, I love the fact that the whole UI rotates when you shoot vertically, making it a little bit easier to see your settings, whatever orientation the camera is in; it’s a small touch, but a nice one. Speaking of touch, the ZV-E10 II also adds direct touch as a means for changing settings and selecting subjects for the AF to track, touch functions not available on the ZV-E10. Again, it’s not a huge feature, but it significantly improves the functionality of the camera over its predecessor.
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One of the ZV-E10 II’s USPs is its built-in three-way capsule microphone, which sits along the top of the camera. The unique design helps to isolate audio when the user is speaking to camera without external audio capture, whether holding the camera up vlogger-style or speaking from behind the camera. Sony says the latest version is “intelligent”, and should do an even better job of delivering clear audio. I didn’t have the previous model at the same time that I was testing the ZV-E10 II to compare the two, but I can confirm that the audio quality that’s recorded by the ZV-E10 II’s built-in mic system is good – it will be adequate for most quick shooting scenarios in public, and should certainly suffice for more controlled situations, such as shooting in a studio, although for the best results you’ll want to stay close to the camera, as it's not designed to pick up your voice from a distance. For higher-quality sound recording you have the option of inputting third-party audio sources through the 3.5mm socket. Alternatively, the camera’s digital multi-function hot shoe supports audio data transfer, allowing you to connect a Sony hot shoe mic like the ECM-G1 or a more advanced audio solution such as the Sony ECM-W2BT wireless microphone.
Live online content creators will enjoy the fact that the ZV-E10 II makes it easy to get connected and stream via a wireless network connection or USB-C, at up to 4K/25p with a max bitrate of 38 Mbps. Full HD streaming goes up to 60fps, and it’s also possible to record to the camera while streaming, which is handy for redundancy.
The ZV-E10 II is a camera that covers a lot of bases for content creators who have begun to experience the limitations of a smartphone and need reliability and quality in equal measure, but in a package that keeps things simple. If you can go without a viewfinder and can tolerate overheating limitations when shooting 4K video, the ZV-E10 II is well worth your consideration.
(Image credit: Future | Jon Devo)
Sony ZV-E10 II: release date and price
$1100 / £950 body only
Available from July 10 2024
Can be bought as a kit with the new Sony E PZ 16-50mm F3.5-5.6 II $1200 / £1050
The ZV-E10 II is available to pre-order from July 10th, 2024, with sales starting at the end of July 2024. It can be picked up for an RRP of $1100 / £950 body only or for $1200 / £1050 with the new Sony E PZ 16-50mm F3.5-5.6 II as part of a kit. That’s a pretty big price hike from the Sony ZV-E10.
Price score: 3.5/5
You can take off the lens to easily pack the Lumix S9 away in a small bag. (Image credit: Future | Jon Devo)
Sony ZV-E10 II: design and handling
Body is almost identical to previous model
Features higher-capacity NP-FZ100 battery
Vari-angle touchscreen
Digital multi-function hot shoe
The Sony ZV-E10 II is a very compact camera, measuring 4.5 x 2.65 x 2.1 inches / 114.8 x 67.5 x 54.2mm and weighing 13oz / 375g. It’s almost 10mm thicker, a couple of mm wider and 32g heavier than its predecessor.
Sony ZV-E10 II key specs
Sensor: 26MP Exmor R sensor APS-C sensor AF system: 759-point phase-detect EVF: None ISO range: 50 to 102,400 (ISO 100-32,000 video range) Video: 4K/60p 4:2:2 10-bit internal LCD: 3.0-inch vari-angle touchscreen Max burst: 11fps (continuous autofocus), 30fps burst Connectivity: Wi-Fi 2.4GHz/5GHz, Bluetooth 5.0 Dimensions: 114.8 x 67.5 x 54.2mm Weight: 375g (Body only with battery and card)
The increase in size is in order to accommodate the NP-FZ100 battery, the same battery used by Sony’s APS-C flagship model, the A6700, as well as most of its recent full-frame E-mount cameras. This also means the memory card slot has been shifted over to the left of the camera body, sandwiched between the microphone and USB-C port at the top and the headphone and micro-HDMI socket at the bottom. The door cover of the UHS-II card slot locks into place and is easy enough to unhinge, even if you’re wearing gloves.
Its 3-inch flip-out articulated screen swings out smoothly and slaps back into place with a reassuring clasp. However, I didn’t like the fact that when the display is flipped all the way out it doesn’t sit flat – it’s at a slight angle. This means the screen doesn’t directly face you when flipped forwards, and it makes composing straight images at extreme perspectives frustratingly inconsistent. Another slight annoyance for me is that I found that some of the buttons and the zoom toggle are too easy to activate by accident, which occasionally led to missed shooting opportunities when trying to capture unanticipated fleeting moments. I do really like the dedicated photo / video / S&Q mode switch at the top of the camera though.
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A lot of useful and commonly used settings are buried within the menus, but fortunately Sony makes it relatively easy to curate a custom page under ‘My Menu’. Another positive is the fact that many of the camera’s buttons can also be customized for both photo and video modes, which gives you a lot of flexibility, and some time spent configuring your buttons and creating your own menu should pay dividends in improving your experience of using the ZV-E10 II. A final design touch that I’m a fan of is the inclusion of a red tally lamp on the front of the camera, just above the alpha logo, which turns on automatically when you press record. There’s also a red frame indicator that can be turned on and off to reassure you that you’re recording.
Design score: 3.5/5
Sony ZV-E10 II: features and performance
Best-in-class phase-detection autofocus
Solid battery life
No sensor-shift stabilization
Overheats when recording 4K/60p
Unique 3-capsule microphone array
The Sony ZV-E10 II stands on the shoulders of one of Sony’s most popular Alpha models ever, in the original ZV-E10 – and given that its predecessor doesn’t have a lot of competition, Sony arguably didn’t have to release an update this year. However, while there are a good few meaningful improvements overall, the ZV-E10 II isn’t perfect. Let’s start with the challenges.
As a compact camera with no fan, I wouldn’t expect the ZV-E10 II to deliver unlimited recording at maximum resolution and frame rates, and it turns out that it doesn’t. I found that the camera consistently overheated and shut down while recording 4K/60p video after 24 minutes, even with the screen flipped out which can help to disperse heat. I was able to get it to start recording again by rebooting the camera, and it rolled for another five minutes before stopping for a second time, then it would cut out repeatedly after a minute or two until it was left to cool down. When the overheating issues began the camera became very hot to the touch, and it wouldn’t function normally until it had cooled down; for reference the ambient room temperature was 70F / 21C. I experienced no overheating issues when filming in Full HD resolution.
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Now that we’ve got the drawbacks out of the way, let me say that the ZV-E10 II shines when it comes to autofocus, although that’s a given when it comes to Sony cameras. The AF is quick and reliable, which means you can focus on capturing the content you want, whether it’s stills or video, and the camera will take care of the rest. It’s also much easier to shoot remotely and share your content, thanks to improvements Sony has made to the Sony Creators’ App experience. When paired, the ZV-E10 II has the ability to transfer content between the camera and your mobile device via 2.4GHz or 5GHz Wi-Fi. The process is quick, and far less frustrating than previous iterations of Sony camera/app file transfer that I’ve used.
When shooting Raw+JPEG you can get 30 frames at 11fps with AF-C in continuous burst mode, before buffering begins to kill your joy while you wait for the camera’s single UHS-II card to write – this is a camera that will be suitable for capturing brief bursts of action, but not extended sequences. If you want an easy way to slow down longer action sequences, shifting the camera into its dedicated S & Q (slow and quick) function is as simple as flicking a switch. The S&Q mode allows you to capture and view slow-motion video in camera, without sound. However, I’m disappointed that the ZV-E10 II maxes out 4K at 60fps, while its higher-end stablemates, with the same sensor and processor, offer up to 4K/120p.
I was impressed by the staying power of the ZV-E10 II. I could comfortably get through a day's photo and video capture thanks to the inclusion of the larger FZ-NP100 battery. It’s a cell that’s rated for roughly 550 shots, which is a lot for a camera in this class. The previous ZV-E10 was already a standout performer when it came to battery life, and the new model raises the bar further still.
Features and performance score: 4/5
Sony ZV-E10 II: image and video quality
Same 26MP sensor as pricier FX30 and A6700 models
Much improved video codecs
No in-body image stabilization means shakier video footage
The ZV-E10 II’s 26MP sensor delivers beautiful JPEGs in good light, and usable images in low light, while its raw files provide a good amount of dynamic range for pushing shadows and recovering highlights when needed.
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In terms of its movie mode results, the introduction of 10-bit video, something that most of the competition offers, is a great benefit for people who have the time to grade their footage. Having greater color flexibility, including the addition of the S-Cinetone picture profile and log recording, opens up this camera for more professional uses, and I would happily use it as a B-roll camera, mixing in clips with footage from a higher-end Sony camera. At its best, 10-bit 4:2:2 4K/60p footage out of the ZV-E10 II, oversampled from its 6K readout, is reasonably gradable and looks clean when the ISO is kept below 6400. In video mode the ZV-E10 II has a maximum sensitivity range of ISO100 to 32,000, but beyond ISO6400 color shifting and noise starts to get distracting.
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Highlights can be blown in scenes like this, which also force the camera's meter to slightly under expose (Image credit: Future | Jon Devo)
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This backlit portrait shows that the ZV-E10 II still focuses on faces well in challenging high contrast situations (Image credit: Future | Jon Devo)
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The ZV-E10 II offers a range of picture profiles that will allow you to capture your shots in whatever look you're interested in portraying (Image credit: Future | Jon Devo)
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The ZV-E10 II shines in good light, delivering punchy colors and vibrant tones (Image credit: Future | Jon Devo)
The lack of sensor-shift image stabilization is a miss here. However, when the camera is paired with an OSS Sony lens, footage is respectably stable, even if it can’t match the steadiness of a Lumix or Olympus alternative. Sony does have an ace in its hand with its Catalyst Browse desktop software though, and if you have the time and inclination you can achieve footage that’s stable enough to rival video captured with a dedicated gimbal.
Image quality score: 4/5
Sony ZV-E10 II: testing scorecard
Should I buy the Sony ZV-E10 II?
Buy it if...
Don't buy it if...
Sony ZV-E10 II: also consider
How I tested the Sony ZV-E10 II
I attended a pre-brief presentation, followed by one-week review period
I paired the camera with the new Sony 16-50mm PZ OSS F3.5-5.6
I connected the camera to the Sony Creators’ App
I had a short week with the ZV-E10 II, so my testing opportunities were slightly limited. However, I have experience with its predecessor, as well as the Sony A6700 and FX30, which share the same sensor, processor and battery as the ZV-E10 II, so I’m familiar with the capabilities and limitations of its core components.
The first thing I did when receiving the camera was 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 took the camera out with me on a couple of walks and to a couple of daytime and evening events, using the Creators’ App to transfer and share images on the go. I performed sound-quality tests in a small studio environment, as well as in the street.
There's much to like about the Panasonic Lumix S9. It inherits superb video features from its pricier sibling, the Lumix S5 II, and squeezes them into a smaller, colorful body.
It boasts a 24.2MP full-frame sensor, open gate 6K video recording (taken from the full height and width of the 3:2 aspect sensor), the option to automatically set a 180-degree shutter angle, and one of the best performing image stabilization systems for shooting video on the move.
Beyond its bigger sibling, the Lumix S9 also brings Panasonic's lesser-known Real Time LUTs color profiles to your fingertips. Fujifilm's Film Simulations have been trending, but Real Time LUTs color profiles are next-level, with no restriction on the look you want.
Once you're connected to the new Lumix Lab app, you can import a number of Real Time LUTs profiles directly on to the Lumix S9, including a variety of excellent looks made by Panasonic's network of professional creators. This is color grading made easy for photo and video.
With the Lumix S 20-60mm F3.5-5.6 lens attached, which by the way is one of the smallest L-mount lenses available in 2024. (Image credit: Future | Tim Coleman)
Design-wise, the Lumix S9 is primarily a video camera, and at $1,500 / £1,500 (Australian pricing TBC) it offers incredible bang for buck. The reason Panasonic has been able to drop the price from the $1,999 / £1,999 Lumix S5 II is simple – this is a much simpler body, and a colorful one at that, designed to appeal to young creatives.
This is no photographer's tool, despite the excellent-quality 24MP stills: the Lumix S9 doesn't have a built-in viewfinder, or a hotshoe for mounting optional accessories, such as a flash or EVF. The coldshoe is instead limited to other accessories such as an external mic, or even a top handle.
I missed having a viewfinder. Much of my testing was conducted in bright sunny weather and the flip-out touchscreen isn't the easiest to see under such conditions.
In bright conditions you can't be fully sure if the Lumix S9 has locked focus on to your subject, you just have to trust it does. To be fair, for the best part it does – the S9 has Panasonic's best ever autofocus system, with human and animal subject detection and both with options for face and eye detection only, or for bodies, too.
We're missing a headphone jack to monitor audio, which feels like a misstep for a video-focused shooter. You can activate on-screen audio monitoring which gives some indication of audio levels, but there's no easy way to properly monitor sound.
The Lumix S9 is a much bigger package with any lens attached, such as the Lumix S 20-60mm F3.5-5.6 pictured here. (Image credit: Future | Tim Coleman)
In essence, this is a full-frame camera for beginner filmmakers who want to point-and-shoot and trust that the camera will capture excellent visuals and audio, and for the whole experience to be as close to using a smartphone as possible.
To an extent, the Lumix S9 is successful in its mission. It's visually appealing, small and simple, brings lovely photo and video color profiles to your fingertips and the app is a nice touch, even if it could do with some refining.
However, considering the target market, I'm not entirely convinced this should be an L-mount interchangeable lens camera, rather a fixed lens compact with a tiny wide-angle fast aperture prime lens – much like the Fujifilm X100VI.
It's really hard to make tiny full-frame lenses, and the new pancake lens announced on the same day as the S9, plus the compact zoom in the pipeline, hardly excite. The smallest fast aperture L-mount prime lenses dwarf the camera and I'm not sure beginners will want to mess around with multiple lenses in the first place.
Design-wise, Sony's ZV-E10 feels like a better bet – with its smaller APS-C sensor and lenses, plus a decent grip. All being said, the Lumix S9 does a lot of things really well, new things, too, and we'll have to wait and see if it hits the mark with young creatives.
Panasonic Lumix S9: release date and price
Body-only price is $1,499 / £1,499 / Australia TBC
Available from June 2024
Launched alongside the Lumix S 26mm F8 pancake lens, which costs $219 / £219
The Panasonic Lumix S9 is available in four colors: Dark Olive (pictured, below), Classical Blue, Crimson Red and Jet Black, and costs $1,499 / £1,499 body-only, or $1,799 /£1,799 with the decent 20-60mm f/3.5-5.6 lens, and $2,249 / £2,249 when bought with Panasonic's new travel lens, the 28-200mm f/4-7.1. The camera is available from June 2024, and Australia pricing for all of those options is TBC.
There's no word yet if the Lumix S9 will be available as a bundle with either of the newly announced lenses, the new 26mm f/8 pancake lens or the 18-40mm F4.5-6.3 compact zoom in development. The pancake lens, which only weighs 2.04oz / 58g, costs $219 / £219 and also ships from June 2024, while the compact zoom is coming later.
At launch, the Lumix S9 is Panasonic's cheapest full-frame camera yet, although the Panasonic Lumix S5 II / S5 II X that shares much of the same tech but in a higher-spec body, is often on sale for a similar cost.
You can take off the lens to easily pack the Lumix S9 away in a small bag. (Image credit: Future | Tim Coleman)
Panasonic Lumix S9: design and handling
Newly designed body is Panasonic's smallest full-framer yet
No viewfinder, hotshoe or headphone jack
Vari-angle touchscreen
New compact lenses on the way
The Lumix S9 is Panasonic's smallest full-frame camera yet, measuring 126 x 73.9 x 46.7 mm / 4.96 x 2.91 x 1.84 inches. It's not the smallest full-frame camera around – that award goes to the Sigma FP, plus the Sony A7C II is smaller by a whisker.
The body might barely be a handful, but it still needs a lens, and even the smallest full-frame L-mount lenses currently available – excluding the new 26mm F8 pancake – dwarf the Lumix S9. Throw on the excellent 20-60mm F3.5-5.6 and the depth is increased to 133.9mm / 5.28-inches.
A thumb grip goes some way in providing a secure hold, but with no hand grip you'll probably need to support the camera with both hands, or kit it out with a third-party grip. Relatively chunky lenses are the challenge in handling small full-frame cameras like this – the all round feel is better with a camera like the full-size Lumix S5 II.
In an ideal world, the Lumix S9 would have a fixed prime lens around the size of Panasonic's new pancake lens, but with a much faster maximum aperture – the Fujifilm X100VI approach. Panasonic could then also install a built-in ND filter, and ultimately create a truly compact video camera that also shoots much better video than your phone.
Still, if you don't mind the size of lenses like the 20-60mm F3.5-5.6 and 50mm F1.8 – both of which I had with the camera for this review – then you can make some excellent quality video.
The Lumix S9's Dark Olive color variation looks the part. (Image credit: Future | Tim Coleman)
There's the question of which tasteful color variation you will pick: green, red, blue, or an all-black option for those playing it safe. For now, Panasonic's lenses remain all-black; there's no color-matching kit lenses.
Panasonic Lumix S9 key specs
Sensor: 24.2MP full-frame CMOS AF system: Hybrid with phase-detect EVF: N/A ISO range: 100 to 51,200 (ISO 50-204,800 extended range) Video: 6K/30p 'open gate' 4:2:0 10-bit internal LCD: 3.0-inch vari-angle touchscreen, 1.84m-dots Max burst: 8fps (continuous autofocus), 30fps burst Connectivity: Wi-Fi 5GHz, Bluetooth 5.0 Weight: 403g (body only), 486g incl battery and card
Control layout is super simple and beginner-friendly: on the top there's a shooting mode dial, video record button, exposure compensation, shutter button and control dial. We get a limited number of ports: mic, USB-C and mini-HDMI, but no headphone jack.
As a small, video-focused camera, there's no viewfinder nor the option to add one, while the coldshoe mount can hold an accessory like an external mic, but it won't connect directly to a hotshoe flash.
The 3-inch vari-angle touchscreen is decent, albeit hard to see in bright light. I couldn't find the option to activate a red border to clearly indicate when the camera is recording video, or even a tally lamp – inexplicable omissions for a small, video-focused camera.
The S9 body is tiny, but it still needs a lens, which adds considerable depth. (Image credit: Future | Tim Coleman)
In-camera menus are fairly-well laid out. If you select the video mode on the top dial, then all of the photography settings disappear in the menu, helping you access video options much quicker.
You'll want to customize video options to get started, for example setting the 'Shutter Speed / Gain Operation' to prioritize shutter angle to automatically apply the 180-degree shutter angle for smooth video footage. This handy option is not available on a lot of other pricier video cameras.
The vari-angle screen can flip around for selfies, although the camera lacks a clear indicator when recording videos, for instance a tally lamp or red border around the screen. (Image credit: Future | Tim Coleman)
A new LUT button on the rear gives quick access to the unmatched variety of color profiles, which can be uploaded to the camera via the Lumix Lab app in addition to those already included. I went for 'Platinum Steel' by Sam Holland for a moody vibe with soft skin tones, among others.
Panasonic wants to create a camera and app experience that's easier than ever. From my brief time using the Android version of the Lumix Lab app, the jury is still out. Connection is faster than most, but the app can still be awkward to navigate, and appears to be limited to file transfers and uploading LUTs profiles. There could be more than this, including remote control.
The Lumix S9's control layout is pared back and beginner-friendly. (Image credit: Future | Tim Coleman)
Panasonic Lumix S9: features and performance
Superb in-body image stablization
Panasonic's best phase detection autofocus
Battery life is a respectable 470-shots (depending on lens)
Single UHS-S II SD card slot
New Lumix Lab app
The Lumix S9 is well supported by Panasonic's best ever autofocus and image stablization performance, both inherited from the Lumix S5 II.
The S9's bigger sibling was the first Panasonic camera to utilize a hybrid autofocus system, with snappy contrast detection autofocus primarily for stills, and smooth phase-detection autofocus for video, featuring subject detection modes that cover human, animal, car and motorcycles.
Human and animal detection autofocus can switch between prioritizing face and eye only, or face, eye and body, and in general works really well.
Image stabilization performance is outstanding. It's possible to shoot sharp photos handheld with shutter speeds in the seconds, while handheld video footage on the go is super smooth – smooth enough for moderate action that you can avoid using a gimbal.
Connection between the Lumix S9 and Lumix Lab app proved quick and reliable using a Google Pixel 6 phone. (Image credit: Future | Tim Coleman)
There's just a single SD card slot with support for the faster UHS-II type, and you can capture up to 120 images in the continuous high burst shooting setting, which maxes out at 8 frames per second with continuous autofocus employed. This is no action photography camera, but it's hardly a slouch.
Battery life is also decent, especially considering the diminutive size of the camera. According to its CIPA rating, the S9 can squeeze out up to 470 shots from a fully charged battery, or 100 minutes of continuous 4K / 60p video recording.
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A 'Platinum Steel' Real Time LUT profile (Image credit: Future | Tim Coleman)
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The original standard color profile (Image credit: Future | Tim Coleman)
Then there's the Lumix Lab app, which at the time of writing is compatible only with the Lumix S9. In my experience using a Google Pixel 6 and the Android version of the app, pairing the camera is quicker and more reliable than most other rival apps.
In the app you get quick access to a range of Real Time LUTs color profiles. A number of Panasonic's creators have loaded some of their own publicly available and free to download LUTs in the app's Creator gallery, and I've found a look for just about every scenario.
I've included a high-contrast street photo taken in London with the Lumix S9's standard color profile, and then applied a free 'Platinum Steel' LUT which suited the scene (see above).
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Sadly, video capture times are severely limited, capped at just 15 minutes, and further reduced to 10 minutes when shooting in 6K. This is presumably to avoid overheating given the Lumix S9 lacks an internal fan, as opposed to any limitations in the camera's performance, including its processor power and card's read and write speeds.
Most people won't shoot individual clips for longer than 15 minutes, but knowing that you can in any situation is one less thing to worry about, whether that's recording speeches at an event or lengthy vlogs.
Panasonic Lumix S9: image and video quality
Superb video features including open gate video recording up to 6K / 30p
Real Time LUTs color profiles are supremely versatile
New MP4 Lite file format
Up to 14-stops dynamic range in V-log color profile
With practically the same sensor and video spec as the Lumix S5 II, you can be assured that the Lumix S9 captures superb quality video, plus sharp and punchy 24MP stills. You can read more about the image and video quality to expect in our Lumix S5 II review.
What the Lumix S9 tries to do differently is bring Panasonic's Real Time LUTs to the fore, through quick access via a direct button on the camera's body and the Lumix Lab app, through which you can easily upload any one of a vast array of color profiles for just about any shooting scenario.
You can create your own color profiles and save them to the camera, or simply take advantage of the profiles already available through the Creator's gallery in the app.
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There's also the matter of a new MP4 Lite video format. It maxes out at 4K, 10-bit 4:2:0, but produces files that are around 40% smaller than regular MP4 files, which are also available in the S9. However, for best quality video, you'll probably want to shoot in .MOV format in 4K 4:2:2 10-bit or 6K 4:2:0 10-bit, even if the file sizes are much bigger.
Whether it's a light and easy ready-made MP4 Lite video with Real Time LUT applied, or 6K 10-bit video in the V-log color profile with 14-stops of dynamic range that needs to be graded afterwards, there's video quality for every level of ability and shooting scenario.
How I tested the Panasonic Lumix S9
Two brief sessions, including a street photography walk
Paired with the 26mm pancake, 20-60mm F3.5-5.6 and 50mm F/1.8 lenses
Paired with the Lumix Lab app
I've had a fairly brief time with the Lumix S9 so far, including a London street photography session and a more leisurely time at home and on launch day. I still have the camera at home and will be continuing to use it ahead of the full review.
I've been shooting both photos and videos, and tried pairing the S9 with the Lumix Lab app to play around with various Real Time LUTs color profiles and making quick edits to photos, among other things.
During the London session I was briefly able to use the S9 with the only copy of the pancake lens available in the UK, plus I've had more time using the camera with the 20-60mm F3.5-5.6 and 50mm F1.8 Panasonic Lumix L-mount lenses.