Cameras - Organizer

4:06 pm | January 16, 2023

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

Editor's Note

• Original review date: January 2023
• Sony's best AI-powered autofocus performance
• Launch price: $3,899 / £3,999 / AU$5,899 (body only)
• Official price now: $3,199 / £3,699 / AU$5,499 (body only)

Update: February 2024. The full-frame A7R V's max 61MP resolution is only matched by Sony's own A7C R and various Leica cameras including the Q3. Put simply, in this sensor format you won't get better detail in your pictures. Furthermore, it's autofocus is powered by a dedicated AI chip for improved subject detection, and that's still the best AF performance in any Sony camera, now matched by the A9 III. It's one of the best professional cameras that has also dropped in price on Sony's website since its January 2023 launch, making it better value, too. The rest of this review remains as previously published.

Sony A7R V: Two-minute review

Sony released the first high-resolution full-frame mirrorless camera – the A7R back in 2013 – and we’ve had an updated model every couple of years since, culminating in the fifth iteration of the series, the A7R V. A lot has changed in the cameras since then in terms of the ergonomics, handling and, of course, the technology employed. But with more rivals on the scene now, the A7R V is up against some stiff competition from the likes of the Canon EOS R5 and Nikon Z 7II.

The Sony A7R V on a table straight from above with lens attached — (Image credit: Future)

Being the newest model on the block, and offering some impressive specs, the A7R V ultimately has little to worry about, despite not providing the highest performance in all areas. Features include a new 61MP sensor and Bionz XR processing engine, up to eight stops of in-body image stabilization, increased burst shooting and AI-powered subject recognition to improve autofocus. Then there’s video capture up to 8K at 24fps and 4K up to 60fps.

Sony A7R V specs

Sensor: 61MP BSI full-frame CMOS
Processor: Bionz XR (with AI processing unit)
Autofocus: 693-point phase-detection
AF subject recognition: human, animal, bird, insects, car, train, automobile
EVF: 9.44-million dot Quad XGA
In-body stabilization: up to eight stops
Continuous shooting: 10fps
Continuous shooting buffer: 184 raw (compressed)
Video: 8K/24p, 4K/60p, 10-bit 4:2:2

Image quality is, as you’d hope, excellent for both photos and video. But with the high-resolution sensor, you’ll need to use Sony’s best lenses in the G and GM ranges with the resolving power to complement the camera. It’s unlikely that you’d be using lower-end lenses if you’re prepared to pay approximately $3,900 / £4,000 / AU$5,900 for a camera body so it shouldn’t be a problem, but if you’re upgrading from a lower-resolution A7 model and already have some cheaper lenses, it’s certainly something to bear in mind.

Sony A7R V: Release date and price

Went on sale in December 2022
Launched with a list price of approximately $3,900 / £4,000 / AU$5,900
Price close to medium format

The A7R V was announced in October 2022, and was available to buy from December 2022, costing approximately $3,900 / £4,000 / AU$5,900. We might have expected a slightly higher price given the launch price of the A7R IV and the consequent rise in camera prices over the last year or two.

The Sony A7R V on a table straight on front — (Image credit: Future)

That said, the cost of the camera is getting close to that of medium-format models. For instance, the Fujifilm GFX 100S costs approximately $6,000 / £4,800 / AU$9,300 body-only. Those shooting faster subjects such as sport and wildlife, and/or video, the A7R V is undoubtedly the better option, but landscape, portrait and studio photographers could benefit from the larger sensor (1.7x) and higher 100MP resolution of the GFX 100S.

Price Score: 4/5

Sony A7R V: design

Versatile 4-axis articulating touchscreen
Moderate 10fps continuous shooting
Dual SD/CFexpress Type A card slots

The overall design of the A7R V is extremely similar to that of previous models, with most innovations occurring under the hood, although there are a few design tweaks that improve upon the A7R IV. Current Sony users will almost certainly feel at home, and newcomers should be able to navigate the main settings with little to no problems.

On the back of the camera is a new 4-axis 3.2-inch articulating touchscreen, which allows the screen to be tilted and flipped out sideways, and twisted to face forwards; perfect for both stills photography and video. This makes the screen slightly bulkier than on the previous two models, which only had a tilting screen, but this doesn’t impact overall handling. The electronic viewfinder is the same one as on the A7S III, and features an excellent 9.44-million dot resolution with 0.9x magnification.

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The Sony A7R V on a table from above with screen flipped out — (Image credit: Future)

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The Sony A7R V on a table with dual hinge screen flipped out — (Image credit: Future)

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The Sony A7R V on a table straight on back with screen on — (Image credit: Future)

Moving up to the top of the camera, the exposure compensation dial is now unmarked, and like most of the buttons and dials it can be set to perform another function if users wish, although having it set to exposure compensation is the most convenient option, despite the almost infinite ways in which you can customize Sony cameras.

Just like previous A7R models, there are two card slots on the side of the grip that can be set to record in several different ways when two cards are installed. On the A7R V, the card slots can take both SD and CFexpress Type A cards, with the latter being the faster of the two options. This is great if you prefer the cost and capacity benefits of SD cards, but to realize the full speed potential of the camera, considerably more expensive CFexpress Type A cards are a must

The Sony A7R V close up of the ports — (Image credit: Future)

Shooting speed has also been improved, and the buffer is also larger, with a continuous shooting speed of 10fps available. Sony claims that up to 583 compressed raw images can be captured in Hi+ mode with compressed raw files. For testing, we used a 128GB Kingston Canvas React Plus SD card with transfer speeds of up to 300MB/s. This allowed us to separately shoot 170 JPEGs in Fine quality, 100 Compressed raw files and 50 uncompressed raw files before the camera began to stutter. It’s a far cry from the claimed buffer performance, but is still respectable, and more than most photographers would ever need.

This card was absolutely fine for shooting 8K video, and the camera was able to shoot for 30 minutes. The camera body did heat up during recording in a 64.5F / 18C room, which wasn’t an issue, but in warmer temperatures when shooting outdoors this could be problematic. One way to aid heat dissipation in warmer temperatures when shooting video is to open the battery door on the bottom of the camera, although this presents obvious risks.

Design 5/5

Sony A7R V: features and performance

Subject-recognition autofocus
8-stop image stabilization
Improved Pixel Shift Multi Shooting

While the A7R IV didn’t offer a great deal more to entice A7R III owners to upgrade, the A7R V aims to address the deficiencies of its predecessor, and is a much more well-rounded camera overall. The improvements Sony has implemented, alongside the inclusion of some welcome new features, make it significantly more attractive, whether you’re upgrading from an earlier model or switching to Sony from another brand.

One new feature, which is designed to address sensor dust complaints from A7R IV users, is the ability to have the shutter close when the camera is switched off. This might work, but after only using the camera for a few weeks it’s impossible to test this claim. Although, given that DSLR shutters close after each shot has been taken, and these cameras still suffer from sensor dust, whether it’ll be effective is questionable.

The Sony A7R V on a table without a lens — (Image credit: Future)

Image stabilization has been improved, with up to eight stops of compensation available when shooting stills. During testing, it was easy to shoot sharp handheld images with a shutter speed of around 1/8 sec, and with a particularly steady hand it was even possible to shoot as slow as one second. For video, Active Mode image stabilization aids smooth handheld shooting, and can be paired with some lenses that feature optical image stabilization for even smoother video.

Pixel Shift Multi Shooting has also been improved. In this mode the camera captures 16 frames, with the sensor position shifted slightly between each, which can then be merged into a huge 240.8MP image that’s claimed to be better corrected for minor movement in scenes. This requires Sony’s Image Edge Desktop software to be used, but it would be much more convenient if these composite images were merged in-camera.

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The Sony A7R V on a table angled front with lens — (Image credit: Future)

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The Sony A7R V on a table straight close up of top controls — (Image credit: Future)

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The A7R V features 693 AF points and offers Real-time Recognition AF, enabling you to select from Human, Animal/Bird, Animal, Bird, Insect, Car/Train and Airplane. The Human option is much more advanced than simply eye or face detection, and can identify people in wider scenes. The feature generally works well across subjects, but it’s not perfect, and turning off subject recognition requires delving into the camera menu. The best way to switch Real-time Recognition AF on and off is to include this in My Menu, which is the camera’s custom user menu.

My Menu is incredibly useful overall, because Sony cameras are infamous for their labyrinthine menu systems. Another feature worth including here is Bulb Timer Settings. With this, when shooting in Bulb mode you can select any exposure duration from two to 900 seconds, which is incredibly useful when shooting long exposures. With this setting turned on, you can use the self-timer to release the shutter and the camera will time the exposure for you – fantastic when using a Big Stopper.

Features and performance 4/5

Sony A7R V: image and video quality

New 61MP Exmor R sensor boasts 15 stops dynamic range
Impressive ISO handling
Sharp video up to 8K video

Image quality in many respects comes down to the optics you attach to the camera, with higher-quality lenses naturally offering the best possible image quality. And with the A7R V, this is certainly the case – you’ll get the best results using higher-quality Sony G lenses such as the 20mm F1.8 and 90mm F2.8 Macro and the flagship G Master lenses. The high-resolution sensor is unforgiving when the camera is paired with cheaper and lower-quality optics, so you do need to avoid these if you want the A7R V to achieve its potential.

With high-quality lenses, image quality for both stills and video is excellent thanks to the new 61MP Exmor R sensor and Bionz XR processing engine. Dynamic range is advertised at 15 stops, and you can certainly increase the exposure of underexposed raw files considerably before image degradation becomes problematic. Photo capture is available in 14-bit raw, compressed raw, HEIF and JPEG, so you’ve got plenty of options.

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A long exposure seascape taken with the Sony A7R V — (Image credit: Future)

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Details of a bridge against a sunny sky taken with the Sony A7R V — (Image credit: Future)

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Details of crumbling wall taken with the Sony A7R V — (Image credit: Future)

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A modern building on a sunny day taken with the Sony A7R V — (Image credit: Future)

ISO performance is impressive within the native ISO 100-32,000 range, with the expanded range taking settings from ISO 50-102,400. The best quality comes at settings up to ISO 1600, with images shot at up to 6400 still looking reasonably good, and those taken at up to ISO 25,600 providing usable results. Beyond this, noise and color loss become very evident, leaving images pretty much unusable.

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Inside an abandoned building taken with the Sony A7R V — (Image credit: Future)

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Beach homes in the sun taken with the Sony A7R V — (Image credit: Future)

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A river and sunny landscape taken with the Sony A7R V — (Image credit: Future)

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A cityscape reflected in water on a sunny day taken with the Sony A7R V — (Image credit: Future)

Video quality is equally impressive, with 8K video available at 24fps, 4K up to 60fps, and FHD up to 120fps in NTSC or 100fps in PAL, with a 4:2:2 10-bit color depth available. Color profiles include S-Cinetone and S-Log3 among others, so there’s plenty to keep hybrid stills/video shooters happy. Videographers will find the A7S III is a better camera overall for shooting video; you could certainly shoot professional video with the A7R V, but it’s not the best Sony A-series camera for the job.

Image and video quality 5/5

Should I buy the Sony A7R V?

Don't buy it if...

Also consider

If our Sony A7R V review has you wondering about alternatives, here are two rivals to consider.

Sony A7R V: testing scorecard

First reviewed: January 2023

OM System OM-5

7:54 pm | November 4, 2022

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

Editor's Note

• Original review date: November 2022
• Launch price: Body only $1,199.99 / £1,199 / AU$2,150
• Official price now: Body only $1,199.99 / £1,199 / AU$2,150

Update: March 2024. OM System does compact mirrorless camera systems for photography better than anyone, using a micro four thirds sensor that strikes an excellent balance between performance and size, not to mention a huge range of lenses available for all types of photography and budgets. The OM-5 feels great in the hand, looks the part and boasts superb image stablization meaning you can ditch the tripod and pack light. It was a minor update of the EM5 III, but in 2024 it remains one of the best travel cameras for enthusiasts.

OM System OM-5: two-minute review

The OM System OM-5 is kind of new, but not in a big way. It’s really a refresh and an update of the Olympus OM-D E-M5 Mark III, with new branding, improved stabilization and weatherproofing, and a couple of new features from higher-end models, including starry sky AF, and live ND filters for longer exposures in bright light.

The main specs stay the same, including the 20MP MFT sensor, 121-point phase-detect AF, and video up to 4K 30p. That might sound a little disappointing, but there’s more to the OM-5 than the headline specs.

OM System OM-5 specs

Sensor: 20.4MP MFT Live MOS

AF points: 121-point phase detect

Video: C4K 24p, 4K 30p, FHD 60p, High-speed 120p FHD

Viewfinder: OLED 2.36m-dot

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

LCD: 3-inch vari-angle touch 1.04m-dot

Max Burst: 10fps mechanical shutter (buffer unlimited JPEG / 149 raw), 30fps electronic shutter (buffer 20 JPEG / 18 raw), 30fps Pro Capture

Connectivity: Wi-Fi, Bluetooth, Mic, HDMI Type D, USB 2

Size: 125.3 x 85.2 x 49.7mm

Weight: 414g (inc. battery and SD card)

For a start, like the E-M5 III before it, it packs a lot of features, controls and performance into a very small body. This is a pocket-sized interchangeable lens camera that can shoot at 10fps, or 30fps with 14-shot pre-buffer in Pro Capture mode. It has Live Bulb and Live Composite modes for watching exposure build ‘live’ at night, and its pixel-shift High Res capture mode can create 50MP images handheld, and 80MP images on a tripod.

The external controls are remarkably well laid out for a camera so small, with a real quality feel to them, and as well as an EVF you get a vari-angle screen. OM System is pitching this as a go-anywhere adventure camera and it’s certainly one of the best travel cameras you can buy, thanks in part to some excellent, compact and affordable lenses.

The OM-5 may not break any technical barriers, but as a piece of intelligent product design, it’s pretty remarkable.

OM System OM-5: price and release date

• OM System OM-5 body only: $1,199.99 / £1,199 (about AU$2,150)
• OM System OM-5 with 12-45mm f/4 Pro lens: $1,599.99 / £1,499 (about AU$2,850)
• OM System OM-5 with 14-150mm f/5.6 II lens (UK only): £1,499

The previous Olympus OM-D E-M5 III was never a cheap camera, and that’s worth mentioning, because although the OM-5 has a new maker and a new model name, it's largely the same camera.

So if the OM-5’s predecessor seemed stubbornly pricey back then, the same applies now. The OM-5 is a powerful little camera, but it does not do anything remarkable for the money; it's worth its price tag in our opinion, but you're not getting a bargain in terms of value for money.

It’s up against some good cameras in the same price bracket, including the Canon EOS R10, Fujifilm X-S10, Nikon Z50 and Sony A6400, all of which have APS-C sensors. But then the Canon and the Nikon don’t have any lenses to speak of (it’s true!), and the A6400 is an old camera with no IBIS, which leaves the Fujifilm X-S10 as the most serious competitor.

The OM-5 has a smaller MFT sensor, of course. A lot of folk are convinced this gives it a serious image quality disadvantage – wrongly, as it happens. What it also has is a range of lenses that's broadar then those of it's rivals, and the lenses themselves are physically smaller. You can’t use a camera without lenses.

• Value rating: 4/5

OM System OM-5 design and handling

• Mini-DSLR style design
• Flip-out vari-angle screen
• Single SD card slot
• Twin control dials
• Dual mode function lever

For a camera packing this performance, power, and range of features, the OM-5 is very small. This could be a good thing or a bad thing, depending on whether you're using big professional, constant-aperture lenses, or the smaller zooms and primes from the Olympus range – and whether you're looking for a tiny travel camera or a big do-it-all mirrorless with serious grunt.

With smaller lenses, the OM-5 is just divine. If you want to use larger lenses, it really needs the optional grip (this doesn't take extra batteries; it's just a bigger grip) in order for it to feel balanced and comfortable.

Regardless of that, OM System (not ‘Olympus’, remember) has done a remarkable job of getting a lot of very usable physical controls onto such a small body.

The EVF is good enough, though it lacks the outright resolution of newer and more expensive rivals, and the flip-out vari-angle screen on the back is a nice feature on a camera as small as this, and a useful one too.

The single SD card slot might deter power users looking for the additional security and backup options of a dual-card setup, but there’s a limit to how much you can fit into a body as small as this. One reason for choosing two card slots is to cover the possibility of card failure, which is rare. Another is to separate stills and video, JPEGs and raw, captures and backups – all of which are reasonable pro requirements, but somewhat outside the remit of a camera like this.

There are two control dials on the top of the E-M5 and these work really well, and are given extra versatility by the dual-mode lever on the back of the camera which switches their functions. You do have to remember what you’ve set these dials up to do for each function mode, but if you can do that you’ll get a very quick system for changing a multitude of settings from shutter speed to aperture, and from white balance to EV compensation.

The OM-5’s external controls have a quality feel, and a logic that’s very endearing. Olympus (sorry, OM System – it still takes some getting used to) is very good indeed at making the controls on small cameras work as well as, or better than, those on larger ones.

• Design score: 5/5

OM System OM-5: features and performance

• 6.5-stop IBIS (7.5-stop with sync IS)
• Extensive and customizable Art Filters
• Pro Capture with pre-shot buffer
• In-camera focus stacking
• 50MP/80MP High Res Shot
• Live Composite, Live Bulb, Live ND

Practically every camera maker in the world now offers 5-axis in-body stabilization systems which it considers the best on the market. But OM System (see, we didn’t say ‘Olympus’!) and Panasonic between them have, we would say, the best. It’s perhaps to do with the smaller sensor size and mass, or the algorithms used, but the OM-5’s stabilization is pretty remarkable. It has its limits for video – an IBIS system simply can’t smooth camera movements like a gimbal – but for all the perceived ‘faults’ of MFT systems, the stabilization is remarkable.

The OM-5 has many other strengths. One of these is its Pro Capture mode, which can capture still images at 30fps with a 14-shot pre-capture buffer to allow for your reaction time. So you can half-press the shutter release for a ‘rolling’ capture, then press it the rest of the way when the action starts, and the camera will record the half-second of action while you were still thinking about it. That’s clever. The only drawback is that the focus is fixed from the start – but that’s fine for setups where you know where the action is going to happen, such as the jumps in a horse race or the bar in a high jump.

The OM-5 uses a lot of computational features that include in-camera focus stacking, which you can use handheld, and a 50MP High Res Shot mode, also handheld, for those times when you might actually need the resolution of a high-res full-frame camera – and it really does generate natively higher-resolution images, not some kind of lame substitute.

On top of that, you've got Olympus’s Live Composite, Live Bulb and Live ND modes. The first two are really good for night shots – once you’ve worked out the settings and parameters – while the second promises the same effect as ND filters for blurring skies, surf and water. This is limited to a 4-stop reduction, however, when for long exposures in bright light you really need a 10-stop reduction.

Finally, Olympus’s Art Filters are worth a mention. These are not the pretty plain 'looks' you might get from other cameras, but actually rather good analog effects.

• Features and performance score: 5/5

OM System OM-5: image and video quality

A lot has been said, and probably will continue to be said, about the perceived deficiencies of the Micro Four Thirds format. First, it's half the size of APS-C; however, it's also far larger than the 1-inch sensor format widely employed in compact cameras, and far larger again than the sensors in phones and point-and-shoot compacts.

At low-medium ISO settings, you won’t see much difference in quality between the OM-5’s images and those from an APS-C camera. At higher ISOs you might start to see more difference, but again, it’s not huge. If you compare the OM-5’s results to those from a full-frame camera you'll see more difference but, even here, you have to weigh this against the OM-5’s far lower price, its portability and unobtrusiveness, and the performance of its image stabilization system.

This is extremely effective for stills photography, and pretty good for video too. For static handheld shots it’s so steady that images can look as if they were filmed on a tripod, and with care it’s possible to produce smooth panning movements too. It’s less effective for walking and filming, but that’s true of every mirrorless camera's IBIS system. The stabilization in the OM-5 is just about the best on the market, aided no doubt by the smaller sensor.

The autofocus is competent without being game changing. It doesn’t have the AI subject recognition found in the latest cameras like the Sony A7R V or Canon EOS R6 II, but its face recognition and tracking seem to be pretty ‘sticky’. It’s easily good enough for casual vlogging and photography, especially since the shorter focal lengths used with MFT systems give you more depth of field latitude anyway.

For its size, this camera delivers excellent video and stills quality, with a stabilization system that gives you a really high hit rate of sharp shots.

It’s also worth mentioning the lenses. We tested the OM-5 with three Pro f/4 Olympus lenses: the 12-45mm f/4, the 8-25mm f/4, and the 40-150mm f/4 (which is actually branded OM System). These f/4 lenses are a good match for the OM-5’s size and price (the f/2.8 Pro lenses and f/1.2 primes are a little large). All three are really well made and finished, and deliver excellent results.

The OM-5 isn’t just small and powerful in its own right; it comes with a small and powerful lens range too, which isn’t just lighter than larger-format alternatives, but cheaper too.

• Image and video quality score: 4/5

Should I buy the OM System OM-5?

Buy it if...

Don't buy it if...

Also consider...

Testing scorecard

Fujifilm X-H2S review

2:50 am | September 7, 2022

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

Editor's Note

• Original review date: September 2022
• Still the only 'stacked' APS-C sensor
• Launch price: $2,499 / £2,499 / AU$4,449 (body only)
• Official price now: $2,499 / £1,999 / AU$3,999 (body only)

Update: February 2024. The X-H2S remains the quickest camera around with APS-C sensor. It's the only camera in this format to feature a stacked sensor that offers unparalled speed for action photography and video, with 40fps burst shooting and 6.2K 10-bit internal video, plus in-body stabilization. It's still the most expensive APS-C mirrorless camera, but price reductions particularly in the UK make the X-H2S one of the most compelling video cameras and stills camera especially for sports and wildlife. The rest of this review remains as previously published.

Fujifilm X-H2S: Two-minute review

The Fujifilm X-H2S is an incredibly powerful mirrorless camera for sports and action photographers who also want to shoot pro-quality video. It’s expensive for an APS-C camera and features like 40fps burst shooting will be overkill for many. But the X-H2S is also a hybrid camera with few peers, and its all-round performance also justifies that price tag.

The key to its power is a new, stacked 26MP X-Trans CMOS 5 HS APS-C sensor. So-called ‘stacked’ sensors, which have a design that delivers incredibly fast read-out speeds, have so far only appeared in flagship full-frame cameras like the Nikon Z9, Sony A1 and Canon EOS R3. But the X-H2S brings some of that performance to a camera with the comparatively ‘low’ price of $2,499 / £2,499 / AU$4,449 (body only).

The X-H2S may have a smaller sensor than those full-frame cameras, but it’s definitely capable of pro-quality results. Thanks to the combination of that new sensor and an X-Processor 5, it offers blackout-free continuous shooting at 40fps (with the electronic shutter), plus some impressive subject-tracking skills, and the option of shooting 6.2K/30p or 4K/120p video with 4:2:2 10-bit color depth.

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The Fujifilm X-H2S camera sitting on a wooden bench — (Image credit: Future)

Fans of Fujifilm’s signature retro look, which usually includes the tactile dials seen on old film cameras, might be disappointed by the design of the X-H2S. It’s very much a modern brute of a camera, with a more clinical focus on performance. But while it lacks the charms of the X-T series, the X-H2S is an incredibly fun camera to use.

It has one of the best electronic viewfinders we’ve used, while the subject-tracking autofocus (which now recognizes animals, birds, cars, motorcycles, bicycles, airplanes and trains) makes it by far the best Fujifilm X-series camera for shooting moving subjects. Video shooters are also incredibly well-served by a sparkling spec sheet that includes internal ProRes recording.

There’s no denying that the X-H2S is expensive, and many photographers will probably be better off buying an X-T4 plus a lens or two with the considerable spare change. After all, 40fps burst shooting isn’t ideal for your editing workflow and Fujifilm’s autofocus, which is still a little short of the flagship performance offered by its rivals, is more hit-and-miss in this top mode.

But if you do regularly shoot speeding subjects and also need a pro-quality video camera that’s more travel-friendly than many of its full-frame rivals, the X-H2S makes a very compelling argument for being top of your shortlist.

Fujifilm X-H2S: Release date and price

Available to buy now for $2,499 / £2,499 / AU$4,449 (body-only)
Similar price to some full-frame cameras like the Sony A7 IV
X-H2S has a smaller sensor but superior performance to its full-frame rivals

The Fujifilm X-H2S is available to buy now for $2,499 / £2,499 / AU$4,449 (body-only). Some new X-H2S accessories are also now available, including the VG-XH vertical battery grip ($399 / £399 / AU$749) and, for video shooters, a FAN-001 Cooling Fan ($199 / AU$369).

This price makes the X-H2S one of the most expensive APS-C cameras around and it’s a pretty big step up from the Fujifilm X-H1, which arrived in 2018 for £1,699 / $1,899 / AU$3,399. But the X-H2S does combine a new 26.1MP stacked sensor with the X-Processor 5, which allows it to make improvements across the board to autofocus, video, burst shooting and more.

The X-H2S faces stiff opposition in its price bracket, including the Canon EOS R6 ($2,499 / £2,499 / AU$4,499), Sony A7 IV ($2,499 / £2,400 / AU$$4,299) and Panasonic Lumix S5 ($1,999 / £1,799 / AU$3,199).

All of those cameras have larger full-frame sensors, but none offer the speedy all-rounded performance of a stacked APS-C sensor, which is the USP of Fujifilm's new flagship.

Price: 4.5/5

Fujifilm X-H2S: design

Has ‘PASM’ control setup rather than Fujifilm’s traditional dials
Excellent 5.76-million dot viewfinder and articulating screen
Tough, weather-sealed body with useful top-plate LCD

The Fujfilm X-H2S looks and feels like a professional camera. This may disappoint fans of Fujifilm’s retro dials, but its pronounced grip, top-plate LCD screen and overall heft helps to balance out the longer lenses you'll likely want to pair it with. The X-H2S also has one of the best electronic viewfinders (EVF) we’ve used on any camera.

Weighing in at 660g, the X-H2S is slightly smaller and lighter than the X-H1. But it also borrows many of its design cues from Fujifilm’s medium format GFX series. Its top plate, for example, is pretty similar to the one on the Fujifilm GFX50S II.

This all means that the X-H2S does away with Fujifilm's signature array of manual dials, instead adopting the PASM (Program, Aperture, Shutter Speed, Manual) approach favored by its rivals. You’ll largely be changing shutter speed or ISO using the front and rear dials, which will be a comfortably familiar experience for most non-Fuji fans.

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While some may miss the dedicated dials of the X-T series, this approach makes sense on a camera like the X-H2S, where settings like shutter speed will be largely tweaked while looking through the viewfinder at speeding subjects. Fuji has also previously stated that many photographers have been put off from switching to the X-series because they find its dials too confusing.

This PASM dial, with its seven custom modes, sits to the left of the viewfinder, though it’s a shame there’s no handy ‘drive mode’ switch underneath for quickly switching between. Still, on the right-hand side of the top plate you'll find that useful LCD screen (for quickly checking settings like shutter speed, aperture and ISO) on the right next to buttons for ISO, white balance and video recording.

Unlike cameras like the Canon EOS R7 and Sony A7 IV, the X-H2S only has a standard hot-shoe rather than a 'multi-function' one that can power or transfer data to external accessories. If you regularly use flashes or external microphones, you might find the setup of those rival cameras to be a bit simpler and cleaner due to the lack of cables.

Around the back, the Fujifilm X-H2S is pretty similar to the X-H1. There's a fully articulating touchscreen, which flips around the front for video shooters. One of the main changes is a new AF joystick, which is larger than before and has moved up next to the viewfinder. While we initially found this AF stick to be a bit of a stretch for our thumb, we soon got used to it and found the X-H2S to be very comfortable to shoot with.

One significant upgrade that the X-H2S has over the rest of the X-series is that impressive 5.76-million dot OLED viewfinder. Thanks to its size (it has an equivalent 0.8x magnification), resolution and 120fps refresh rate, we found it to be one of the best viewfinders we’ve used. The resolution remains high whatever focusing method you’re using and it makes the EVFs on the rest of the X-series, and even rivals like the Sony A7 IV, look dated.

Overall, the X-H2S has great handling and is a lot of fun to use. The lack of a drive mode switch beneath the main dial is a bit annoying, as is the absence of a focus mode switch on the front. We also wish the front and rear dials were still clickable like on other Fuji cameras. But the X-H2S otherwise offers a very polished, and customizable, shooting experience for both stills and video shooters.

Design and handling: 4.5/5

Fujifilm X-H2S: features and performance

Maintains 40fps speeds for over three seconds with CFexpress card
Impressive subject-tracking autofocus, if not quite class-leading
Useful in-body image stabilization and no overheating issues

The X-H2S is by far the most powerful Fujifilm camera to date and one of the best hybrid cameras for stills and video that you can buy. It may not offer the dynamic range or low-light performance of full-frame rivals like the Sony A7 IV, but it more than compensates with the burst shooting, autofocus and video skills that are unlocked by its stacked sensor.

Like the OM System OM-1, the X-H2S focuses mainly on speed for wildlife and sports shooters (hence the ‘S’ in its name). It can blast through stills at 40fps (raw or JPEG) when using the electronic shutter, all with full AF / AE tracking and with no blackout in the viewfinder. But how usable is this burst shooting in practice?

We did some burst-shooting tests using both a CFexpress card and SD card to find out. You can see our results below. The conclusion is that you’ll definitely want to use a CFexpress card to unlock the true potential of the X-H2S.

This will let you hit the top 40fps speed for just over three seconds until the buffer slows things down, or over five seconds when shooting at 30fps. While the 20fps mode isn’t quite unlimited, we found you can keep going for at least 15 seconds at these speeds, which is more than enough for most situations.

There are a few caveats to add to this, though. Firstly, we found the autofocus performance to be a little more hit-and-miss when shooting fast-moving subjects like motocross riders at 40fps.

This means that you’re better off switching to ‘only’ 20fps or 30fps during particularly challenging scenes. Also, while the rolling shutter is minimal when using the electronic shutter, it hasn’t been completely eliminated for fast panning shots. This means you’ll still want to use this camera’s 15fps mechanical shutter mode on some occasions.

Lastly, the final thing to bear in mind when shooting at 40fps is that it’ll leave you with some considerable photo-culling to do before editing. So while it’s definitely a useful more to have for extreme situations, you may not ultimately use it that often for those reasons.

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A young fox in a garden — (Image credit: Future)

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How does the X-H2S’ autofocus perform overall? In our tests, very well. It isn’t a huge leap up from the Fujifilm X-T4, and its tracking isn’t quite as unerringly confident as the systems on flagship rivals like the Canon EOS R5 or Sony A7 IV.

But it’s still certainly good enough for high-end sports and wildlife shooting, once you’ve tailored it to your needs.

A football player pointing and shouting — (Image credit: Future)

Alongside the usual ability to track human faces and eyes, the X-H2S can track animals, birds, cars, motorcycles, bicycles, airplanes and trains, as long as you’ve selected the right one in the menu.

One day, cameras will be able to automatically apply the right AF mode to whatever you’re looking at, but for now you still need to manually pick your subject in the menus.

We found the eye detection worked well for portrait shots or soccer matches, proving pretty sticky whether our subject was moving or not. Animal detection, meanwhile, was versatile enough to recognize subjects like foxes and lock onto their eyes.

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A rally car turning the corner of a race track at Goodwood — (Image credit: Future)

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Switching to car and bike autofocus mode at the Goodwood Festival of Speed produced similarly impressive results, with the X-H2S quickly drawing a tracking box around our speedily-moving subject before locking onto a face or head.

For cars, it’d often default to the front of the car if it couldn’t find a helmet through the windshield. Our autofocus hit-rate was again best when using either the 15fps or 20fps burst modes, so we generally stuck to these for the best results.

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A car racing on as track at Goodwood — (Image credit: Future)

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When it comes to stabilization, the X-H2S is pretty similar to the Fujifilm X-T4. On paper, these cameras offer six-to-seven stops of compensation when shooting handheld, although in our experience that’s closer to four-to-five stops with most lenses and does vary depending on which lens you’re using.

Still, you certainly get a useful helping hand when using longer lenses and the combination of in-body stabilization with Fujifilm’s digital image stabilization (DIS) can produce tripod-style results when handholding. It’s less useful for moving shots, though, so you’ll definitely still need a gimbal when doing walk-and-talk style vlogging.

Lastly, battery life and overheating. The X-H2S offers a fairly standard battery performance for a high-end mirrorless cameras, lasting for 390 shots per charge when using the EVF or 580 when shooting with the LCD. That might sound a bit limiting, but you’ll get a lot more shots than that in reality when using burst mode – we took over 1,000 photos before needing to change batteries. You can also add an optional VG-XH grip ($399 / £399 / AU$749) to triple the camera’s endurance.

Video shooters will be pleased to hear that the X-H2S doesn’t have any overheating limitations either. Without any of the old recording limits that we’ve seen on previous Fujifilm cameras, we were able to shoot in 4K for over two hours before the battery gave out. This makes it a good choice for those looking to shoot longform interviews, particularly as the eye-tracking works best in fairly static scenes.

Features and performance: 5/5

Fujifilm X-H2S: image and video quality

For photos, the Fujifilm X-H2S offers no major image quality upgrades over its cheaper siblings like the X-T4. That might sound a bit disappointing considering the camera’s price, but the benefits of its new 26.1MP X-Trans CMOS 5 HS sensor are its fast readout speeds, which mainly affect autofocus and burst shooting (alongside video).

Those features can definitely help you get shots that aren’t possible on cameras like the X-T4, particularly when it comes to moving subjects. But because the X-H2S has the same 26.1MP resolution as previous X-Trans IV cameras, you won’t see any major quality improvements in the shots themselves.

This is no bad thing. We’ve long been impressed with the results produced by X-series cameras, including the ‘color science’ behind that unique X-Trans design. And it’s no different on the X-H2S, which produces some lovely JPEGs and raw files with a good few stops of editing leeway.

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A young deer calling at Bushy Park — (Image credit: Future)

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Our ISO tests produced very similar results to our X-T3, with results very acceptable up to ISO 6400 before smoothing becomes visible due to some increased luminance noise. This is where full-frame cameras still have the slight edge, but the X-H2S’ results from ISO 12800 or above are still certainly usable in emergencies.

Fans of Fujifilm’s Film Simulations – which are based on its classic film stock – will also be pleased to see that all 19 options, from Classic Chroma to Eterna, are available to add a quick bit of personality to JPEGs.

But it’s video where the X-H2S really does feel like a step up from previous X-series cameras, particularly when it comes to the resolutions, frame-rates and bit-depths that are available.

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You can shoot 6.2K/30p video internally with 4:2:2 10-bit color depth, or 4K/120p slo-mo video if you're prepared to accept a 1.29x crop. Unfortunately, there is also a slight crop when shooting Full HD/240p video and that mode is pretty soft, but the sensor's speedy read-out speeds largely control any rolling shutter issues.

Pro videographers will also be pleased to see support for the flat F-Log2 profile, which offers 14 stops of dynamic range for color-grading in post. If you bring a CFexpress card to the party, there's also support for three Apple ProRes codecs: ProRes 422 HQ, ProRes 422, and particularly useful ProRes 422 LT. Perhaps our only complaint here is how labyrinthine all the menus are.

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A man's face on the sidelines of a football match — (Image credit: Future)

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A BMX rider doing a jump on a track — (Image credit: Future)

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The front of a supercar in the paddocks — (Image credit: Future)

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The grill of a supercar at Goodwood — (Image credit: Future)

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Three boys watching a crowd — (Image credit: Future)

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The front of a racing car in the paddocks — (Image credit: Future)

Whatever settings you choose, the X-H2S’ video quality is generally clean and crisp, even if its slo-mo modes are slightly disappointing – the 4K/120p mode incurs a 1.29x crop, while the 240p mode is best avoided. But overall the X-H2S is a powerful, pro-quality video camera, which is pretty impressive when you consider how capable it is for stills, too.

Image and video quality: 4.5

Should I buy the Fujifilm X-H2S?

Buy it if...

Don'y buy it if...

Fujifilm X-H2S: also consider

Testing scorecard

Canon EOS R10 review

9:31 pm | September 3, 2022

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

Editor's Note

• Original review date: September 2022
• Mid-level mirrorless camera with Canon's RF mount
• Launch price: $979 / £899 / AU$1,499 (body only)
• Official price now: $879 / £999 / AU$1,729 (body only)

Update: May 2024. Nearly two years after its launch, Canon’s mid-tier mirrorless camera remains our top pick among the best beginner cameras you can buy. We continue to rate its handling, autofocus performance and rapid bursts speeds. In terms of overall value, it’s a camera that offers a huge amount of potential for novices, as well as versatility for hobbyists. In certain regions, including the UK and Australia, it actually costs more from Canon now than it did at launch. However, many online retailers offer it for less than the official price, so it’s worth shopping around, especially if you’re looking for a lens bundle. We’ve also seen its price reduced during seasonal sales events, including a £326 saving versus the RRP in January of this year. In the US, the EOS R10 costs $100 less in 2024 than it did in 2022, making it even better value. The rest of this review remains as previously published.

Two-minute review

There's been a hole in the middle of Canon's mirrorless camera lineup for a few years now, but the Canon EOS R10 finally fills it. If you're a beginner looking to expand your photographic horizons, or an existing Canon fan who wants a fun second camera for everyday shooting, it's now one of the best cameras around, and thanks to its small size and weight, it's also one of the best travel cameras.

While it's a little more advanced and expensive than traditional entry-level cameras, like the Canon EOS Rebel SL3 / EOS 250D DSLR, the EOS R10 is a considerable upgrade on those models and well worth its price tag. It's really an evolution of the double-digit DSLRs like the Canon EOS 90D, cameras that became firm favorites with those who wanted to snap their family, vacations and day-to-day lives with smartphone-beating quality.

The key to the Canon EOS R10's charm is its Digic X processor, which helps unlock the latest autofocus tech and some impressive burst-shooting speeds for its price. You get Dual Pixel CMOS AF II and 15fps continuous shooting (albeit with a firm brake applied by the EOS R10's buffer), which make this camera more than capable of snagging a shot of the family dog's winning goal in the garden water polo.

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The Canon EOS R10 camers sitting on a wooden bannister — (Image credit: Future)

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The EOS R10 can track a wide range of subjects, including people, animals (dogs, cats, birds) and vehicles, and follows them around pretty tenaciously. This is a really useful tool that lifts this camera above rivals like the Fujifilm X-S10, although that camera does fight back with in-body image stabilization and (right now) a bigger selection of lenses.

Ah yes, lenses. Along with a slightly small viewfinder (with 0.59x magnification), these are the EOS R10's main weakness. At the time of writing, Canon has only made two native lenses for the EOS R10 and its EOS R7 sibling: the RF-S 18-45mm f/4.5-6.3 IS STM and RF-S 18-150mm f/3.5-6.3 IS STM zoom. This is pretty paltry compared to Sony and Fujifilm, although you can use both Canon's full-frame RF lenses and older EF ones on this camera with an optional adaptor.

How important this is very much depends on your photographic preferences and experience. There are some affordable RF lenses that will work nicely with the EOS R10, including the RF 50mm f/1.8 ($180 / £220 / AU$340), RF 16mm f/2.8 ($299 / £320 / AU$479) and, for wildlife snappers, the RF 600mm f/11 ($699 / £860 / AU$1,399). We also tested it with the RF 85mm f/2 Macro ($550 / £670 / AU$1,049), which is a versatile prime lens.

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There's a good chance that these options will tide you over until Canon gets around to launching some new APS-C lenses. But if you want more options out of the gate, or don't like the uncertainty, then a camera like the Fujifilm X-S10 or Fujifilm X-T30 II could be more suitable.

If you're just starting out and want a lightweight camera that'll grow with you, though, then the Canon EOS R10 is one of the best beginner cameras around. Its new 24MP CMOS sensor produces some lovely images with enough leeway for you to claw back some details from shadows, even if you won't want to regularly push it beyond ISO 6400. You can also shoot some impressive video, even if the 4K/60p mode does come with a 1.56x crop.

Despite its relatively old-fashioned sensor, which isn't backside-illuminated, the EOS R10's powerful processor, autofocus experience and versatile controls give beginners a great camera to start with and a powerful one to grow into. That means you can have plenty of fun with it while you wait for Canon to make some more native lenses.

Canon EOS R10 price and release date

Available to buy now for $979 / £899 / AU$1,499 (body only)
Also available in two different kit lens bundles
Slightly cheaper than the Fujifilm X-S10

The Canon EOS R10 is available to buy now in a few different bundles, with the cheapest one being its body-only price of $979 / £899 / AU$1,499.

If you'd rather buy it with one of Canon's new RF-S kit lenses, you can pick it up for $1,349 / £1,249 / AU$2,049 with the RF-S 18-150mm kit lens, or $1,099 / £999 / AU$1,649 with the RF-S 18-45mm f4.5-6.3 IS STM kit lens.

This is pretty reasonable pricing that has echoes of the Canon EOS RP, a full-frame camera that landed for $1,299 / £1,399 (body-only) back in 2019.

The EOS R10 slightly undercuts the Fujifilm X-S10 ($999 / £949 / AU$1,699), although that camera does offer in-body image stabilization, which is useful for preserving image quality and shooting video. And it's priced similarly to the Nikon Z50, another relatively compact APS-C camera that's now a little behind the EOS R10.

Price score: 4/5

Canon EOS R10: design

Small and lightweight, weighing only 429g
Deep grip makes it comfortable to hold with most lenses
Small viewfinder magnification (0.59x) and no weather-proofing

The Canon EOS R10 probably isn't going to win any Red Dot Design awards, but it does fulfill its brief of being both impressively small and comfortably familiar to anyone who's used a Canon DSLR.

In your hand, the little thing is quite reminiscent of a Canon EOS Rebel SL3 (otherwise known as the Canon EOS 250D, outside the US), which actually weighs 20g more than the 429g EOS R10.

Realistically, this is about as small as RF-mount cameras are likely to get – which is to say, not quite as diddy as EOS-M series like the Canon EOS M50 Mark II. Those cameras will live on, albeit looking wistfully through the garden fence as photographers play fetch with Canon's new APS-C darlings, the R7 and R10.

The top of the Canon EOS R10 camera sitting on a wooden bench — (Image credit: Future)

On top, the Canon EOS R10 again looks like a Rebel SL3 / EOS 250D, with a mode dial joined by front and rear command dials, a multi-function button and a video record button. One useful addition, though, is the inclusion of Canon's multi-function accessory shoe, which can both power and send data to accessories like shotgun mics. Considering this is a feature you don't even get on the full-frame cameras like the EOS R6, it's another reason to feel smug about owning an R10.

Around the back, it's a similar setup to the pricier Canon EOS R7. There's a fully articulating touchscreen that can flip forwards for video shooters and, helpfully, an AF joystick. This is a feature that affordable cameras often jettison in the name of simplicity, but it's a real boon for photographers who are looking to quickly move AF points. And that's likely to be the case when you have a powerful autofocus system with 651 AF points, like on the R10.

One slight disappointment with the EOS R10 is its small viewfinder. While this EVF has a similar 2.36-million dot resolution to the one on the EOS R7, its limited 0.59x magnification does feel a bit stingy. It works well enough in practice and can be customized with handy tools like live histograms and gridlines, but other cameras at this price point do offer better views of your scenes.

The Canon EOS R10 camera sitting on a wooden bench — (Image credit: Future)

There are a couple of other design downers on the EOS R10 that are a little more understandable for the price. The EOS R10 lacks the weather-proofing you get on the EOS R7, which means you'll need to look after it that little bit more. There's also only one UHS-II card slot, rather than two. And while the EOS R10 does have a microphone input, you also lose the headphone jack for monitoring your audio when shooting videos.

All in all, though, we really enjoyed shooting with the Canon EOS R10 during our time with the camera. Like the Nikon Z50, it has a pretty deep grip for such a small camera, which means you can pair it with relatively long lenses if needed. But it's also a neat, lightweight little bundle when combined with primes like the RF 50mm f/1.8 STM lens and is a camera you'll look forward to taking out.

Design score: 4/5

Canon EOS R10: features and performance

Can briefly hit 15fps speeds with the mechanical shutter
Electronic shutter brings a higher top speed but also rolling shutter limitations
Impressive autofocus tracking for a mid-range camera

Like the Canon EOS R7, one of the most appealing things about the EOS R10 is its combination of modern autofocus smarts and pretty rapid burst-shooting speeds. The R10 isn't quite in the same category as the R7 for the latter, but it's still an improvement on mid-range DSLRs like the Canon EOS 80D and even the EOS 90D.

Canon's specs sheet says that the EOS R10 can shoot at an impressive 15fps with its mechanical shutter or at 23fps with its electronic shutter. And out tests backed up these claims, even if the camera's buffer couldn't maintain those speeds for as long as the official specs claim.

We were able to shoot uncompressed raw files for 15fps for one second using the mechanical shutter, before the buffer slowed things down to around 7fps. When shooting JPEGs, we were able to keep going at 15fps for a more useful six seconds, before it dropped to around 12fps.

Switch to the electronic shutter and you're able to briefly hit 23fps speeds. There are a couple of reasons why this is best avoided in most situations, though. Firstly, the electronic shutter is much slower than the mechanical one over extended bursts in this mode. Also, shooting moving subjects with the electronic shutter can produce warping issues (otherwise known as rolling shutter), which means you're best off sticking to the mechanical one most of the time.

Fortunately, the EOS R10's autofocus is able to keep up with these decent burst-shootings skills. Its Dual Pixel CMOS AF II setup, seen in more advanced forms on cameras like the professional Canon EOS R3, is both impressive and intuitive, too. You get a total of 4,053 AF points, which is impressive for an entry-level camera, and moving around them is easy thanks to the inclusion AF joystick (another feature that's often jettisoned on beginner cameras).

We tested this AF system on a wide range of animals, including cats, deer and a very speedy cockapoodle. And while the hit-rate certainly wasn't 100%, the EOS R10 did a good job of finding eyes and locking onto them, even from distances of 5-10 meters away.

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A dog running in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/1000 sec at f/4, ISO 320 (Image credit: Future)

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A running cockapoo dog in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/1000 sec at f/4, ISO 250 (Image credit: Future)

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Unlike previous autofocus systems, this tracking is available across most of the EOS R10's AF modes, and it'll automatically switch to a face or body if it can't find any eyes. Switch to continuous AF (or 'Servo', as Canon calls it) and the EOS R10 will also track any subject you choose to lock onto around the frame, which puts it ahead of rivals like Fujifilm.

Where the Canon EOS R10 is slightly weaker than some rivals is battery life and the lack of in-body image stabilization (IBIS). The Fujifilm X-S10, for example, offers IBIS for a similar price to the R10, and this can be a useful way to preserve image quality when shooting handheld in lower light (thanks to longer shutter speeds).

The EOS R10's battery life isn't terrible in comparison to other mirrorless cameras. Its CIPA rating (which is a standardized metric for camera battery life) is 340 shots per charge, or 210 if you're solely using the EVF. While Sony cameras tend to fare a little better, that's only just below par for mirrorless cameras.

DSLRs like the Canon EOS Rebel T8i / EOS 850D (which uses the same LP-E17 battery as the EOS R10) can keep going for 800 shots, though, because they use optical viewfinders rather than electronic ones. We still think the EOS R10's overall advantages make it the better buy, but it's something to bear in mind if you're planning to take it on long days out. Getting a spare battery is likely a wise idea.

Features and performance score: 4.5/5

Canon EOS R10: image and video quality

Image quality impresses despite sensor's lack of backside-illumination
Shoots uncropped 4K/30p video that's oversampled from 6K capture
No headphone jack or 'flat' log video profile for color graders

The EOS R10 has a new 24.2MP sensor, but this chip isn't backside-illuminated (BSI). As the name suggests, BSI sensors have their circuitry on the back of the sensor rather than in front of the light-sensitive photosites, which traditionally means they have less noise and better all-round image quality.

This could have been a black mark against the EOS R10, but overall we've been impressed with its image quality. Photos look very clean and detailed up to ISO 1600, with pleasing colors and skin tones.

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A deer standing in a field — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/800 sec at f/5.6, ISO 500 (Image credit: Future)

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The head of a black and white cat — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/100 sec at f/4.5, ISO 125 (Image credit: Future)

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Noise starts to become slightly noticeable from ISO 3200, but results are certainly still usable here and at ISO 6400. It's really only ISO 12800 and above that should be considered emergency options for particularly gloomy situations.

In short, the image quality is very similar to APS-C rivals like the Sony A6400 and Nikon Z50. Only the Fujifilm X-S10 and X-T30 II hold any advantage at this price point, because they use BSI CMOS sensors that should (in theory) give them a slight advantage at higher ISO sensitivities. But we haven't been able to do a side-by-side comparison between the EOS R10 and those cameras yet.

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A man standing in the shade at a station reading his phone — Canon EOS R10 with RF-S 18-45mm f/4.5-6.3 IS STM, 1/800 at f/7.1, ISO 100 (Image credit: Future)

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A man sitting outside a train station — Canon EOS R10 with RF-S 18-45mm f/4.5-6.3 IS STM, 1/320 at f/7.1, ISO 100 (Image credit: Future)

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Slightly more impressive, compared to the competition, are the EOS R10's video skills. Some occasionally temperamental autofocus aside, it impresses with the ability to shoot uncropped 4K/30p that's oversampled from the sensor's 6K resolution.

While this isn't the case for the camera's 4K/60p mode (which as you can see below, incurs a 1.56x crop), this is still a useful tool for vloggers and YouTubers. The benefit of 60p mode is that you can slow it down to half-speed to create some nice cut-scenes.

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The petals of a red flower in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/125 at f/6.3, ISO 100 (Image credit: Future)

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A purple and white flower in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/250 at f/6.3, ISO 160 (Image credit: Future)

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A flower in front of the sky — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/1250 at f/4.5, ISO 160 (Image credit: Future)

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A pink flower in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/40 at f/7.1, ISO 100 (Image credit: Future)

Other video bonuses include the ability to shoot 1080/120p slo-mo and an 'HDR PQ' mode that delivers 4:2:2 10-bit quality. Unfortunately, there's no 'flat' log option on the EOS R10, though, which means keen color graders will need to consider the EOS R7 or rivals like the Fujifilm X-T30 II. And the lack of a headphone jack means there's no way to monitor audio when you're out in the field.

Still, there's no 30-minute video recording limit on the EOS R10, which means you can shoot clips for up to two hours (depending on battery life and card capacity). And pair the camera with a slightly better lens than Canon's two RF-S kit zooms, and you have a very capable video tool for shooting clips alongside your snaps.

Image and video quality score: 4/5/5

Should I buy the Canon EOS R10?

Buy it if...

Don't buy it if...

Also consider...

If our Canon EOS R10 review has you considering other options, here are three more cameras to consider...

Testing scorecard

First reviewed August 2022

Canon EOS R7 review

11:43 am | August 3, 2022

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

Editor's Note

• Original review date: May 2022
• Canon's first flagship APS-C model for mirrorless
• Launch price: $1,499 / £1,349 / AU$2,349 (body only)
• Official price now: $1,399 / £1,379 / AU$2,469

Update: February 2024. Canon has filled out its APS-C range of cameras for EOS R mount mirrorless, but the EOS R7 remains the flagship model that still offers excellent value if you don't need full-frame. No other camera in this crop sensor format can better the EOS R7's 32.5MP resolution, and that class-leading detail is supported by excellent in-body stabilization, rapid high-speed shooting and superb autofocus performance. In short, the EOS R7 remains an excellent camera for wildlife and sports photography. Unfortunately there's still a sore lack of native RF-S lenses to choose from. If you're keen on wildlife and looking for a high performance telephoto lens, you'll need to use one of Canon's full-frame RF offerings, like the RF 100-400mm F5.6-8 or the pricier RF 100-500mm F4.5-7.1 L. The uncertainty surrounding the system's lenses is worrying, but the EOS R7 itself is a certainty as one of the best mirrorless cameras in its class. The rest of this review remains as previously published.

Canon EOS R7: Two-minute review

If you're a keen amateur photographer who also likes to shoot video, the Canon EOS R7 is one of the best cameras you can buy and also the sweet spot in the camera giant's EOS R range for amateur shooters.

Sitting in between classic DSLRS like the Canon EOS 7D Mark II and EOS 90D, it combines Canon's latest Dual Pixel CMOS AF II autofocus system with speedy 15fps burst-shooting speeds (or even 30fps speeds, when you use its electronic shutter). It's pricier than the Canon EOS R10, but the R7's higher-resolution 32.5MP sensor, in-body stabilization, deeper buffer and dual card slots will justify the cost for many.

Unlike Canon's full-frame cameras, the EOS R7 has an APS-C sensor. While these can't gather as much light as the full-frame sensors seen in cameras like the Canon EOS R6, they do bring a few benefits – including a smaller, lighter overall camera system and a lower price tag.

For its price, the EOS R7 delivers an impressive range of features that show why it's now Canon's flagship APS-C camera. Unlike the EOS 90D, you get in-body image stabilization (IBIS), which helps preserve image quality when you're shooting handheld. You also get two UHS-II card slots and a solid range of video-shooting specs, including headphone and microphone inputs, plus the ability to shoot uncropped 4K/60p video.

The Canon EOS R7 camera sitting on a stone step — (Image credit: Future)

Together, these features make the EOS R7 one of the best mirrorless cameras who can't justify Canon's full-frame models, which share the same RF-mount. But this mount is also, currently, the EOS R7's main weakness – at the time of writing, there are only two native RF-S lenses for this camera's sensor.

One of these lenses is an 18-150mm 'all-rounder' that comes available in a package with the EOS R7, with the other being an 18-45mm f/4.5-6.3 kit lens. Other than these two lenses, you have two choices when it comes to optics – use existing full-frame RF lenses, or use either EF or EF-S lenses via the optional EF-to-RF adapter. Neither solution is ideal for keeping things on the light and small side, but hopefully as the system ages, it will also grow to include more options.

Confusingly, you might already be aware of Canon’s 'other' APS-C mirrorless system, which uses the EF-M mount. Lenses from this system are not compatible with the EOS R series' APS-C models, and there’s no way to mount them via an adapter either. Canon has yet to outwardly admit that it’s going to stop making EF-M models. But the arrival of the EOS R7 and EOS R10 means the EF-M series has now likely reached its end.

Aside from this limited range of native lenses, the EOS R7 is otherwise an excellent all-rounder. With up to 30fps shooting combined with Canon’s latest autofocus wizardry, it’s a dream for wildlife, action and sports photographers – especially as that crop sensor will allow you to get closer to the action with your long lenses.

Canon EOS R7 specs

Sensor: 32.5MP APS-C CMOS
AF points: 5915 manually selectable, 651 automatic selection
Video: 4K/60p, Full HD/60p, High-speed 120p Full HD
Viewfinder: 0.39-inch OLED 2.36m-dot resolution
Memory card: Double SD/SDHC/SDXC UHS-II
LCD: 2.95-inch vari-angle touch 1.62m-dot
Max Burst: 15fps mechanical shutter (buffer 224 JPEG / 51 raw), 30fps electronic shutter (buffer 126 JPEG / 42 raw)
Connectivity: Wi-Fi, Bluetooth
Size: 132 x 90.4 x 91.7mm
Weight: 612g (inc. battery and SD card)

You also get in-body stabilization (IBIS), something that was missing from Canon's mid-range Canon DSLRs. With up to eight stops of compensation, this is ideal for shooting handheld with slower shutter speeds or in low light.

The EOS R7 is also a nice little camera to use. You get a reasonably solid and chunky grip, plus a good range of dials and buttons that make it enjoyable to change the settings in different situations. Its vari-angle touchscreen is also helpful for shooting from different angles – and while the electronic viewfinder is a little pedestrian, it does the job.

Dual UHS-II card slots are a nice bonus for a camera like this (and at this price), hinting it might also be favored by pros looking for a good, fast backup model to their main full-frame body. A range of useful video specifications, including uncropped 4K/60p video, round out the specs sheet nicely to make the R7 a great little all-rounder.

In our real-world tests, the camera produced lovely images in a range of conditions, though as we’d expect it’s not quite on par with full-frame siblings when it comes to low-light or high ISO shooting.

The main problem is that lack of a real lens system to harness the EOS R7's potential. Having to compromise on lenses from the get-go isn’t ideal, particularly when the likes of Sony and Fujifilm have a solid set of lenses to back up APS-C cameras like the Sony A6600 and Fujifilm X-T5. But if the R7 and R10 prove to be as popular as Canon surely hopes they will be, that lack of native lenses should become less of a problem in time.

Canon EOS R7: release date and price

Available to order now
$1,499 / £1,349 / AU$2,349 (body only)
$1,899 / £1,699 / AU$1,959 (with 18-150mm lens)

The Canon EOS R7 is pretty aggressively priced to make it much more appealing to those on a budget, compared to full-frame models. It also compares favorably to other APS-C big-hitters, too.

The EOS R7 is just a shade more expensive than the three-year-old Sony A6600. It’s also significantly cheaper than the higher-spec Fujifilm X-H2S, another flagship model with fast-shooting and quick-autofocusing smarts.

It’s a little closer in price to the Fujifilm X-T5 – the EOS R7 edges it on autofocusing but loses on native lenses, so a decision between the two very much depends on your existing lens collection.

Older full-frame Canon tech, such as the full-frame Canon EOS RP, is available for less than the EOS R7, but uses much older technology that means autofocusing and video is not a patch on the R7.

We’re yet to see a direct 'entry-level' full-frame replacement for the Canon EOS RP, and it's possible that one could be coming in 2023. Right now, there's no real evidence to suggest an EOS RP successor is imminent, and the EOS R7 nicely fills the gap as an affordable mirrorless camera for hobbyists, as long as you prefer the advantages of APS-C cameras over full-frame.

Canon EOS R7 review: design

Combined control wheel and joystick
Vari-angle screen and modest viewfinder
Weather-sealing to same standard as EOS 90D DSLR

Canon has combined elements from both its DSLR line-up and its existing EOS R series cameras to make the EOS R7 both portable and intuitive.

If you’ve used a Canon EOS camera before, you’ll likely be very at home. But even if this is your first time with the brand, it won't be too difficult to find everything you need. Impressively for such a small camera, the EOS R7 manages to include a deep chunky grip, which should prove popular among photographers. At the same time, the overall size of the camera isn't too big for travel shooting.

As you’d expect for a mid-range cameras you don’t get a top-plate LCD for quickly checking settings. The same is true of the full-frame EOS R6, so APS-C users shouldn’t feel too hard done by here. What you do get is a sensibly laid out control system, which includes a mode dial to the right of the viewfinder, a control dial just behind the shutter button and dedicated buttons just behind that for ISO and video recording.

Flipping to the back of the camera, there’s a joystick-cum-control wheel hybrid that some will love, and others may well hate. It does take some getting used to, especially if you’re an existing Canon owner. But after a few days in its company, it works quite well in tandem with the principal control dial. The dials can be used to adjust shutter speed and aperture – depending on the shooting mode you’re in – as well as flip through menu items and images in playback.

The joystick is ideal for moving the AF point around the frame when shooting through the viewfinder, though you can also use the screen to do this so long as you have 'Touch and Drag' enabled in the main menu.

Other buttons include a four-way d-pad, a useful ‘Q’ button for quickly accessing your common settings, and buttons for playback and deleting photos. Almost all of the controls are found on the right-hand side of the camera, which is ideal for one-handed operation, with the small size of the body meaning everything is within easy reach of your thumb.

If you’re moving to the EOS R7 from a DSLR, one thing you might find yourself getting used to is an electronic viewfinder. The R7’s is arguably a little dated, offering 2.36m-dots, 1.15x magnification and a 120fps refresh rate. But if you’ve never used anything better, then you’ll likely find it perfectly serviceable. Those switching from a DSLR can also switch on OVF (optical viewfinder) simulation, which might help ease you in if you’re not totally convinced about EVFs just yet.

The fully articulating touchscreen is just shy of three inches, but being able to maneuver it into whatever position you need is helpful for video and awkward angle shots. It’s also nice to be able to fold the camera's screen in on itself when carrying it in a bag to keep it free of scratches. A similar standard of weather-sealing to the EOS 90D means the EOS R7 should be able to stand up to a light sprinkling of rain, but we’d probably keep it away from heavy downpours or extensive sea-splashes where possible.

Some had expected the EOS R7 – a camera for wildlife/sports fans – to include a CFexpress slot for ultra-fast shooting. Instead, we get double UHS-II slots. On the one hand, it’s a shame not to have the speeds of CFexpress, but it’s not particularly surprising for an APS-C camera at this price, and it’s undeniably a more straightforward setup. It’s also a lot cheaper to buy SD cards for now, so it’s a better setup for those on a budget.

Design score: 4.5/5

Canon EOS R7 review: features and performance

Dual Pixel CMOS AF II, subject recognition and eye-detection
Up to 30fps shooting with electronic shutter
500-shot battery life

The Canon EOS R7 is being heavily targeted towards wildlife and sports shooters, thanks to its high-quality autofocusing and burst-shooting prowess. If you’re coming across from an older DSLR, it's this technology that's likely to impress you the most. It also outshines some of the older EOS R entry-level models, as well as Canon’s EOS M APS-C models, too.

This power is ably supported by Dual Pixel CMOS AF II, which is Canon’s latest autofocusing system. Broadly speaking, this is something we’ve seen on more advanced full-frame models like the EOS R5 and the EOS R6, which means you get very good performance for the price.

Covering the whole frame, Dual Pixel CMOS AF II also includes clever and useful technology such as intelligent subject-tracking, which can identify animals (dogs, cats and birds), vehicles and people.

Pro cameras like the EOS R5 and R6 have more AF zones (1,053) than the R7 (651 when the camera is left to automatically select them), so it isn't exactly the same system as Canon's pricier models. But in our tests it kept up extremely well with whatever subject we were trying to follow across the frame, almost unfalteringly so.

As well as subject-tracking, you'll also see face and eye-detection kick in when you're photographing animals or humans. This also works impressively well – during our tests, it was able to pick out a bird’s eye from a few hundred meters away and easily track it around the frame.

Similarly, when photographing a dog running around the beach, it did exactly the same – keeping up with a dark eye surrounded by dark fur. Human eyes are just as easily picked out, making it ideal for sports photography and portraits.

Of course, you also need fast shooting speeds for sports and wildlife, and the EOS R7 offers this, too. You get up to 15fps with the mechanical shutter, which is pretty good in itself, but switching to the electronic shutter you get around 30fps. Considering this includes raw shooting and continuous AF, that's excellent for the price. The trade-off is the risk of rolling shutter – which can give slanted vertical lines – but this isn’t something we experienced much.

While 30fps is great, what you don’t get is the same deep buffer such as you’d see on a more expensive model like the EOS R6 or the R5. At 30fps, the camera will need to take a pause after just 42 raw files. But as long as you aren’t too trigger happy and practice controlled bursts, this will be enough for most hobbyist users hoping to catch a specific moment.

It’s worth noting that to take full advantage of these speeds, you’ll need a fast UHS-II memory card. We found when photographing a fast running dog, more shots were in focus than weren’t, making photographing wildlife, sports and action easier than ever before at this price. That said, it's worth noting that the EOS R10 offers a similar hit-rate and is even cheaper than the EOS R7.

The 500-shot quoted battery life is decent for a mirrorless camera. Remember also that this is a lab-specification – in real-world shooting, you can also always eke out more shots if you’re careful with power saving or if you're not doing something power intensive (like shooting 4K video).

In our tests, the camera always lasted a full day without dropping more than a couple of bars of battery. You can also charge the camera via USB, so if you were particularly concerned, you could always carry a battery pack for power bursts on the go.

Features and performance score: 4.5/5

Canon EOS R7 review: image and video quality

At 32.5MP, the EOS R7 has a high megapixel count for an APS-C camera. The advantages of this are that images are beautifully detailed, plus you’ve got good scope for cropping – which often comes in handy when shooting wildlife and action-type subjects.

The downside of all those pixels crammed onto a fairly small surface area is that low-light shooting can’t compete with full-frame models, or even APS-C models with more modest resolutions. That might not be too much of an issue for most photographers, but there are some instances where it can lead to less than perfect imagery. For example, during our test, we used the RF 600mm f/11 lens.

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A pink flamingo in front of other flamingos at a nature reserve — The R7’s subject detection and eye-recognition picked out the eye on this bird from quite some distance away, following it easily around the scene. (Image credit: Future)

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A flamingo shaking its head and releasing water droplets — Shooting with lenses like the 600mm f/11 and an APS-C sensor means that you might have to shoot at high ISOs even in relatively good light – some image smoothing can be seen here. (Image credit: Future)

While this is a great lens for wildlife shooting, thanks to its compact size and long reach (960mm equivalent when mounted to the R7), having f/11 as its maximum aperture generally means using fairly high ISOs, even when light is pretty abundant.

The resulting photos show a reasonable degree of noise and image smoothing. This isn't too bad when looking at images at small sizes, but is pretty apparent as soon as you view them at full size or scrutinize them closely.

On the whole, though, we’ve been very impressed by the EOS R7's image quality. Colors are rich, warm and attractive, just as we’d expect from Canon. The automatic white balance setting proved a winner in every lighting scenario we threw at it - and you can even ask it to prioritize warm tones or cool tones depending on your preference.

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The petals of a white flower in a field — You can still achieve attractive shallow depth of field effects even with the smaller than full-frame sensor and shooting at reasonably narrow apertures. (Image credit: Future)

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A dark street leading to a high-rise building — Evaluative metering does a good job of providing well-balanced exposures, even when there are areas of high-contrast. (Image credit: Future)

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A small dog running on the beach — The R7 easily keeps up with fast moving subjects. This image has been cropped slightly for better composition - something which the 32.5 megapixel sensor gives you plenty of scope to do. (Image credit: Future)

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A small dog running on a beach — ye-recognition works very well for animals, keeping the image sharp where you want it to be. (Image credit: Future)

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A tomb inside a church — Shooting in low light reveals some loss of detail, plus some image smoothing, but it’s still perfectly usable at normal sizes. This image shot at ISO 10000. (Image credit: Future)

The all-purpose metering mode (known as evaluative metering for Canon cameras) worked well to produce well-balanced exposures, even when presented with high-contrast scenarios.

Raw files show a good amount of scope for making adjustments, allowing you to pull back a good degree of missing detail in lowlights and highlights when you need to. You can also change the balance of smoothing and noise if you’d prefer to see a little more detail than the JPEG output provides.

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A man looking away in front of a graffitied wall — Colors, including skin-tones, are rendered very nicely in straight out-of-camera JPEGs. (Image credit: Future)

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The interior of a large church — The EOS R7’s sensor is capable of capturing plenty of detail. (Image credit: Future)

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The roof of a stadium in front of a cloudy sky — (Image credit: Future)

Video quality is also good, with the benefit of uncropped 4K/60p video with 4:2:2 10-bit color depth. We’ve been critical of Canon’s mid-range (EOS M) mirrorless options for their video limitations for some time, so it’s nice to see a good hybrid camera at a reasonable price.

Content creators may want to consider the EOS R7, especially considering other useful features include the flip-out screen, mic and headphone sockets. One downside of video is that there’s no 4K/120p mode for slow-mo shooting, but that won’t be a deal-breaker for most.

Image and video quality score: 4/5

Should I buy the Canon EOS R7?

Buy it if...

Don't buy it if...

Canon EOS R7: Also consider

If our Canon EOS R7 review has you considering other options, here are three more mirrorless cameras to consider...

Testing scorecard

Ricoh GR IIIx review

7:33 pm | June 14, 2022

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

Editor's Note

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

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

Two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

Ricoh GR IIIx release date and price

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

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

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

Ricoh GR IIIx: design

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

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

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

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

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

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

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

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

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

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

Ricoh GR IIIx: features and performance

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

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

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

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

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

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

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

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

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

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

Ricoh GR IIIx: image quality

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Should I buy the Ricoh GR IIIx?

Buy it if...

Don't buy it if...

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

Fujifilm X-T30 II review

7:11 pm | May 4, 2022

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

Editor's Note

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

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

Two-minute review

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

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

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

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

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

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

Fujifilm X-T30 II specs

Sensor: 26.1MP APS-C X-Trans CMOS

AF points: 425

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

Viewfinder: 0.39-inch OLED 2.36m-dot

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

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

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

Connectivity: Wi-Fi, Bluetooth

Size: 118.4 x 82.8 x 46.8mm

Weight: 378g (with battery and SD card)

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

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

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

Fujifilm X-T30 II release date and price

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

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

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

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

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

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

Fujifilm X-T30 II review: design

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

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

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

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

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

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

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

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

Fujifilm X-T30 II review: features and performance

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

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

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

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

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

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

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

Fujifilm X-T30 II review: image and video quality

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

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

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

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

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

Should I buy the Fujifilm X-T30 II?

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Don't buy it if…

Also consider

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

These are the best mirrorless cameras you can buy

Panasonic Lumix GH6 review

3:30 pm | March 4, 2022

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

Editor's Note

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

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

Panasonic Lumix GH6: Two-minute review

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

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

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

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

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

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

Panasonic Lumix GH6: Price and release date

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

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

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

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

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

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

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

Panasonic Lumix GH6: Design and handling

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

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

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

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

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

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

Panasonic Lumix GH6: Features and autofocus

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

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

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

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

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

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

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

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

Panasonic Lumix GH6: Image and video quality

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Should I buy the Panasonic Lumix GH6?

Buy it if...

Don't buy it if...

Check out our guide to the world's best YouTube cameras

Sony A7 IV review

1:35 am | February 4, 2022

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

Editor's Note

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

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

Sony A7 IV: Two-minute review

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

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

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

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

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

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

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

Sony A7 IV specs

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

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

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

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

Sony A7 IV release date and price

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

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

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

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

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

Sony A7 IV: design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sony A7 IV: features and autofocus

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

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

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

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

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

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

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

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

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

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

Sony A7 IV: performance

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

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

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

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

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

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

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

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

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

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

Sony A7 IV: image and video quality

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Should I buy the Sony A7 IV?

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

Buy it if...

Don't buy it if...

Sony A7 IV: also consider

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

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

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

First reviewed: March 2022

Autel Evo Lite+ review

1:00 pm | January 16, 2022

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

Editor's Note

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

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

Two-minute review

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

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

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

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

Jump to…

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

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

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

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

These are the best drones you can buy right now

Autel Evo Lite+ price and release date

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

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

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

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

Design and controller

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Features and flight

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Video and image quality

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

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

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

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

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

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Automatic settings shot

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Automatic settings shot

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HDR from 5 images

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HDR from 5 images

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HDR from 5 images

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Standard settings shot

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Wide panoramic stitched by Sky app

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Night mode shot

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Standard photo settings

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Wide panoramic stitched by Sky app

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Default settings

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

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

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

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

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

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

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

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

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

Should I buy the Autel Evo Lite+?

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