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GoPro Hero 10 Black review
4:00 pm | September 16, 2021
Author: admin | Category: Action Cameras Cameras Computers Gadgets GoPros | Comments: Off

Editor's Note

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

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

Two-minute review

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

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

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

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

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

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

GoPro Hero 10 Black specs

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

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

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

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

GoPro Hero 10 Black price and release date

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

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

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

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

GoPro Hero 10 Black: Design

  • New hardier lens cover with water-repellant coating
  • Rear touchscreen and menus are far more responsive
  • Otherwise physically identical to the Hero 9 Black
What about the Hero 11 Black Mini?

The GoPro Hero 11 Black Mini on a blue background

(Image credit: GoPro)

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

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

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

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

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

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

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

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

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

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

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

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

GoPro Hero 10 Black: Features

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

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

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

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

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

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

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

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

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

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

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

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

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

GoPro Hero 10 Black: Performance

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

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

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

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

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

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

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

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The GoPro Hero 10 Black action camera sitting on a wooden bench

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

(Image credit: Future)
Image 3 of 3

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

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

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

GoPro Hero 10 Black: Video and image quality

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

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

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

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

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

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The inside of a netting tunnel at a GoApe adventure park

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

...while this is 'Wide' for a more fisheye look. Lastly, for getting closer (albeit at the expense of image quality) theres... (Image credit: Future)
Image 3 of 3

The inside of a netting tunnel at a GoApe adventure park

...the 'Narrow' view, which is the equivalent of 27mm lens. (Image credit: Future)

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

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

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

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

Should I buy the GoPro Hero 10 Black?

The GoPro Hero 10 Black action camera sitting on a wooden bench

(Image credit: Future)

Buy it if...

Don't buy it if...

Also consider...

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

First reviewed: September 2021

Nikon Z fc review
6:02 pm | September 9, 2021
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: | Comments: Off

Editor's Note

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

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

Nikon Z fc: Two-minute review

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

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

The Nikon Z fc camera on a park bench

(Image credit: Future)

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

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

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

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

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

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

Nikon Z fc: Release date and price

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

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

The Nikon Z fc camera on a shelf

(Image credit: Future)

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

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

Nikon Z fc: Design

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

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

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

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

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The top of the Nikon Z fc camera on a shelf

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

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

(Image credit: Future)

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

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

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

The ISO dial on the top of the Nikon Z fc camera

(Image credit: Future)

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

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

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

The Nikon Z fc camera on a shelf

(Image credit: Future)

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

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

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

The battery of the Nikon Z fc camera

(Image credit: Future)

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

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

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

Nikon Z fc: Features and performance

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

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

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

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

The viewfinder of the Nikon Z fc

(Image credit: Future)

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

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

Nikon Z fc: Image and video quality

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

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

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

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Some boats sailing in a bay

The exposure compensation dial is active when the Nikon Z fc is in its 'Auto' exposure mode, making creative under-exposures like exposing for the highlights a breeze. (Image credit: Future)
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Profile shot of a man wearing a hat taken on the Nikon Z fc

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

A resolution of 20.9MP is competitive rather than class-leading, but is more than enough to get good size prints, wide dynamic range and solid control over noise in a variety of shooting scenarios. (Image credit: Future)
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Profile photo of a boy taken on the Nikon Z fc camera

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Some beach huts overlooking water, shot on the Nikon Z fc

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A person running down a road under tree cover

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Photo of a grassy field in a bay taken on the Nikon Z fc

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A red phone box surrounded by foliage

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Grassy coastline in front of the sea

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A rocky bay at dusk

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

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

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Silhouette of a girl running across the beach

Impressive on paper, the top speed of 11fps with continuous AF and AE is limited in real-world use no doubt in part to the write speeds of the single UHS-I card slot. This is no action camera. (Image credit: Future)
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A bay under a cloudy blue sky

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Beach houses in a bay in front of trees

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An inflatable unicorn in a swimming pool

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

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

The vari-angle screen is useful for easy-shooting at a variety of angles, in addition to the front-facing selfie mode. (Image credit: Future)
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A cow grazing in a field

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Fishing ropes, crates and equipment

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A wave crashing against a seaside walk

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

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

Should I buy the Nikon Z fc?

The Nikon Zfc camera sitting on a red table in front of a bookcase

(Image credit: Future)

Buy it if...

Don't buy it if...

Canon EOS R5 review
8:07 pm | April 28, 2021
Author: admin | Category: Cameras Computers DSLRs Gadgets | Tags: , , | Comments: Off

Editor's Note

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

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

Canon EOS R5: two-minute review

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

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

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

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

Canon EOS R5 articulating screen

(Image credit: Future)

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

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

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

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

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

Canon EOS R5 Animal Eye AF in action

(Image credit: Future)

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

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

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

Canon EOS R5 review: price and release date

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

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

Canon EOS R5 ports

(Image credit: Future)

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

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

Canon EOS R5 review: design and handling

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

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

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

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

Canon EOS R5 top display for shooting info

(Image credit: Future)

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

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

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

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

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

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

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

Canon EOS R5 had a standard SD card slot and CFexpress slot

(Image credit: Future)

Canon EOS R5 review: specs and features

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

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

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

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

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

Canon EOS R5 articulating screen

(Image credit: Future)

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

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

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

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

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

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

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

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

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

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

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

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

Canon EOS R5 rear screen and controls

(Image credit: Future)

Canon EOS R5 review: autofocus

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

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

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

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

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

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

Canon EOS R5 card slots

(Image credit: Future)

Canon EOS R5 review: performance

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

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

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

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

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

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

Canon EOS R5 review: video and image quality

Video performance

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

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

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

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

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

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

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

Image quality

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

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

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

Should I buy the Canon EOS R5

Canon EOS R5 front

(Image credit: Future)

Buy it if...

Don't buy it if...

Olympus OM-D E-M10 Mark IV review
1:40 am | December 8, 2020
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: | Comments: Off

Editor's Note

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

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

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

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

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

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

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

Olympus OM-D E-M10 Mark IV

(Image credit: Future)

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

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

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

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

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

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

Olympus OM-D E-M10 Mark IV

(Image credit: Future)

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

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

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

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

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

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

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

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

Olympus OM-D E-M10 Mark IV

(Image credit: Future)

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

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

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

Olympus OM-D E-M10 Mark IV: Features

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

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

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

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

Olympus OM-D E-M10 Mark IV

(Image credit: Future)

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

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

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

Olympus OM-D E-M10 Mark IV: Autofocus

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

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

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

Olympus OM-D E-M10 Mark IV

This unedited photo shows the E-M10 Mark IV's impressive dynamic range. (Image credit: Future)

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

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

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

Olympus OM-D E-M10 Mark IV

(Image credit: Future)

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

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

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

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Olympus OM-D E-M10 Mark IV

The E-M10 Mark IV's quick focusing can help you freeze the perfect moment. (Image credit: Future)
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Olympus OM-D E-M10 Mark IV

Even when you shoot handheld the IBIS system can help you capture some excellent detail. (Image credit: Future)

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

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

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

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Olympus OM-D E-M10 Mark IV

Shoot in raw and you can recover some shadow and highlight detail... (Image credit: Future)
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Olympus OM-D E-M10 Mark IV

...compared to this original shot, where the shadows and highlights have been crushed and blown. (Image credit: Future)
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Olympus OM-D E-M10 Mark IV

The E-M10 Mark IV's HDR mode can be useful in mixed lighting situations like this... (Image credit: Future)
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Olympus OM-D E-M10 Mark IV

...compared to the original, non-HDR photo. (Image credit: Future)

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

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

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

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

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

Olympus OM-D E-M10 Mark IV

(Image credit: Future)

Buy it if...

Don't buy it if...

Nikon Z6 II review
1:03 am | November 19, 2020
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: | Comments: Off

Editor's Note

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

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

Nikon Z6 II: Two-minute review

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

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

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

Nikon Z6 II

(Image credit: Future)

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

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

Nikon Z6 II

(Image credit: Future)

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

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

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

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

Nikon Z6 II: Release date and price

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

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

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

Nikon Z6 II

(Image credit: Future)

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

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

Nikon Z6 II: Design

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

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

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

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

Nikon Z6 II

(Image credit: Future)

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

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

Nikon Z6 II

(Image credit: Future)

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

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

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

Nikon Z6 II: Features

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

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

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

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

Nikon Z6 II

(Image credit: Future)

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

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

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

Nikon Z6 II: Performance

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

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

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

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

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Nikon Z6 II

(Image credit: Future)
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Nikon Z6 II

(Image credit: Future)
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Nikon Z6 II

(Image credit: Future)

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

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

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

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

Nikon Z6 II: Image and video quality

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

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

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

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Nikon Z6 II

(Image credit: Future)
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Nikon Z6 II

(Image credit: Future)
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Nikon Z6 II

(Image credit: Future)
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Nikon Z6 II

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Nikon Z6 II

(Image credit: Future)
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Nikon Z6 II

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Nikon Z6 II

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

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

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

Should I buy the Nikon Z6 II?

Nikon Z6 II

(Image credit: Future)

Buy it if...

Don't buy it if...

Ryze Tello review
8:40 pm | September 24, 2020
Author: admin | Category: Cameras Computers Drones Gadgets | Comments: Off

Editor's Note

• Original review date: September 2020
• Officially out of stock but available online
• Launch price: $99 / £99 / AU$169
• Official price now: $99 / £105 / AU$169

Update: March 2024. When it landed in 2018, the Ryze Tello was a tempting proposition: a bargain drone designed with the help of DJI that’s easy to pilot using your smartphone. While it’s certainly not perfect – especially not in windy conditions – the Tello remains our favourite budget beginner drone today. Thanks to its tiny design and simple interface, it’s still a great choice for pilots who are learning the ropes of drone flight. It doesn’t win any prizes for video quality and is easily blown off course, but it’s hard to critique too much at this price point. Officially out of stock in many regions, you can still pick up the Tello from a number of online retailers. One option is to purchase the drone alone, but we’d suggest looking out for the Boost Combo. In our experience, this is more likely to be discounted in seasonal sales. It also goes some way to addressing the Tello’s short flight time, bundling in three batteries and a charging hub.

The Ryze Tello is the result of a collaboration between leading consumer drone maker DJI and fellow Chinese start-up Ryze. A simple, lightweight and affordable quadcopter, it's clearly pitched at newcomers to the hobby.

Despite its budget-friendly price, it comes with an onboard nose-mounted camera that's capable of capturing 5MP photos and streaming 720p HD video. You also get a reasonable-sounding 13 minutes of flight time per fully charged battery and stability sensors to (theoretically, at least) keep it from drifting off into walls, shrubberies and neighbours’ gardens. 

In other words, it hasn’t been stripped right back to the bone to keep costs low. Even the plastic body, while we wouldn’t call it premium by any means, feels tough enough to survive a bit of rough and tumble.

Ryze Tello

(Image credit: Future)

Flyable via a Wi-Fi-equipped smartphone running the Tello app, the drone has a theoretical control range of 100m, maximum altitude of 30m and maximum speed of 8m/s. The app comes with automatic take-off and landing controls, plus an on-screen twin-stick setup that feels rewardingly responsive. 

The Ryze Tello is a fun drone to fly, particularly if you’re outside with room to spare. It zips along at an enjoyably rapid chop and responds nimbly to the on-screen controls, twisting and turning in the air with surprising grace. 

We should add that all of the above only applies when the weather is playing nice. On a breezy day the 80g drone gets swept away by the slightest gust, and it struggles to move against the wind too, so we wouldn’t recommend flying it in anything but dead calm. 

Ryze Tello

(Image credit: Future)

If you do decide to take it out in blustery conditions, make sure you give yourself plenty of space – otherwise you risk it crashing unceremoniously into a tree or being carried off and lost entirely.

Ryze cites the Wi-Fi range as “up to 100m”, but in practice you’ll likely never see it approach that. The maximum range we could control the drone at was closer to 30-40m, and there are limits on its altitude too: Ryze suggests it can reach heights of 30m, but it seemed more like 10m to us. 

While this range might sound a little restrictive, we think it’s acceptable for a basic budget drone with a simple, forward-facing camera – you’re not going to be using the Tello to capture sweeping aerial landscape photos, but close-range selfies and group shots.

Ryze Tello

(Image credit: Future)

When flying on a calm day or indoors (some prop guards are included for the latter; you may as well keep them attached for outdoor flights too), a pair of downward-facing sensors keep the Tello nice and steady. Take your hands off the controls and it will hover in place rather than drift around. This system is light-based, so only works in bright conditions.

The sensors power one of the Tello’s flight tricks: the ability to hold out your hand and have the drone land on your outstretched palm (do watch your fingers until the props power down, though). You can also use “Throw & Go” to launch the drone: turn the power on, then toss it upwards and away from you in the air, whereupon it’ll engage its rotors and hover in place.

In addition to manual flight controls, a handful of automated modes can be used to perform tricks and capture interesting videos: 360-degree rotations, 'Up & Away' (which flies – yes – up and away from you while facing you) and more. The most interesting is the 8D flips, which makes the drone perform precise flip-over tricks that mirror how you swipe your finger across the screen.

Ryze Tello

(Image credit: Future)

The Tello app is refreshingly simple, with clearly labelled controls and a limited (but not restrictive) set of options. There’s an on-screen battery indicator while flying, plus a built-in warning system that kicks in when power is low, to help ensure you don’t lose the Tello due to it abruptly running out of juice.

Battery life is decent, however: you can get as much as 13 minutes of flight time out of one charge. This does make buying multiple batteries necessary if you’re planning on long sessions, but given the toy-like nature of the Tello we think 13 minutes is perfectly acceptable. One option would be to buy the “Boost Combo” package, which includes three batteries and an external charger able to accommodate all of them at once.

Finally, we should mention the image quality of the built-in camera. It’s not wonderful, in all honestly, lacking dynamic range and, in the case of videos, often subject to extremely noticeable compression artifacts. The method of storage doesn’t help: because videos aren’t stored locally on the drone but beamed directly to your phone, anytime the Wi-Fi connection drops in quality you’ll run into frame rate issues: fly the drone away from you and at some point the video will start stuttering.

Should I buy the Ryze Tello?

Ryze Tello

(Image credit: Future)

Buy it if...

Don't buy it if...

Canon EOS R6 review
2:40 am | September 23, 2020
Author: admin | Category: Cameras Computers DSLRs Gadgets | Comments: Off

Editor's Note

• Original review date: September 2020
• Newer Canon EOS R6 Mark II now available
• Launch price: $2,499 / £2,499 / AU$4,499
• Discounted officially but stock may still available at retailers

Updated: February 2024. According to Canon, the EOS R6 was one of its most popular cameras since its launch, prompting it to release the Mark II version in November 2022. The original EOS R6 has since been discontinued, with listings from Canon's official regional sites either removed or listed as out of stock. That said, some new stock is still available to buy from authorized retailers for about $1,999 / £1,399 / AU$2,800. The original review remains as previously published.

Canon EOS R6: two-minute review

Canon’s new EOS R6 may have been overshadowed by its more expensive EOS R5 sibling, but given its impressive feature set, it might become Canon’s most popular camera. It fills the hole left between the EOS R’s pretty impressive skills and the top-end specs of the EOS R5 (which, admittedly, might be too much of a camera for the average user).

To put it simply, the EOS R6 is essentially a more affordable R5, albeit with a significantly lower sensor resolution and more limited (but still excellent) video recording capabilities. And, despite being classed as an enthusiast-level camera, the EOS R6 comes with features that rival Canon’s professional-level – and extremely expensive – models. All of that adds up to make the R6 one of the best Canon cameras available right now.

Taking a leaf, or two, out of the EOS 1D X Mark III playbook, the EOS R6 inherits the same 20MP sensor resolution as the DSLR but not quite the same sensor. The difference is in the architecture as an upgraded version of Canon’s tried-and-tested Dual Pixel CMOS autofocusing system has been incorporated onto the sensor. This has markedly improved autofocus and tracking performance, with the EOS R6 now able to match, and sometimes outperform, Sony’s Real-Time Tracking Autofocus.

20.1MP is a step down from the 26.2MP pixel count in the EOS 6D Mark II and EOS RP (or the 30MP one in the EOS R), and that’s evident in side-by-side comparisons, although you will have to look really close to be disappointed. However, it’s the dynamic range that’s disappointing – images taken in bright sunlight appear flat, with a lack of detail in highlights and shadows. In comparison, the EOS 6D Mark II performed better in the same situation. That said, image quality is still pretty darn good and shooting with the EOS R6 is an absolute pleasure.

Its ergonomic design makes it comfortable for all-day use, no matter how large or small your mitts are, and you can shoot handheld at shutter speeds as high as 2 seconds and still get remarkably sharp images (provided you have steady hands).

It’s Canon’s first try at in-body image stabilization (IBIS) and, boy, has the company nailed it! It also makes shooting video an absolute pleasure. Yes, there are limitations when shooting 4K footage – and you aren’t going to get the R5’s impressive 8K option here – but Canon has made it very clear that the EOS R6 is first and foremost a stills camera.

Then there’s the marked improvement in speed – while it can’t quite match the 1D X Mark III’s blitzing 16fps burst with the mechanical shutter, the R6 is capable of 12fps bursts. Switch to its electronic shutter and it will match the sports DSLR’s whopping 20fps continuous shooting speed – more than enough for wildlife or sports photography.

Overall, the EOS R6 is a massive upgrade from either the EOS 6D Mark II or even the EOS R and the EOS RP, and is deserving of its place in our guide to the best cameras for photography. But all that impressive performance doesn’t come cheap, with higher resolution full-frame mirrorless models now available at a similar price point.

Canon EOS R6

(Image credit: TechRadar)

Canon EOS R6 review: price and availability

  • Announced July 2020
  • Available right now for $2,499 / £2,499 / AU$4,499
  • Limited stock in most markets

Although Canon announced the EOS R6 (and the EOS R5) in early July, the camera didn’t begin shipping until late August. Even then, there were – and still is – very limited stock reaching retailers worldwide due to the current pandemic affecting supply lines. You may be able to book an EOS R6 with authorized Canon retailers right away, and they will be able to let you know when your unit will ship.

The R6 will set you back $2,499 / £2,499 / AU$4,499, which isn’t cheap by any means. That’s an upper-midrange price tag for a camera Canon has classified as enthusiast-level, but costs about as much as other high-end contenders for the best mirrorless camera crown like the Nikon Z7 or the Sony A7R III, both of which have high-resolution sensors.

That said, given the R6’s feature set, it’s a competitive price point that’s only slightly higher than the $2,299 / £2,349 / AU$3,349 launch price of the EOS R.

Canon EOS R6

(Image credit: TechRadar)

Canon EOS R6 review: specs and features

  • 20.1MP full-frame CMOS sensor
  • IBIS with up to 8 stops of compensation
  • Head- and eye-detect AF for animals

There have been so many cameras aimed at video makers that it’s refreshing to know manufacturers haven’t forgotten stills photographers. Canon’s target market for the new EOS R6 is “photographers more focused on stills” who may want to take videos occasionally, with the camera inheriting some top-end features from the EOS 1D X Mark III, starting with its processor.

Canon’s latest Digic X imaging engine works alongside a slightly redesigned 20.1MP full-frame CMOS sensor that, the manufacturer says, is “similar” to the one used in the sports DSLR. The updated sensor incorporates Canon’s second-generation Dual Pixel autofocus architecture (called Dual Pixel CMOS AF II). This has improved phase-difference detection autofocusing in Live View on the R6, and also allows for faster readout speeds during fast continuous shooting and while capturing 4K video at high frame rates. In theory, this should even reduce rolling shutter distortions when using the sensor-based electronic shutter.

20.1MP might seem like a step down for a camera that’s meant to be an all-rounder, but it’s all about the markedly improved speed. The R6 can shoot bursts of 12fps when its mechanical shutter is in use – a remarkable number for a camera that’s aimed squarely at enthusiasts and hobbyists. If that’s not fast enough for you, just switch over to its electronic shutter and the R6 will match the EOS 1D X Mark III’s top speed of 20fps.

Lower pixel count also means bigger pixels, which translates to better light sensitivity and higher signal-to-noise ratio, giving the EOS R6 a native ISO range of 100-102,400 that can be expanded either side to ISO 50 and ISO 204,800 – a massive step up from the EOS R’s native ISO sensitivity of 100 to 40,000. Canon says the decision to use a lower resolution sensor is also to help event photographers manage their workflow – lower pixel count means the file sizes are smaller, thus speeding up transfer rates.

Canon EOS R6

(Image credit: TechRadar)

The headline feature, though, is the addition of in-body image stabilization, something Canon has historically shied away from. The newly designed 5-axis system, Canon says, offers up to 8 stops of compensation when working in tandem with a stabilized lens, although the shutter speed compensation will depend on which lens is being used. For example, with the RF 24-105mm f/4L IS USM lens which has 5-stops of image stabilization, you’ll get 8 stops of coordinated control; however, with the RF 24-240mm f/4-6.3 IS USM lens, which is longer and heavier but has the same 5-stop stability, you’ll get a combined 6.5 stops of stabilization. 

This latter is the lens we used during most of our testing and were able to shoot handheld at a shutter speed of 2 seconds at an effective focal length of 24mm – pretty much matching Canon’s claim. And if you use a lens without IS (like the RF 28-70mm f/2), you’ll still get a full 8 stops of stabilization.

The R6’s autofocus system has also been given an impressive boost. There are 6,072 user-selectable AF points covering 100% of the frame – an improvement over the EOS R’s 5,655 AF point system. Canon also claims the R6 (and the R5) have the “world’s fastest AF for a full-frame camera” measured at 0.05 seconds, although the EOS R also lays claim to the same AF acquisition speed. That said, Sony has beaten Canon with the APS-C format Alpha A6400 that has an AF acquisition speed of 0.02 seconds.

Like the 1D X Mark III, the EOS R6 also has HEIF (High Efficiency Image Format) file support. That means images are captured in 10-bit RGB color for wider dynamic range and color gamut. This format also uses a more efficient compression algorithm that saves a lot more information than traditional JPEGs and is a great alternative to anyone who doesn’t shoot in RAW.

In terms of video, the R6 is clearly not competing with the R5. 4K/60p capture is the best you can get here, and in UHD only. There’s no DCI support for a more cinema-like look, but Canon hasn’t designed this camera for videographers. That said, being able to shoot 4K video while utilizing the full width of the sensor is a huge advantage the R6 has over the EOS R and RP.

Canon EOS R6

(Image credit: TechRadar)

Canon EOS R6 review: design and handling

  • Deep, ergonomic grip
  • Joystick multi-controller
  • Dual card slots

Physically, the EOS R6 doesn’t offer a huge size advantage over its 6D Mark II DSLR cousin. It’s only marginally lighter and smaller at 680g (compared to the 765g weight of the latter) and dimensions of 138mm x 98mm x 88mm (as opposed to 144mm x 111mm x 75mm for the 6D II). In real-world use, you’ll barely register the difference. 

Thanks to its deep grip, the R6 is wonderfully ergonomic for holding and using for long periods of time. And for those worried about the elements, the R6 is weather sealed. In fact, the EOS R6 (and the R5) have the option of keeping the shutter closed when the camera is powered off to minimize dust damage, something you can set up within the menu system.

The body resembles the older EOS R in most ways but there are a few obvious differences – the main one being the return of the joystick multi-controller on the camera’s rear. The touch bar on the rear panel of the EOS R was a sore point of contention amongst many users and it’s good to see that it’s gone. The textured joystick is easy to find without taking your eye off the viewfinder. You can use it to find your choice of AF point easily or to navigate the menu system if you’re not keen on Canon’s touchscreen functionality. 

Canon EOS R6

(Image credit: TechRadar)

The other difference on the rear control setup is the return of the Quick Menu (Q) button which was also missing in both the EOS R and the RP. If you’re an existing Canon user, the control layout will, for the most part, be very familiar to you, as will the menu system. For those coming from a completely different system, Canon’s setup has always been very intuitive and easy to use, and just a few minutes spent familiarizing yourself will have you up and running.

On the top, the R6 misses out on the LCD display that’s available on the EOS R and R5 (and also on Canon’s DSLRs) but gets a traditional mode dial that will be familiar to most Canon DSLR users.

The R6 also misses out on the high-resolution viewfinder that’s on the R5, instead getting a 3.69-million dot EVF (matching the EOS R). While a higher resolution EVF would have been grand, there’s absolutely nothing to complain about here – a refresh rate of 119.8fps means you’ll barely notice any blackout.

If you’re not keen on using the EVF, you can always shoot in Live View and frame your image using the 3-inch 1.62-million dot rear touchscreen. This vari-angle display is slightly smaller than the one on the EOS R5, which is 3.2 inches thanks to thinner bezels.

Canon EOS R6

(Image credit: TechRadar)

Another major improvement the R6 brings is dual card slots, both of which support SD UHS-II format. You can record to both simultaneously if you wish or one at a time.

On the opposite side to the memory card slots are all the other ports you’ll need. There’s 3.5mm headphone and mic jacks, a 3.1 Gen 2 speed USB-C port, a micro HDMI port, and an E3 remote shutter terminal. The USB-C port can be used to charge the camera while on the go.

Speaking of charging, both the R6 and the R5 also benefit from a new battery – LPE-6NH – which not only offers better battery life (about 510 shots as per CIPA’s conservative rating) but is also compatible with any Canon body that uses LP-E6N or LP-E6 batteries (like the 6D Mark II, for example).

(Image credit: TechRadar)

Canon EOS R6 review: autofocus

  • 6,072 AF points
  • Dual Pixel CMOS AF II
  • 100% horizontal frame coverage

Like the pro-level 1D X Mark III and the more expensive EOS R5, the R6 is remarkably quick and accurate, with autofocus performance that’s arguably best in class. Starting with subject detection, locking onto a face or eye and then tracking the subject – it was all spot-on pretty much every single time we tested it. 

Bursts of a seaplane flying show every single frame in sharp focus, as does sequences of shots we took of birds. If the animal or person we were shooting turned away from the camera, the R6 promptly increased the focus box size and locked on to the back of the head. In fact, if the subject turned back to face the camera again, the R6 was able to lock onto an eye without so much as a blink.

Canon's AF system is best-in-class and the only time we failed to capture a sharp image is when we ourselves weren't able to keep up with our subjects

Canon's AF system is best-in-class and the only time we failed to capture a sharp image is when we ourselves weren't able to keep up with our subjects (Image credit: TechRadar)

Canon says the animal recognition on the R6 is currently only for cats, dogs and birds, but that doesn’t stop the camera from focusing on anything it thinks is an eye or a head. For subjects as small as bees, the R6 was able to find the insect’s head and stick with it as long as it was on a flower. However, we failed while trying to track the bees as we were too slow to follow the busy bodies, and the out-of-focus images were no fault of the camera but the user's inability to keep up.

Canon’s new Dual Pixel CMOS AF II system allows focusing to be done on-sensor and gives you a whopping 6,072 AF points to choose from – higher than the R5’s 5.940 user-definable points. These points cover the entire horizontal frame and 90% vertically, which is more than what most intermediate-level cameras offer.

Long story short, there’s no other camera in this class that can do what the R6 does in terms of autofocus, at the speed at which it does, and, arguably, at the price point that it does.

Canon EOS R6 review: performance

  • Best-in-class full-frame IBIS
  • Up to 20fps burst speed
  • Improved battery life

With Canon’s latest Digic X imaging engine under the hood, you’d expect the R6 to be a top performer like the 1D X Mark III where the processor debuted. And our tests prove that it is.

The R6 is capable of capturing 5472x3648 pixel images (as compared to the larger 8192×5464 size on the R5) in JPEG or 14-bit RAW files. Compressed RAW is also available, but our file format pick is the 10-bit HEIF. To shoot in this format, you need to enable HDR PQ, which will swap JPEG out for HEIF, and you can convert back to JPEG in-camera as well.

To match the camera’s burst speed, it’s important the R6 have an equally impressive buffer memory. While a lot will depend on the memory card you’re using, the camera handled a burst of about 315 frames during our tests without even thinking about it to a UHS-II SD card. 

In fact, you’ll easily be able to save over 1,000 JPEGs or compressed .CR3 RAW files to a UHS-II card without the camera slowing down. If you’re shooting uncompressed RAW, then buffer depth will drop significantly to 240 consecutive files. Either way, that’s way more than what most people will need.

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 24mm, 1s (handheld) at f/4, ISO 800

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 24mm, 1s (handheld) at f/4, ISO 800 (Image credit: TechRadar)

But it was the image stabilization that we were most keen to test and, boy, did it impress. Paired with the RF 24-240mm f/4-6.3 IS USM lens, which itself has 5-stops of image stability built in, we were supposed to get a total of 6.5 stops of compensation according to Canon’s own claims. That means that at 24mm effective focal length, we should be able to hold the camera for a maximum shutter speed of 2 seconds and, in practice, that worked. The only downside to us capturing pinpoint sharpness was the buffeting wind we were facing. However, 1.6 second shutter speed shot during the same windy evening was perfectly usable.

Canon EOS R6 mechanical shutter (left) vs EOS R6 electronic shutter (right): there's no discernible rolling shutter effect while panning 

Canon EOS R6 mechanical shutter (left) vs EOS R6 electronic shutter (right): there's no discernible rolling shutter effect while panning  (Image credit: TechRadar)

We also tested how the R6’s electronic shutter would handle itself while panning. Rolling shutter effects are common when shooting with a sensor-based electronic shutter but our tests showed no noticeable distortion while panning slowly, but we did see a significant lean when panning faster.

Canon EOS R6 review: image quality

  • Excellent color reproduction
  • Disappointing dynamic range in JPEGs
  • Good ISO performance

Most users would be concerned with the resolving power of the 20MP sensor. As long as you aren’t doing a side-by-side comparison with the R5 – which would be highly unfair – we found the R6 can hold its own. 

Images pop with color without appearing oversaturated, as has always been Canon’s trademark. Details are good for the most part but we did find the R6 struggles during bright sunlight. 

Canon EOS R6 (left) vs Canon EOS 6D Mark II (right): the DSLR captures more details and textures overall, although the R6 resolves the details within the building better

Canon EOS R6 (left) vs Canon EOS 6D Mark II (right): the DSLR captures more details and textures overall, although the R6 resolves the details within the building better (Image credit: TechRadar)

We took a series of shots on a very sunny day only to find images appearing flat, with lack of details. When compared to the EOS 6D Mark II, we found the latter’s 26MP had a touch more detail and texture than the R6, as you can see in the 50% crop side-by-side JPEG comparison pictured above.

While the R6 handled the resolution of the bars through the glass wall of the ferry wharf really well, the 6D II had more detail on the roof of the wharf and the water surface. Even colors on the R6 image appear flatter in comparison to the DSLR. 

That said, these are standard JPEGs – if you shoot HEIF files, the R6’s 10-bit dynamic range will come into play and you’ll be able to capture greater tonal range. Keep in mind that software support for HEIF is still limited, although it is the default file format for Apple’s Photos app, and you can convert all HEIFs into JPEGs in-camera.

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Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 65mm, 1/400s at f/13, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 65mm, 1/400s at f/13, ISO 200 (Image credit: TechRadar)
Image 2 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/350s at f/6.3, ISO 320

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/350s at f/6.3, ISO 320 (Image credit: TechRadar)
Image 3 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/500s at f/9, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/500s at f/9, ISO 200 (Image credit: TechRadar)
Image 4 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/2000s at f/16, ISO 3200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/2000s at f/16, ISO 3200 (Image credit: TechRadar)
Image 5 of 12

Canon EOS R6 + RF 35mm F1.8 Macro IS STM | 35mm, 1/250s at f/5, ISO 200

Canon EOS R6 + RF 35mm F1.8 Macro IS STM | 35mm, 1/250s at f/5, ISO 200 (Image credit: TechRadar)
Image 6 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/320s at f/7.1, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/320s at f/7.1, ISO 200 (Image credit: TechRadar)
Image 7 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 25mm, 1/400s at f/10, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 25mm, 1/400s at f/10, ISO 200 (Image credit: TechRadar)
Image 8 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/500s at f/10, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/500s at f/10, ISO 200 (Image credit: TechRadar)
Image 9 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/800s at f/10, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 240mm, 1/800s at f/10, ISO 200 (Image credit: TechRadar)
Image 10 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 118mm, 1/320s at f/9, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 118mm, 1/320s at f/9, ISO 200 (Image credit: TechRadar)
Image 11 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 24mm, 1/250s at f/8, ISO 100

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 24mm, 1/250s at f/8, ISO 100 (Image credit: TechRadar)
Image 12 of 12

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 42mm, 1/500s at f/13, ISO 200

Canon EOS R6 + RF 24-240mm F4-6.3 IS USM | 42mm, 1/500s at f/13, ISO 200 (Image credit: TechRadar)

You’ll also find that the camera’s 20MP sensor has enough resolving power to allow for some cropping without excessive loss in quality, provided the image was shot at low ISO. As expected, you’ll find some details being lost at high ISOs, although it was only at ISO 20,000 that we began to see this problem. The R6 also handles noise quite well.

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There's still a good amount detail at ISO 10,000...

There's still a good amount detail at ISO 10,000... (Image credit: TechRadar)
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..but begin to flatten out at ISO 20,000 although the image is still usable

..but begin to flatten out at ISO 20,000 although the image is still usable (Image credit: TechRadar)

Overall, it’s a very capable camera that produces excellent images, as long as you aren’t looking to print any of them in a size larger than A3.

Should I buy the Canon EOS R6?

Canon EOS R6

(Image credit: TechRadar)

Buy it if...

Don't buy if...

[First reviewed September 2020]

Sony ZV-1 review
5:00 pm | May 26, 2020
Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Comments: Off

Editor's Note

• Original review date: May 2020
• Launch price: $749 / £699 / AU$1,299
• Official price now: $649.99 / £649 / AU$1,079

Update: March 2024. That the Sony ZV-1 is four years old but remains in a several TechRadar buying guides is testament to its filmmaking chops, especially for those starting out in filmmaking and on a limited budget. Its 4K video and excellent autofocus performance with clever subject detection modes make it one of the best vlogging cameras even in 2024. An updated Sony ZV-1 II was introduced more recently and is also an excellent video camera. However, we have kept the older ZV-1 in key buying guides because the second-gen model simply doesn't do enough to merit an upgrade or to spend the extra money on, and so for now the ZV-1 remains an excellent value video-focused compact camera.

Sony ZV-1: two-minute review

The Sony ZV-1 is the most powerful pocket vlogging camera you can buy right now. It takes the best video features of the Sony RX100 series, including its class-leading autofocus system, and combines them with design tweaks that make it ideal for shooting YouTube videos at home or on the move. 

Its main strength is the combination of a bright 24-70mm f/1.8-2.8 lens with Sony's Real-time tracking and Real-time Eye AF systems. Together with the ZV-1's 1-inch sensor, which is larger than those in today's smartphones, these make it easy to shoot high-quality vlogs with pleasing background blur and consistent focus.

The inclusion of a 3.5mm microphone port means it's relatively easy to add good-quality audio to match your videos, while a hotshoe lets you mount accessories like a shotgun mic or LED light without needing a bracket to support them.

This is particularly useful because, while the ZV-1's three-capsule internal microphone is an improvement over the built-in mics found in the RX100 series and other compact cameras, it still falls short of offering audio that matches the quality of its video. You do at least get a windshield bundled with the camera, which is essential for when you're shooting in breezy conditions.

Sony ZV-1

(Image credit: Future)

The ZV-1 isn't perfect, and you might want to consider other options, depending on your needs. Its SteadyShot stabilization is passable for walking videos, but falls short of the smoothness offered by the DJI Osmo Pocket, GoPro Hero 8 Black, or larger cameras like the Olympus E-M5 Mark III. Its strongest stabilization also adds a slight crop that can make the resulting focal length slightly tight for handheld shots, though we didn't find this to be a major issue.

Despite the inclusion of renamed shortcut buttons for beginners, the ZV-1 also isn't the most user-friendly camera for those upgrading from smartphones. Aside from letting you tap to focus, its touchscreen doesn't work with menus like the handy 'Fn' grid, and it settings remain labyrinthine; a beginner-friendly section for video newcomers would have been nice.

Sony ZV-1

(Image credit: Future)

The flipside to this complexity is that the ZV-1 is absolutely packed with features, including a built-in ND filter, autofocus sensitivity options, and profiles like S-Log2 for those who like to color-grade their videos; Sony is also promising live-streaming software for Windows users from July 2020. All this makes it incredibly powerful for a compact camera, and ensures that it'll grow with you as your skills improve.

The ZV-1's size means there are naturally other compromises, including the lack of a headphone jack and average battery life, while the absence of an electronic viewfinder means those looking for a stills camera should also look elsewhere. But the ZV-1 packs in more power and video features than any other compact camera, making it an ideal take-anywhere camera for shooting content for your YouTube or other social media channel - indeed we think it's one of the best YouTube cameras.

Sony ZV-1: price and release date

  • The Sony ZV-1 launched on May 26, 2020
  • It costs $749 / £699 / AU$1,299
  • You can also buy a Bluetooth Grip controller for $138 / £170 / AU$249

You can order the Sony ZV-1 right now, as pre-orders opened on its release date of May 26, 2020. Sony says shipping is expected to start "in early June" in the US and UK, and by "mid-June" in Australia.

The compact vlogging camera costs $749 / £699 / AU$1,299 which puts it roughly in between the Sony RX100 Mark IV and RX100 Mark V price-wise. 

Unlike all of Sony's RX100 series camera, the ZV-1 lacks an electronic viewfinder, which helps to keep its price down. It does, though, bring newer features that aren't available on the latter two cameras, including Real-time Eye AF autofocus. 

That price tag puts the Sony ZV-1 at a similar price point to its main rival, the Canon G7X Mark III. That camera launched in August 2019 for $750 / £700 / AU$1,100, although it can currently be found for slightly less than that.

You can also now buy a shooting grip with an integrated wireless remote for the Sony ZV-1, the Sony GP-VPT2BT. This is available now, and costs $138 / £170 / AU$240.

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Sony ZV-1

(Image credit: Future)
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Sony ZV-1

(Image credit: Future)
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Sony ZV-1

(Image credit: Future)

Sony ZV-1: design

  • New side-flipping LCD screen is ideal for video
  • Hotshoe and 3.5mm port make it easy to add external microphone
  • Lacks the RX100 series' viewfinder and lens control ring

The Sony ZV-1 is like a Sony RX100 Mark V that's been redesigned for YouTubers. The end result isn't perfect, but it does fix most of the criticisms we had of the Mark V when it came to video shooting. Along with the Canon G7X Mark III, it's one of the few compact cameras that's been designed primarily for video.

First, the good bits. The best new feature is a side-hinged articulating touchscreen. This kind of screen is better than a tilting one for shooting video, because it leaves the top and bottom of the camera free for attaching accessories. Crucially, it also flips around 180 degrees to face forwards, allowing those operating one-person YouTube channels to frame their shots without needing someone behind the camera.

Sadly, Sony's touchscreen functionality is still pretty limited. You can tap the screen to pull focus in video, for example, but not navigate menus or even zoom in on photos. That's a shame for a camera that's been designed primarily for people who are upgrading from smartphones; still, the benefit of that side-hinged screen is that there's room on top of the camera for a hotshoe.

Sony ZV-1

(Image credit: Future)

This hotshoe replaces the electronic viewfinder you'll find on Sony's RX100 series. Losing a built-in EVF would be a big deal for a stills-focused camera, and it's something to bear in mind if you need an all-rounder for both photos and video. But it makes sense for a vlogging camera like the ZV-1, because its target audience will mostly be using the screen as a viewfinder – and it also helps to reduce the ZV-1's price tag, if not by quite as much as we'd hoped.

The option to plug accessories like LED lights or external microphones into that hotshoe is a real bonus. If you purchased the Sony RX100 VII you had to buy an external bracket to mount them, but there are no such worries with the ZV-1, and this brings us to another of the ZV-1's vlogging bonuses: a 3.5mm mic input.

There isn't much point shooting great-looking video if you don't have the audio to match, so a 3.5mm port is essential for vlogging cameras. The Sony ZV-1 does actually have an improved built-in microphone on its top plate – this is a three-directional capsule mic with left, center and right channels. 

Sony also bundles a 'dead cat' windshield with the ZV-1, which plugs into the hotshoe to help counter wind noise when you're shooting outdoors. But as we'll see later, an external microphone is still significantly better than any built-in equivalent, making that 3.5mm port a crucial inclusion.

Sony ZV-1

(Image credit: Future)

Slightly less welcome is the inclusion of a microUSB port below the mic port. While it's far from a deal-breaker, we expect all new cameras to offer USB-C ports these days for speedy charging and all-round convenience. The Fujifilm X-T4, for example, comes with a USB-C headphone adaptor that lets you monitor the sound on your recordings, which is something you can't do on the ZV-1. You can at least charge the Sony ZV-1 while using the camera, though, so it's not completely stuck in the charging dark ages.

The Sony ZV-1 brings two other handy design tweaks that you won't find on the RX100 VII or any of its predecessors. One is a small hand grip. While this doesn't revolutionize the ZV-1's handling, it's another feature that many RX100-series owners have added to their cameras with third-party accessories. And finally, for the first time on a Sony camera, the video recording button is now as big as the stills shutter button. 

These might not sound important, but they're pretty significant. Unlike the RX100 series, they mark the ZV-1 out as a video-first camera that can also do stills. And, while you miss out on features like an EVF and lens control ring, the inclusion of a side-flipping screen, hotshoe and mic port make the ZV-1 the best pocketable tool around for vloggers and YouTubers.    

Sony ZV-1

(Image credit: Future)

Sony ZV-1: autofocus and lens

  • Real-time Eye AF produces class-leading vlogging autofocus
  • Bright 24-70mm f/1.8-2.8 lens creates pleasing background blur
  • Lacks Animal Eye AF, but includes Real-time Tracking for moving subjects

The Sony ZV-1 does what many vloggers have been crying out for – it combines the lens of the Sony RX100 Mark V (or at least a mildly tweaked version of it) with Sony's latest Bionz X processor and autofocus skills.

Why include the 24-70mm lens from the Mark V, rather than the 24-200mm lens seen on the last two Sony RX100 cameras? Because the former is simply more suited to vlogging, thanks to its brighter f/1.8-2.8 aperture. This combines nicely with the camera's 1-inch sensor to give your videos some pleasing background blur, while still photos also benefit from the knock-on effect of the ability to shoot at lower ISOs in equivalent scenes (albeit at the expense of that longer 200mm reach).

But the ZV-1's real ace is pairing this bright lens with some of Sony's latest Real-time autofocus tech. This is possible thanks to the combination of the Bionz X processor (also seen in the full-frame Sony Alpha A9 II) and that 1-inch, 20.1MP stacked CMOS sensor, which has 315 phase-detect autofocus points covering 65% of the frame.

What does all this mean in reality? For a start, the ZV-1's hybrid autofocus, so-called because it combines phase detect with contrast-detect AF systems, means it's faster and more confident for video than the contrast-only systems seen in rivals like the Canon PowerShot G7 X Mark III. 

On top of that, you get Sony's latest Real-time Tracking and Real-time Eye AF (for people), which are easily the best you'll find in a compact camera for capturing people and moving subjects. Keeping moving subjects in focus is invariably just a case of tapping them on the ZV-1's screen; if you have Face and Eye AF tracking enabled, it will also seamlessly switch to the latter when it detects a person's face.

This is particularly important for a vlogging camera with a bright lens, because it can be very easy to lose focus on a face when shooting at apertures like f/1.8. But aside from when we got too close to the lens, we found the ZV-1 did an excellent job at tracking our eyes across most of the frame.

Sony ZV-1: features

  • Includes two new shortcut buttons for vlogging beginners
  • Picture profiles offer editing flexibility for more advanced vloggers
  • Slow-motion modes are fun and useful 

So what other video-friendly treats does the Sony ZV-1 pack beyond excellent autofocus? A huge amount, which isn't always a good thing for usability.

Sony's camera menus are renowned for being about as user-friendly as a book of hieroglyphics, and it's done a couple of things in an effort to make the ZV-1 a bit more intuitive for beginners.

These include two new default settings for the camera's two custom buttons. The first of these, called the 'Bokeh switch', will instantly switch to a wide-open aperture to give your footage a defocused background. Unlike smartphone 'portrait' modes, there's no computational trickery going on here – it's purely a shortcut based on traditional optics.

Sony ZV-1

(Image credit: Future)

The second and perhaps more useful custom button is called 'Product showcase', which is designed specifically for YouTubers who specialize in reviews. 

Again, this doesn't do anything beyond what you can do in the settings, but pressing this instantly turns off both SteadyShot stabilization (making a tripod a must for this mode) and Face and Eye priority AF. This means that when you hold a product up to the camera, it'll lock focus onto that, rather than prioritizing your face. Because of the speed of the ZV-1's autofocus, this works pretty well.

Still, these feel like hastily bolted-on fixes, and the ZV-1 otherwise feels very much like an RX100 series compact camera, which is a shame, and when you compare the interface to slick touchscreen apps like Filmic Pro, it can feel like a relic from the past. Prepare to do a lot of flicking through ZV-1's menus and setting up custom menus.

Sony ZV-1

(Image credit: Future)

To be fair, this complication is partly because the ZV-1 is so stuffed with features, with many of them aimed at advanced video shooters. This in turn gives it an incredible amount of depth for a compact camera. 

For example, there's the welcome return of the built-in ND filter. This was jettisoned on the last two RX100 cameras, but is nigh-on essential for getting smooth movement in videos on bright days, as it allows you to shoot with slower shutter speeds without having to stop the lens down.

Dig a bit deeper into the menus and you'll find compositional aides like focus peaking and zebra patterns, plus all of Sony's picture profiles including S-Log2, S-Log3 and Hybrid Log Gamma (HLG), for those who like to color-grade their footage to extract the most amount of dynamic range.

Sony ZV-1

(Image credit: Future)

But what about more commonly tweaked settings, like resolution and frame-rate options? Like the RX100 Mark VII, the ZV-1 can shoot 4K at a maximum 30p. It's a shame it doesn't have a 4K/60p mode, but its 4K footage is at least achieved by oversampling rather than pixel binning; the former is a superior method of grabbing a 4K image from the 20.1MP sensor, helping to avoid pixelated, jagged edges.

Of course, there are faster frame rates available if you're okay with shooting in 1080p, along with Sony's impressive super slow-mo options, which go all the way up to an incredible 960fps. 

Naturally, there's significant quality loss here, which we'll go into along with the ZV-1's stabilization and battery life in the performance section.

Sony ZV-1: performance

  • Video stabilization is improved, but falls short of the best
  • Built-in microphone is decent, but external mics recommended
  • Short battery life means packing spares for long shoots

Alongside great autofocus, a forward-facing screen and good audio options, vlogging cameras also need impressive image stabilization to help keep handheld footage steady. Of those four features, this is the Sony ZV-1's weakest area.

Not that its SteadyShot system is bad, by any means. Its most powerful 'Active' stabilization mode combines optical and electronic stabilization, and is available in 4K shooting too. If you're doing any walkaround vlogging, this is an essential mode, as you can see in our test clips below.

The trouble with 'Active' stabilization is that it applies a slight crop to your footage in order to counteract the bounce in your walking movements. It's not too severe, but because the ZV-1's widest focal length is already a slightly tight 24mm, it does mean you end up with very little room around your face when holding the camera at arm's length. 

We still think this crop is fine for handheld vlogging, particularly as it highlights how good Sony's Eye AF focusing is – but it might be something to try out first if you're planning to mostly film walking shots while talking to the camera.

If stabilization is important to you, it might also be worth considering alternatives or accessories. As you can see in our comparison video above, both the GoPro Hero 8 Black and DJI Osmo Mobile 3 (with a smartphone) offer superior stabilization to the Sony ZV-1, at the expense of image quality. The best of all worlds could well be combining the Sony ZV-1 with a gimbal like the Zhiyan Crane M2 – we'll update this review when we've had a chance to try out that combination.

The ZV-1's built-in, three-capsule microphone captures decent audio for a compact camera. The included 'dead cat' windshield is also essential if you're venturing out into breezy conditions, as our demo video above shows.

But there is inevitably still a little noise interference from camera's focus motors, and if you want to capture audio that matches the quality of your videos then you'll want to pair the ZV-1 with an external microphone. 

Fortunately, that's possible thanks to the 3.5mm microphone port on the side, and there are plenty of mic options around, from Sony's own ECM-XYST1M Stereo Microphone to something more discrete like the Rode Wireless Go. If you're just starting out, then a cheap lavalier (or 'lav' lapel mic) is an affordable way to boost the ZV-1's audio too, particularly if you'll mainly be talking to camera.

On a slightly more fun note, the Sony ZV-1 does also offer the same slow-motion modes as the RX100 series. These include 250, 500 and 1000fps options, although the latter two bring a significant hit to resolution and quality. We'd mostly steer clear of those, but the 250fps mode is decent, and combines nicely with the ZV-1's shallow depth of field. The only shame is that you can only shoot four-second clips, and setting up the slow-mo modes is still a clunky process.

With so many processor-intensive recording modes, how does the Sony ZV-1's battery life hold up? As you'd expect, not brilliantly – it only has room for the same NP-BX1 battery as the RX100 VII, which means around 260 shots or 45 minutes of video.

Sony ZV-1

(Image credit: Future)

This means carrying a spare battery or two is advised, although it is possible to use the camera while it's plugged into a battery pack or wall charger. Another bonus is that it's now possible to bypass the default five-minute recording limit when shooting 4K video – set the 'auto power off temp' to 'high' and it'll keep going until either the battery runs out or your memory card fills up.

We managed to record a continuous 4K video clip for 44 minutes in this mode – and while the ZV-1 was certainly toasty by the end, it wasn't impossible to hold, and Sony says using this mode won't damage the camera in any way.

Sony ZV-1: video and image quality

  • Shoots crisp, detailed 4K/30p video
  • Default skin smoothing is a little overdone, but can be turned off
  • Strong stills performance, but lacks a viewfinder

Like the most recent Sony RX100 cameras, the ZV-1 oversamples its video footage before downsampling it to 4K. This process produces sharper results than alternative techniques like pixel binning, and you can see this in its 4K footage – it's very crisp and detailed, and has no crop unless you're shooting with 'Active' stabilization.

It's a slight shame the ZV-1 doesn't have a 4K/60p option, as this would let you slow down 4K clips without any loss in quality. But it's not a major miss, and the 4K/30p mode impresses with its lack of rolling shutter, which is a common side-effect of CMOS sensors that sometimes results in skewed lines during fast panning movements.

The built-in ND filter also helps to keep movement nice and smooth in bright conditions, although the ZV-1 naturally struggles a bit more in lower light due to its 1-inch sensor. If you're faced with a really high-contrast scene, then picture profiles like S-Log2 will help you to extract extra detail, although you'll need to be comfortable with color grading before attempting that.

One area of image quality that Sony has gone big on for the ZV-1 is the color and exposure of human faces. Based on feedback from around the world, Sony says it's created an "optimized color algorithm" that makes sure skin tones are natural, wherever you're from. The ZV-1 also apparently uses its face recognition tech to get exposure readings, to make sure the vlogger's face is bright and well exposed in all conditions.

This certainly worked pretty well in our experience, although we haven't yet been able to try it on a range of faces. One thing we did tweak, though, was the ZV-1's skin smoothing effect – this is pretty strong by default, so we'd err on the side of switching it to 'low', or off entirely. Despite Sony's attempts to make it more natural than many equivalent smartphone modes, the stronger skin smoothing variants still look a bit too artificial for our tastes.

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Sony ZV-1

The ZV-1's default JPEG settings produce pleasing, life-like colors. (Image credit: Future)
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Sony ZV-1

The 24-70mm lens has just about enough reach to frame subjects from across the road. (Image credit: Future)
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Sony ZV-1

Still-life shots have plenty of detail with little noise up to ISO 800. (Image credit: Future)
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Sony ZV-1

The ZV-1's continuous shooting drive mode can help you capture decisive moments. (Image credit: Future)
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Sony ZV-1

The lens can focus from around 5cm away from your subject while retaining plenty of detail. (Image credit: Future)
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Sony ZV-1

The lack of a viewfinder is annoying in sunny conditions, but the ZV-1 is a decent walkaround camera on overcast days. (Image credit: Future)
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Sony ZV-1

Like the RX100 series, the ZV-1's 1-in sensor produces shots with great detail. (Image credit: Future)
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Sony ZV-1

Detail is generally best at the center of the frame, although the edges are still fine even at 70mm. (Image credit: Future)
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Sony ZV-1

The wider 24mm focal length allows you to squeeze details into a scene, even if a wider focal length would be welcome. (Image credit: Future)

Of course, despite its vlogging focus, the ZV-1 is also a pretty capable stills camera. The lack of a viewfinder or lens control ring means it's no match for its more stills-focused RX100 stablemates here, but the quality is certainly still there if you want to shoot some Instagram-worthy stills to complement your YouTube videos.

There's bags of detail in images, and you can bring back even more from highlights and shadow areas if you shoot in raw. Noise is well controlled too up to ISO 800, with image quality only really going south from ISO 6400 and above. 

Of course, it's arguable that today's smartphones are at least a match for the ZV-1 when it comes to stills photography, thanks to their computational smarts. But the ZV-1's bright lens and high-speed shooting modes still make it a handy backup tool for shooting portraits and action scenes, even if you really should be looking elsewhere for a dedicated stills camera. 

Should I buy the Sony ZV-1?

Sony ZV-1

The Fujifilm X100V (left) is a better compact camera for stills than the video-focused Sony ZV-1 (right). (Image credit: Future)

Buy it if...

Don't buy it if...

First reviewed: May 2020

Sony A6100 review
1:23 am | February 20, 2020
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , | Comments: Off

Editor's Note

• Original review date: February 2020
• One in a long line of APS-C cameras and it might not get updated
• Launch price: $749 / £830 / AU$1,349 (body only)
• Official price now: $599 / £649 / AU$ not available from Sony directly (body only)

Update: February 2024. Launched alongside the A6600 in August 2019, the A6100 is the entry-level APS-C mirrorless from Sony and was long touted as the best beginner mirrorless camera by TechRadar. It's almost five years old now and technology has moved on, but Sony was ahead of the curve back then and so the tech spec still isn't bad. You get 24MP stills with Sony's phase detection autofocus that still performs well today, but the 1.44m-dot EVF and limited tilt-touchscreen look dated now, plus you don't get in-body image stabilization. Still, there's even more APS-C lenses to choose from now and the A6100's reduced price and good availability secondhand for even less still makes it a compelling choice for beginner photographers. The pricier A6600 was essentially updated by the A6700 as the flagship model in 2023, but there's no sign of a A6100 replacement yet, and so you're still getting the latest entry-level model. The rest of this review remains as previously published.

Sony A6100: Two-minute review

The Sony A6100 is the natural successor to the wildly popular Sony A6000, a beginner-friendly mirrorless camera that is still available to buy new today, five years after its launch. That's the sign of a popular, enduring camera.

Both cameras are the entry-level models in Sony's range of mirrorless APS-C sensor snappers. 'APS-C' refers to the camera's sensor size, which is significantly larger than the ones found in smartphones, but smaller than the full-frame chips found in pro-friendly models like the Sony A7 III.

Much of the A6000’s core features remain in the A6100: there's the familiar body design, a sensor with the same 24MP resolution, a similar EVF and tilting rear LCD screen (though the A6100's screen is now touch sensitive), and an 11fps burst mode. 

However, there are some very welcome improvements in the A6100 too. Overall, this is a much more user-friendly camera. The general handling and performance is enhanced, particularly through its excellent continuous autofocus system.  

We now have a camera that more readily competes with today’s entry-level mirrorless shooters from other brands, of which there are many more since the day the A6000 launched. Despite this, the Sony A6100 is a worthy successor to one of the best beginner mirrorless cameras of all time when it comes to sheer sales.

Sony A6100

(Image credit: Future)

Sony A6100: Features

  • 24.2MP APS-C sensor 
  • 4K video at 30fps, 100Mbps 
  • Slow and quick motion Full HD videos 
  • Bluetooth, Wi-Fi and NFC connectivity

Sony sticks with a 24.2MP APS-C sensor, which is the same as the one found in the more expensive Sony A6400 and Sony A6600 cameras. Its resolution is par for the course and plenty for an entry-level camera. 

Sony A6100 key specs

Sensor: 24.2MP APS-C CMOS
Lens mount: Sony E-mount
Screen: 3-inch 922K-dot tilting touchscreen
Burst shooting: 11fps
Autofocus: 425 selectable points
Video: 4K/30p
Connectivity: Wi-Fi and Bluetooth
Battery life: up to 420 shots
Weight: 396g

While the A6100 can shoot 4K at 30fps, it does this with a slight crop – shoot 4K at 25fps, though, and it uses the full-width of the sensor (which means full pixel readout with no pixel binning), and fills the 16:9 rear LCD display. There is an S&Q setting (Slow & Quick Motion videos) that captures Full HD slow motion videos up to 100fps (4x) or quick motion videos down to 1fps (25x).

You do get a lot for your money with the Sony A6100. There’s the same 1.44 million-dot EVF, hotshoe and pop-up flash, all squeezed expertly into what is a very compact body. Plus, that LCD screen is now touch sensitive and can pull out and up into a selfie position. 

Images can be captured and shared wirelessly using a smartphone or tablet connected by Wi-Fi through Sony’s app called ‘Imaging Edge Mobile'. An easy connection can be made using NFC, or via the usual QR code method as well.  

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Sony A6100

(Image credit: Future)
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Sony A6100

(Image credit: Future)
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Sony A6100

(Image credit: Future)

Sony A6100: Build and handling

  • Small and solid polycarbonate build, with reasonably-sized controls 
  • Solid 420-shot battery life 
  • USB charging 
  • Tilt-touch screen with selfie mode 
  • Single SD UHS-I card slot 

Overall, we really enjoyed our time with the Sony A6100. We paired the camera with a couple of slightly higher-end lenses – the FE 24‑70mm f/4 and FE 35mm f/1.8 – which are both a sensible size and weight match. 

Depending on the lens, the A6100 is small enough to fit into a jacket pocket. This is thanks to its form factor – it stands at just 67mm high and has a very flat profile without the pentaprism 'hump' seen on rivals like the Fujifilm X-T3.

The polycarbonate body feels solid and the external controls are robust, while the textured hand and thumb grips provide a firm hold. Praise be for the slightly larger grip than the one in the A6000. 

Considering the compact size of this camera, a mighty number of controls and features are packed in. You get a pop-up flash that can be tipped back by hand for indirect fill light. There’s a hotshoe to attach optional accessories such as an external microphone, which is then connected via the microphone port on the side. (Unsurprisingly, there is no room for a headphone jack).

There's also a built-in EVF, which is a plus for a camera at this price. It’s not the easiest to use and the resolution remains at an average 1.44 million-dots. To get the latest high-resolution EVF, you’ll need to fork out extra for the Sony A6400 or Sony A6600.  

The tilt LCD touchscreen can be pulled out and up, and then flipped vertically above the camera into selfie mode. By today’s standards, the 3-inch screen has a relatively modest 920,000-dot resolution. It’s a 16:9 screen too, meaning that full resolution 3:2 photos do not fill the display and therefore appear on the small side – a similar scenario also happens on the 16:9 display on the Fujifilm X-A7.   

Given the A6100 is an entry-level camera, it is perhaps a little counter-intuitive that its touchscreen functions are so limited. The screen can be used to select the AF points and track subjects, plus pinch-to-zoom and scan an image in playback. But you can't navigate menus or make setting selections. Still, AF selection is arguably the most helpful touch function. 

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Sony A6100

(Image credit: Future)
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Sony A6100

(Image credit: Future)
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Sony A6100

(Image credit: Future)

Tiny, fiddly buttons are often a pitfall of such small cameras, but not so here. All of the buttons are clearly labeled and reasonably sized. There are two control dials – both are on the rear and naturally controlled using your thumb. Another dial on the top front would have been very welcome to bring your index finger into play instead.  

A 420-shot battery life is very competitive at this level. We used the camera during cold winter months and found that battery life drained a little quicker than expected. However, USB charging is massively helpful. It's worth noting here that there is no battery charger included with the A6100, just the USB cable.

With the camera continuously connected to a power bank, the battery tops up every time the camera is switched off, which proved very handy during our wintry outings. On-the-go charging for mirrorless cameras is a true solution for their more limited battery lives.  

The A6100 records images onto a single SD card, but isn't compatible with the latest UHS-II cards that possess superior read and write speeds. It’s no surprise, yet the result is some functional lags when using the camera for continuous shooting. 

One handling issue worth mentioning – which is not unique to the A6100 but quickly noticeable on a camera like this – is how 'Auto ISO' favors a lower ISO setting over a quicker shutter speed when shooting in Aperture priority mode.  

For example, with the lens set to a 24mm equivalent focal length, auto ISO will naturally select a shutter speed of around 1/30 sec, no matter what scene is being captured. That’s fine for static subjects, which will remain sharp, but any movement from people will be blurry.   

We often chose to shoot in full 'Manual' mode with auto ISO, to ensure the desired shutter speed and aperture. However, stick the camera into its Auto mode and scene detection comes into play with more sensible shutter speeds chosen.  

It takes more time to familiarize yourself with what the A6100 can do than most other entry-level cameras. That’s no bad thing, but we’d firmly recommend a little research on ways to set up the camera for quick control and to ensure you are getting the best out of it. For example, customizing the continuous AF settings and adding your most used controls to the main Function (Fn) menu.  

Sony A6100

(Image credit: Future)

Sony A6100: Performance

  • 425-point phase detection autofocus 
  • Excellent continuous tracking autofocus 
  • 11fps mechanical shutter 
  • 1200-zone evaluative metering 

Where the A6100 shines brightest is through its rapid and reliable autofocus system for both photography and video. It has the same AF system as the flagship Sony A6600, a camera that's almost twice the price. 

There are several Focus Modes and Focus Areas to choose from. After playing around with these settings, we settled on continuous AF with the 'Tracking: Expand Flexible Spot' focus area for virtually all scenarios.  

With this AF setup in play, focusing for general action – family shots, a specific subject within the frame – is extremely reliable. Honestly, there were times that we forgot that this is an entry-level camera because the A6100 is so reliable for sharp focusing. 

A burst mode of 11fps is, on paper, solid. However, in use the reality of 'continuous high' shooting is a tad disappointing. In our experience, the length of bursts do not quite match the claims of up to 67 frames. Also, the camera takes time to buffer those sequences before full performance is available again.   

Despite the Bionz X processor, the limitations of a UHS-I SD card slot are clear. We found the 6fps 'Continuous Mid' shooting mode a more sensible choice. The A6100 is still very competitive at this level, but the Olympus E-M5 Mark III is only a little more expensive and offers UHS-II compatibility with unlimited burst shooting.

The A6100 uses a 1200-zone evaluative metering system. In many circumstances – and of course this is to taste – we found exposures a little bright and opted to dial in around -0.7EV exposure compensation.  

For us, the Imaging Edge Mobile app provided a hassle-free connection and worked very well for image uploads and remote control shooting. The same cannot be said for all brands, so kudos to Sony here.  

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Sony A6100

A high frame rate like the 'Continuous High' at 11fps increases your chances of capturing the crucial moment. However, the sequences don’t last long before the camera’s buffer is full. Moreover, the camera takes some time to be ready to shoot again. (Image credit: Future)
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Sony A6100

The AWB: Ambient setting gives pleasing colors while maintaining warm tones. (Image credit: Future)
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Sony A6100

We found the evaluative metering makes exposures a fraction too bright and often opted to dial in some negative exposure compensation. (Image credit: Future)
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Sony A6100

If you brighten low key images like this it is clear there is plenty of crisp detail in shadow areas. (Image credit: Future)
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Sony A6100

Face detection AF works quickly and, for the best part, focuses on what’s important, the eyes. (Image credit: Future)

Sony A6100: Image and video quality

  • 24.2MP resolution holds its own 
  • ISO 100-32,000 (extended to ISO 51,200) 
  • 4K videos look good and helped by reliable continuous AF 
  • Vibrant colors but no flat/natural color profiles

Sony's APS-C cameras have offered a 24MP resolution for almost ten years. Even today, few venture higher or lower than 24MP. It’s a sensible choice in the entry-level A6100, though one has more cause for complaint in the flagship Sony A6600.  

The 6000x4000 pixel resolution equates to an A3-print size at 350ppi, though by reducing the ppi you can make a high quality print up to A2 – that’s surely enough for most photographers. 

Video quality is solid. 4K videos at 25fps are taken from the full-width of the sensor and the quality is helped no end by the reliable and intelligent continuous tracking autofocus.  

Of course, image quality is affected by the lens attached to the camera and the 16-50mm Power Zoom kit lens of the A6100 has a poor reputation. But add a different lens – such as the two we used – and you’ll get crisp images with plenty of detail all the way up to ISO 3200. 

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Sony A6100

In general, color rendition is accurate and pictures look great straight out of the camera as JPEGs. (Image credit: Future)
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Sony A6100

This image is taken at ISO 6400 and detail is still reasonably sharp in the bright areas. (Image credit: Future)
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Sony A6100

We found the evaluative metering makes exposures a fraction too bright and often opted to dial in some negative exposure compensation. (Image credit: Future)
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Sony A6100

The APS-C sensor has a wide dynamic range – this unedited image was shot in a standard mode without increasing the dynamic range in any way. (Image credit: Future)
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Sony A6100

The tilt-screen is ideal for clear viewing when shooting at low angles. (Image credit: Future)

For most subjects, the ‘Standard' Creative Style creates realistic tones and accurate colors for JPEG images straight out of the camera. Sony’s color profiles are gradually turning around and indeed we have seen an improvement – those jumping from the A6000 will appreciate the difference. 

For more critically observed subjects, skin tones for example, things are a little too saturated for our liking, even in the least punchy Standard Creative Style (again, that’s down to personal taste). We’d love to see a more natural or flat color profile included for photos and videos here – most other brands offer at least a ‘Natural' profile.  

To get a ‘flatter' tonal range from which to make edits to saturation post capture, your best bet is decreasing the contrast in the Standard Creative Style (or to shoot in Raw format). However, it’s not possible to make any image edits in-camera. 

Dynamic range is very good. A lot of detail can be recovered from shadow areas that appear black, and a reasonable amount can be found in bright highlights. You’ll get notable patches of chroma noise and overall luminance noise in shadow areas of low contrast images taken at ISO 6400 and higher, though.

Sony A6100

(Image credit: Future)

Sony A6100: Verdict

Considering the design, price point and feature set, the Sony A6100 is arguably the most enticing camera in Sony’s A6000 series today.  

Firstly, the body design that's consistent throughout this series does feel more suited to beginners and those growing their skill level.  

Image quality and autofocus are also on a par with the more expensive Sony A6400 and Sony A6600, which is impressive. The main gripes that we have of all A6XXX series cameras – mainly handling and performance limitations – are also less forgivable on the flagship models than they are here.  

So what do the more expensive models have going for them? Well, the flagship Sony A6600 has a much better battery life, in-body image stabilisation (IBIS), a higher resolution EVF and a metal, weather-sealed body. But it’s virtually twice the price. 

Crucially for Sony, the A6100 refreshes the A6000 and holds its own against today’s growing competition. There is class-leading continuous autofocus and in most other areas, such as battery life, the camera is very competitive.  

We expect the A6100 to be the most popular of the current A6XXX series and for good reason – it’s well-priced and is a brilliant little camera once you get to know it.  

Sony A6100: Also consider

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(Image credit: Future)

Canon EOS M50

Perhaps the most obvious direct rival to the A6100, the Canon EOS M50 is a little older than Sony's entry-level camera, but also a lot more affordable. It shows its age in many areas, with the A6100 offering superior autofocus, battery life, video powers and native lens choices. But if you can't stretch to the A6100 or have existing Canon EF or EF-S lens that you'd like to use with the EOS M50 (via an adaptor), it's well worth considering for beginners.

Read our in-depth Canon EOS M50 review    

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Nikon z50

(Image credit: Future)

Nikon Z50

It's a fair bit pricier than the Sony A6100, but the Nikon Z50 addresses one of our main complaints with Sony's APS-C cameras – handling. Just like Nikon's DSLRs, the Z50 has a nice, chunky grip and balances better with longer lenses, which is something to bear in mind if you like sports or wildlife shooting. Both cameras can shoot at 11fps continuously and lack in-body image stabilization. Sony has the edge with autofocus and its native lens selection, but the Z50 is a better option for those coming from DSLRs (particularly Nikon ones, as you can use F-mount lenses with an adaptor).

Read our in-depth Nikon Z50 review

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(Image credit: TechRadar)

If you don't need a viewfinder and want something a little smaller than the A6100, then the Fujifilm X-A7 is well worth considering. Combining a 24.5MP APS-C sensor, 3.5-inch vari-angle touchscreen and the ability to shoot 4K/30p video, it's a nice little all-rounder that shoots crisp, sharp images and pairs nicely with Fujifilm's range of X-Series prime lenses. 

Read our in-depth Fujifilm X-A7 review 

Sony Alpha A9 II review
5:02 am | January 7, 2020
Author: admin | Category: Cameras Computers DSLRs Gadgets | Tags: | Comments: Off

Editor's Note

• Original review date: January 202
• Newer Sony A9 III now available
• Launch price: $4,500 / £4,800 / AU$7,299
• Official price now: $4,499 / £4,199 / AU$6,499

Updated: February 2024. It took Sony three years to release the third-generation A9 late in 2023, but the Sony A9 II remains an excellent pro shooter even today. It's had some firmware updates since its release and slight price drop too, but if you can pick up at a discounted price, its performance is worth every penny. The Sony A9 II doesn't always get a discount, even during major sales like Black Friday, but if you keep your eyes open, it's possible to snap it up (pun entirely intended) for around $3,100 / £2,800 / AU$5,300. The rest of this review remains as previously published.

Until May 2017, the kings of professional sports and press photography were two DSLRs – the Canon EOS 1D X Mark II and the Nikon D5. Then Sony launched the Alpha A9 and changed the game. Smaller, lighter and ridiculously fast, the original full-frame mirrorless sports shooter from Sony was one of the best snappers we had tested. 

Fast forward to 2019 and the second generation A9 is on the market, trying to tempt the pros to upgrade. However, Sony has mostly held on to the core specs from the first-gen A9 and has chosen to make what, on paper, seems like only incremental upgrades to the A9 II. Those little tweaks may not mean much to the average user, but professionals in the field who rely on ridiculously quick turnovers and need high-speed performance will be the ones to appreciate what the Sony Alpha A9 II has to offer. It’s these users that the A9 line of cameras was designed for, and the latest model does not disappoint. 

With so much that’s similar to the previous model, we’ve decided to list what’s great about the newer version in this review so as not to repeat ourselves. We’ve listed all the new features and then jumped straight to image quality so you can decide for yourself whether it’s worth the upgrade or not. That said, the A9 II costs a pretty penny (having launched with a price tag of $4,500 / £4,800 / AU$7,299) while the original A9 has seen a significant price drop. So, do the small changes make the Alpha A9 II a worthwhile purchase?

(Image credit: TechRadar)

Design & features

  • Larger, deeper hand grip
  • 10fps burst with mechanical shutter
  • Built-in 1000BASE-T Ethernet terminal
  • 60-second voice memo

There’s a total of 43 features that are different in the Sony Alpha A9 II as compared to its predecessor, with only a few subtle physical differences that make the newer model an absolute pleasure to use. 

One of those design changes is the larger and deeper grip that, even for those with small hands, makes the camera quite comfortable to hold and use for hours on end. The AF-ON button is now larger and more prominent, while the multi-selector joystick is now textured and thus more tactile, making it easier to find and use without taking your eye off the viewfinder.

Sony Alpha A9 II key specs

Sensor: 24.2MP full-frame Exmor RS BSI CMOS sensor
Lens mount: Sony FE
Screen: 3.0-inch tilt-angle touchscreen; 1,440K dots
Burst speed: Up to 20fps
Autofocus: Hybrid AF; 693 phase- and 425 contrast-detect points
ISO: 100-51200 (exp 50-204800)
Video: 4K/30p
Connectivity: Wi-Fi (5GHz), USB-C (USB 3.2 Gen 1), Bluetooth, HDMI mini, LAN, NFC
Weight: 678g (with battery + card)

While the drive dial remains unchanged from the A9, the exposure compensation dial on the top right corner of the camera now sports a locking button to prevent accidental changes. There's also a redesigned lens lock button on the A9 II, along with better padding for shock absorption around the lens mount. The camera also has better weather sealing than the older model, with double-sealed sliders for ports, the card slots, and battery compartment rather than just hinged seals.

However, the biggest advantage the A9 II has over its predecessor is the ability to shoot continuously twice as fast – using the mechanical shutter, the Mark II can capture up to 10 frames per second, making it a better shooter to use under certain artificial lights. In fact, for sports photographers shooting in indoor stadiums, there’s a new anti-flicker mode that detects fluorescent lighting and adjusts exposure accordingly. It's worth noting that the anti-flicker mode is not available while filming videos or when using the electronic shutter.

Design changes aside, it’s the improvements to the camera’s connectivity that really makes this shooter one of the best options for pros. The most important among them is the upgraded 1000BASE-T Ethernet port that is ten times faster than the 100MB/s terminal on the original A9 (we were able to transfer a batch of 300 JPEGs with a file size of about 11MB each in just under a minute and a half). Even the USB-C port is now the faster 3.2 Gen 1 standard, while the Wi-Fi supports both 2.4GHz and 5GHz as opposed to just the 2.4GHz in the original A9. These improvements in connectivity will allow photographers to transfer files directly to FTP servers quickly. Up to 10 different FTP settings can be saved to an SD card and reloaded onto the A9 II, while Sony’s Imaging Edge mobile app can save up to 20.

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(Image credit: TechRadar)
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(Image credit: TechRadar)
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(Image credit: TechRadar)
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(Image credit: TechRadar)

Another really cool feature that many photojournalists will be glad to use is the voice memo. Vocal instructions of up to 60 seconds in length can be recorded for individual images or a series of shots – a huge help for teams waiting back in the office to use the images wherever necessary. The memos can also be converted into text that get added to the JPEG file’s metadata, although this needs to be done on the Imaging Edge app.

A new low-vibration shutter design has improved image stabilization in the A9 II by half a stop, now rated at 5.5 stops. However, in real-world testing, we were hard pressed to tell the difference between the two iterations, with the A9’s IBIS still rather impressive.

Another tiny tweak that can go a long way is the slight improvement in battery life – where the A9 was rated for 650 shots when using the LCD display and 480 while using the viewfinder, the second generation shooter can manage to spit out up to 690 and 500 respectively.

Practically everything else has been inherited from the older camera and you can refer back to our in-depth Sony Alpha A9 review to find out more about the other features.

Autofocus

  • Real-time Eye AF for 4K video
  • Improved AF algorithm

We were unable to test the camera in sports arenas as people weren’t comfortable with us publishing photographs of them on a public platform, so we tried the next best thing – wildlife. This kind of photography requires a fast and precise autofocus system, especially when taking photos of birds, and the A9 II did not disappoint.

The AF on the original A9 was practically perfect – fast and reliable in equal measure. At the time we thought it wasn’t possible to make it any better but, boy, were we wrong. All it took was a tiny tweak to the AF algorithm – made possible by the new Bionz X processor – to give the new camera’s autofocus performance a boost by improving subject tracking, even when using smaller apertures with Focus Priority switched on. 

Tracking is precise and can keep up with erratically moving subjects as well (like birds flying and changing directions suddenly). The camera’s AF system does occasionally have trouble when the head of the subject disappears briefly and then reappears – we found that the AF system wasn’t able to lock back onto the subject’s head, but was more than capable of tracking the body.

The Sony A9 II can stay locked on to the main subject even when an obstacle gets in the way | Click here to see the full-size image

The Sony A9 II can stay locked on to the main subject even when an obstacle gets in the way | Click here to see the full-size image (Image credit: TechRadar)

Even when an obstacle gets in between the subject and the camera, the Sony A9 II is intelligent enough to know it needs to stay locked onto the main subject. In our case, this was demonstrated when we were photographing a tower of giraffes at Sydney’s Taronga Zoo. While we were focused on one animal, another ambled past between us and the giraffe we were shooting, and the A9 II didn’t even blink, staying locked on to our main subject.

The biggest improvement to the AF system, though, is the addition of real-time eye-detect autofocus when recording 4K video, something that’s missing in the older A9 model.

A few other tiny tweaks have been made to the AF system as well, including adding the ability to move the focus frame even when the shutter or the AF-ON button is half-pressed. You can also change the color of the focus frame to whatever catches your fancy. If you prefer using the rear LCD for touch-tracking, you can do so even when using the viewfinder to shoot.

Image quality

  • Expandable ISO range of 50 - 208,800
  • Excellent ISO performance
  • Decent dynamic range

Like its predecessor, the A9 II delivers some superb results. The 24.2MP sensor delivers images that are sharp, with great colors and plenty of details. However, RAW files have more chroma (color) noise as compared to JPEGs due to the camera’s high rate of calculations, but nothing that can’t be fixed during post processing.

ISO performance is excellent with virtually no noise at the lower values and very acceptable levels when you climb up to 12,800 and 25,600, as seen in the below image of a bird in the water.

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/400 sec at f/5.6, ISO 12,800 | Click here to see the full-size image

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/400 sec at f/5.6, ISO 12,800 | Click here to see the full-size image (Image credit: TechRadar)

The above shot was taken at ISO 12,800 and then cropped down by 20%. The uncropped image barely showed signs of luminance, with some grain visible only after cropping to zoom in closer to the subject. While noise becomes evident at 51,200 and higher, you should still be fine taking it up to 102,400 although we’d advise going that high only if you absolutely have to and if you’re shooting JPEGs.

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 sec at f/5.6, ISO 200

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 sec at f/5.6, ISO 200 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 500

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 500 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 sec at f/5.6, ISO 160

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 sec at f/5.6, ISO 160 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 500

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 500 (Image credit: TechRadar)

Taken through a pane of glass and the camera was still able to find the subject's face | Click here to see the full image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 100

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 100 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/320 at f/5.6, ISO 100

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/320 at f/5.6, ISO 100 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 250

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 250 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 100

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/500 at f/5.6, ISO 100 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/200 sec at f/5.6, ISO 100

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/200 sec at f/5.6, ISO 100 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/640 sec at f/5.6, ISO 100

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/640 sec at f/5.6, ISO 100 (Image credit: TechRadar)

Click here to see the full-size image

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Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/800 sec at f/5.6, ISO 100

Sony Alpha A9 II with FE 100-400mm F4.5-5.6 OSS; 1/800 sec at f/5.6, ISO 100 (Image credit: TechRadar)

Click here to see full-sized image

The A9 II does have a decent dynamic range, although it’s still not quite a match for Sony’s megapixel monsters, but that’s only because the A7R series was designed for landscape photography. The A9 II holds its own when compared to the Canon EOS 1D X Mark II and the Nikon D5 (the latter is marvelous in low light), and plenty of details can be extracted from shadows when working on your shots later, even when just using a slider in the most basic photo editing apps.

Verdict

The A9 II was designed specifically with the photojournalist in mind. For the average user, this camera will likely be overkill, with most of the new features going unused and under-appreciated. For the target audience though, this is one heck of an upgrade over the original A9. It feels a lot more refined and a far more efficient tool for photographers in the field. 

Our only complaint would be the absence of XQD or CFexpress card slots that would see files saved to card much quicker, and the limited touchscreen functionality – both of which remain the same as in the A9. Other than adding real-time eye-AF to 4K video recording, no other improvements have been made for shooting movies. There’s still no S-Log support and the camera can only record 8-bit 4:2:0 video internally. The only way to output 8-bit 4:2:2 video is externally via the micro HDMI port.

However, Sony has released some very good long lenses that weren’t available when the A9 launched in 2017, making the A9 II a very compelling sports camera, despite the competition it’s likely going to have from the Canon EOS 1D X Mark III and the Nikon D6.

Competition

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(Image credit: Canon)

Canon EOS 1D X Mark III

Canon’s latest sports DSLR has plenty to offer, including a higher continuous shooting speed of 16fps when using the mechanical shutter (as opposed to the A9 II’s 10fps burst). For anyone keen on capturing video, Canon has made this an ideal hybrid shooter, with C-Log 4:2:2 10-bit in-camera recording. While we’re yet to test this new camera fully, it’s shaping up to be a formidable competitor.

Read our thoughts on the Canon EOS 1D X Mark III in our hands-on review

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(Image credit: Nikon)

Nikon D5

While we wait for the Nikon D6 to make its official debut, the D5 is still the low-light king amongst sports cameras, with an extended ISO range that goes up to a staggering 3,280,000 still not found in any other shooter. While its 173 AF points might seem a tad dated right now, its AF performance is still topnotch. So until we know more about the D6, this would be a superb choice for a sports DSLR.

Read our in-depth Nikon D5 review

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(Image credit: TechRadar)

Sony Alpha A9

It would be remiss of us if we didn't include the game-changing sports mirrorless shooter here. The original A9 is still a very impressive camera – after all, the second generation model is based mostly on this snapper. And with a significant price drop since the launch of the Mark II, the A9 is a compelling choice for those without the spare change for the more expensive newer pro-level sports shooters.

Read our in-depth Sony Alpha A9 review

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