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DJI Neo review: autonomous simplicity with a few surprises up its sleeve

4:00 pm | September 5, 2024

Author: admin | Category: Cameras Computers Drones Gadgets | Tags: AI, US | Comments: Off

If you’ve heard of the HoverAir X1, you’ll already have some idea of what the DJI’s latest drone, DJI Neo is capable of. But in true DJI fashion, the Neo isn’t simply capable of incredibly easy-to-operate autonomous flight to capture photos and videos, it can also be flown like a camera drone and even used as an FPV drone when paired with DJI’s FPV controllers and goggles.

It’s often said that one size rarely fits all, but the Neo does an impressive job of catering to a wide range of drone pilots from absolute beginners looking for pure simplicity to advanced FPV pilots and everyone in between. It’s an interesting and exciting concept that moves the Neo away from simply being a clone of the HoverAir X1.

DJI Neo head on sitting on stone — (Image credit: James Abbott)

It’s still an extremely simple drone, electronics and algorithms aside, with only downward visual positioning and a single-axis gimbal. Stabilization is provided in-camera unless switched off with Rocksteady or HorizonBalancing modes available. Stabilization is achieved thanks to the 1/2-inch sensor providing plenty of pixels to cover up to 45 degrees of horizontal tilt when capturing video.

Photo and video capture is pretty basic with 4K 30fps being the only UHD option, while FHD can be shot at 30, 50 and 60fps. 12MP photos can only be captured in JPEG format and can be set to 4:3 or 16:9 aspect ratios. This comes as little surprise given the competitive price of the Neo, but with multiple controller and flight options available, a little more functionality in the photo and video department is always welcome.

DJI Neo: release date and price

Released September 5 2024
The base kit costs just $199 / £169 / AU$299
Fly More Bundle costs £299 / AU$539 but not available in the US

The DJI Neo was announced and is available for sale in the DJI Store and other retailers on September 5 2024. Despite the multiple ways the Neo can be controlled, there are two main kits available with the base kit including the drone, battery and accessories costing $199 / £169 / AU$299.

This kit allows for controller-free and app-controlled flight, while the Fly More Bundle includes the drone, a DJI RC-N3 Controller, three Smart Batteries and a Battery Charging Hub. This kit costs $289 (DJI Neo Combo in US which doesn't include the controller) / £299 / AU$539.

The Fly More Bundle allows for controller-free, app control and to fly the Neo like a camera drone using the RC-N3 Controller. The Neo can also be paired with the DJI FPV Remote Controller 3 and DJI Goggles 3 for manual FPV flight, or the goggles and the DJI RC Motion 3 for intuitive FPV control.

If you don’t already own these devices, they will drive up the cost of the Neo substantially to the point where the DJI Avata 2 could be the better option if FPV is your thing.

DJI Neo on stone at an angle — (Image credit: James Abbott)

DJI Neo: design and handling

Micro whoop design
Enclosed propellers
Single axis gimbal

To cut a corner or two, the easiest way to describe the Neo is to say it’s a little like a mini DJI Avata 2; it has propeller guards, but with top and bottom guards to protect people during autonomous flight, and the camera sits at the front and moves and stabilizes mechanically on a single axis. Horizontal stabilization is applied electronically in-camera.

DJI Neo key specs

Camera: 12MP 1/2-inch sensor
Video resolution: Up to 4K
Frame rates: 4K 30fps / FHD up to 60fps
Video transmission range: 6.2 miles (FCC), 3.7 miles (CE/SRRC/MIC)
Flight modes: Sport, Normal, Cine (Manual with the FPV Controller 3)
Battery: 1435mAh / up to 18 minutes flight time
Charger type: USB-C / Battery Charging Hub
Weight: 4.76oz / 135g
Dimensions: 5.12x6.18x1.90in / 130×157×48.5mm

In DJI’s signature light grey that’s used for the Mini series of drones, the Neo is incredibly small and lightweight. It’s essentially slightly larger than the palm of your hand, which is ideal for palm take-off and landing, and weighs in at a mere 4.76oz / 135g. This makes it regulator-friendly in most regions since it’s below the all-important 250g threshold, but remember to check local rules if it’s your first drone.

Despite the low weight, the Neo is built to a high quality and feels robust in the hand. The top-mounted propeller guards are removable to allow the propellers to be changed when necessary, but the main propeller guards are part of the airframe. This suggests that home repairs won’t be possible if damage occurs in a crash so if you plan on using the Neo for FPV, taking out DJI Care Refresh would be a good choice.

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DJI Neo top view — (Image credit: James Abbott)

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DJI Neo bottom view — (Image credit: James Abbott)

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DJI Neo downward vision sensors — (Image credit: James Abbott)

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DJI Neo propeller guards — (Image credit: James Abbott)

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DJI RC-N3 Controller for the DJI Neo — (Image credit: James Abbott)

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DJI Neo Battery Charging Hub — (Image credit: James Abbott)

I’ve already listed all of the controller options so I won’t go into detail again, but will instead focus on the DJI Fly app and the RC-N3 Controller, which are part of the standard kits and are likely to be the most commonly used control methods.

The Neo can be flown without an app, using just the mode button on the top to initiate autonomous flight, using the DJI Fly app as a ground station for autonomous flight or using the on-screen controls.

The Fly More bundle include the DJI RC-N3 Controller, which extends the transmission distance from 50m when using the app with the Neo’s WiFi to standard camera drone distances.

These are, of course, governed by the aviation authority where you live. The RC-N3 Controller also makes the Neo behave like a camera drone, with standard controls and features such as Return to Home.

DJI Neo: features and performance

Unremarkable flight speeds
Intelligent flight modes
AI subject tracking

The Neo is pretty pedestrian in terms of flight speed at just 1.11mph in Cine mode, 13.42mph in Normal mode and 17.89mph in Sport mode when flying autonomously or using the RC-N3 Controller. It feels slow but is certainly fast enough to track most subjects, including cyclists, with that top speed.

Flight speed is doubled to 35.79mph when using the DJI FPV Remote Controller 3 in Manual mode, so it does have some grunt tucked up its sleeve if you have the right controller and DJI Goggles 3. Not to mention, the skills and ability to fly in this mode alongside the cash available to purchase the controller and goggles if you don’t already own a set.

For beginners though, these speeds won’t cause any issues and the ability to fly the Neo with or without any other device, through voice control or manually like a camera drone using the DJI Fly app controls or the RC-N3 Controller is ideal. For drone-only use of the Neo, it can take off and land in the palm of your hand once the selected intelligent flight mode has completed, except for Follow mode.

DJI Neo close-up of flight mode options on the drone — (Image credit: James Abbott)

Intelligent flight modes include Follow, Dronie, Circle, Rocket, Spotlight and Custom (Omni, Helix, and Boomerang). AI subject tracking also aims to keep the subject in the centre of the frame during photo and video capture, so if you’re taking a group photo with the Neo, for example, you’d have to make sure you’re standing centre front.

The overall design of the Neo has safety in mind, and when used with the RC-N3 Controller you can enjoy GPS, an on-screen map and Return to Home. There’s no collision avoidance, but there are downward vision positioning sensors with a precision range of 0.5-10m. Plus, the Neo offers up to level 4 wind resistance, which is 18mph.

When used with the DJI RC Motion 3 Controller, as well as enjoying intuitive motion controls for FPV flight, you can also take advantage of Easy ACRO where you can Flip, Roll and 180° Drift the Neo. It’s an easy way to enjoy acro flight without advanced manual flight skills and is inherited from the Avata 2 when paired with the Motion 3. This is by far the easiest way to fly FPV flight.

DJI Neo: image and video quality

1/2-inch sensor
Up to 4K 30fps video
12MP JPEG photos

The Neo features a 12MP 1/2-inch sensor which allows for 45 degrees of horizontal tilt when using Image Stabilization with either Rocksteady or HorizonBalancing modes. The camera provides a 117.6-degree field of view, with a full-frame equivalent focal length of 13mm, so nice and wide for close-to-subject tracking.

Keeping things simple, the aperture is fixed at f/2.8 with fixed focus providing focus from 60cm to infinity. The ISO range extends from ISO 100 to 6400 in both Manual and Auto shooting modes, with the shutter speed ranging from 1/8000 to 1/10 sec for photos and 1/8000 to 1/30 sec for video.

DJI Neo close up of the camera — (Image credit: James Abbott)

Photo and video functionality is pretty basic, but you get everything you need at a consumer level with 4K video locked at 30fps with a bitrate of 75Mbps, so it’s reasonably compressed but not too much.

The color profile is Standard for straight-out-of-camera footage, with no flat profile available for color grading within a professional workflow. Looking at the design of the Neo and the camera, it doesn’t look like it would support ND filters to control shutter speed, but I could be wrong.

Photos can only be captured in JPEG format, which is a shame but no big deal since DJI’s JPEG processing is respectable. Photos can be captured in 4:3 and 16:9 aspect ratios, with Single and Timed Shot available, so once again basic but adequate for a beginner drone.

There’s no microSD card slot on the Neo, but you do get 22GB of on-board storage which DJI says equates to 40 minutes of 4K 30fps video or 55 minutes of 1080p 60fps video. This can be transferred to the the DJI Fly App when connected to the Neo’s WiFi using Quick Transfer, or downloaded to your computer when the Neo is connected via the included USB-C PD cable.

How I tested the DJI Neo

Limited access to features due to pre-release issues
Flown with the DJI RC-N3 Controller
DJI Fly app options checked

I was flying a pre-release version of the DJI Neo and faced several issues between my phone and the pre-release version of the DJI Fly app, which meant that the camera feed wasn’t showing in the app.

This made simple autonomous flight impossible because the drone needs to see a face before it will take off. It was, however, possible to fly the Neo with my phone connected to the DJI RC-N3 Controller.

There was still no camera feed and capturing photos and video was impossible, but with GPS available and standard flight controls, I was able to test the flight performance. Plus, with the propeller guards.

I was able to confidently fly close to and through tight gaps; it wasn’t FPV, but it was still a clear advantage of the Neo’s design that provided enjoyable flights.

First reviewed September 2024

GoPro Hero 13 Black review: a refined flagship with enviable accessories

4:30 pm | September 4, 2024

Author: admin | Category: Action Cameras Cameras Computers Gadgets | Tags: LCD | Comments: Off

GoPro fans who were hoping for 8K video or a new and bigger sensor in the Hero 13 Black are going to be disappointed right now. That's because GoPro's latest flagship, which comes 12 months after the Hero 12 Black, is largely the same as its predecessor.

There's still the 8:7 aspect ratio sensor with 5.3K video and 27MP photos, industry-leading HyperSmooth stabilization, and waterproofing up to 33ft / 10m – you'll even get all of that in the older-again Hero 11 Black.

And since those previous-generation models launched, the action camera competition has raised its game: DJI's Osmo Action 4 has better low-light performance than GoPro's (and rumors say it'll be replaced by the Osmo Action 5 Pro really soon), while Insta360 dropped the Ace Pro, an 8K video beast.

The picture doesn't look good for an iterative update then, but I'm here to say don't write the GoPro Hero 13 Black off. GoPro has been a long-time player in the action camera space, its Hero 12 Black still sits at the top of our best action cameras buying guide, and there are some tweaks in the Hero 13 Black that actually go a long way to making it an even more compelling choice, especially for serious filmmakers.

GoPro Hero 13 Black in the hand — The Anamorphic Lens Mod, available in 2025, attached to the Hero 13 Black (Image credit: Future | Tim Coleman)

No other brand can offer such a wide range of accessories, and GoPro has introduced a whole lot more of them alongside the Hero 13 Black, namely the HB-series of lenses and ND filters.

GoPro has announced the Ultra-Wide, Macro and Anamorphic Lens Mods, as well as a 4-pack of ND filters. These mods rotate into place over the Hero 13 Black's built-in lens, which has a newly designed mount that can auto-detect which mod is attached and adjust the camera settings accordingly.

With one simple new feature, the camera becomes an infinitely more creative tool, and compelling for a wider range of users.

GoPro has also taken a leaf out of the competition's book by finally utilizing quick and reliable magnetic mounting, which is added to its existing 'fingers' and 1/4-20-inch mounting options.

Better battery life and heat dissipation are two other areas that have been addressed: the redesigned 10% higher-capacity 1,900mAh battery is capable of shooting 5.3K video for up to 1.5 hours and Full HD 1080p videos for around 2.5 hours.

Although the maximum video resolution remains at 5.3K, there's now Hybrid Log Gamma (HLG) HDR video to minimize lost detail in highlights and shadows, plus better slow-mo recording, now up to 13x in a 720p 400fps Burst Slo-Mo mode. Content can be uploaded 40% quicker thanks to the introduction of Wi-Fi 6 tech.

GPS is also back, following its disappointing omission from the Hero 12 Black. Through the Quik app, Performance Stickers can be added to embed info such as speed, altitude and G-force into video clips, as well as the location info.

Those are the highlight improvements. Like I said, there's not a whole lot that's new, but progress isn't always about big moves in headline specs like video resolution; it's as much about real-world performance, and here the Hero 13 Black feels like the most compelling action camera package out there for serious creators.

GoPro Hero 13 Black: release date and price

List price is $399 / £399.99 / AU$649.95 or $599 / £599.99 / AU$979.95 for the Creator Edition
Available from September 10 2024
New HB-series of lenses and filters, starting from $69.99 / £69.99 / AU$119.95

The GoPro Hero 13 Black starts at $399 / £399.99 / AU$649.95, while the Creator Edition, which includes the Media Mod, Light Mod and Volta grip costs $599 / £599.99 / AU$979.95. The camera will be available to buy from September 10.

Alongside the camera, GoPro unveiled a the new HB-Series of lenses and filters, including the Macro Lens Mod ($129.99 / £129.99 / AU$249.95), Ultra Wide Lens Mod ($99.99 / £99.99 / AU$169.95) and a new ND Filter 4-pack ($69.99 / £69.99 / AU$119.95), all of which will also be available from September 10.

Another noteworthy accessory is the Contacto, which replaces the battery door to enable charging on the go via a magnetic mount, without compromising waterproofing, and costs $79.99 / £79.99 / AU$139.95. GoPro also announced the Anamorphic Lens Mod ($129.99 / £129.99 / AU$219.95), although this lens won't be available until 2025.

There are too many accessories available for the Hero 13 Black to easily list here, so do check out GoPro's website for more info.

GoPro Hero 13 Black: design and handling

Same size as the Hero 12 Black
10% larger capacity battery
New Lens Mod mount detects the attachments
Quick magnetic mounting finally introduced

Used a GoPro Hero Black camera before? The Hero 13 Black will be familiar, being as it is identical in size to previous models, with external dimensions of 71.8 x 50.8 x 33.6mm, albeit with a larger-capacity battery squeezed in and a negligible weight gain, tipping the scales at 5.6oz / 159g.

GoPro Hero 13 Black key specs

Sensor: 27MP multi-aspect 8:7
Video: 5.3K 60fps, 4K 120fps, slow-mo 720p 400fps
LCD: 2.27-inch rear touchscreen, 1.4-inch front
Video modes: TimeWarp, Time Lapse, Slo-Mo, Night
Connectivity: USB-C 3.2, Wi-Fi 6GHz, Bluetooth 5.0
Weight: 159g

Battery capacity is upped by 10% to 1,900mAh – with run times up to 1.5 hours of 5.3K video or up to 2.5 hours of 1080p video. GoPro lists the real world improvement over the Hero 12 Black as averaging 13.5% with airflow and 26.7% without airflow – that's a decent bump in performance.

The battery isn’t backwards compatible with the Hero 12 Black and earlier models, it’s a different size and design. Nor are older batteries forwards compatible, so if you’re upgrading you’ll need to factor in the cost of any additional batteries.

I rigged the Hero 13 Black for go-karting in 30-degree heat, recording 5.3K video for a total of around 1 hour, with both front and rear screen and GPS active, and the battery went from around 80% power to being almost fully out of juice. Not bad going. I’ll run more tests during an in-depth full review.

The Hero 13 Black’s Lens Mod mount is new. Not in the way that you attach a Lens Mod, but because it has a point of contact with the new HB-series of lenses and filters which means it can detect the attached lens – something that mirrorless and DSLR camera users are familiar with.

Handily with the communication between camera and lens, your settings are automatically updated to accommodate the lens in play. It’s a little detail, but it makes life easy switching between lenses and propels the Hero 13 Black into other realms of creativity.

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The Macro Lens Mod is a revelation, improving close focusing distance down to 4.3in / 11cm – that’s 4x close than the built-in camera. Traditionally, action cameras can’t focus particularly closely which all but counts them out for vlogging. When I’ve tried in the past, I feel like I have to hold the camera further away than I would like, nor could I capture little details. That’s picture totally changes with the Macro Lens Mod. If GoPro wanted to improve the shooting experience for a huge slice of potential users, this lens should be the ticket.

The Anamorphic Lens Mod was not available for use during my hands-on testing (though I did get my hands on it), nor was GoPro's new ‘Contacto’ accessory. The latter replaces the battery / memory card door and has a magnetic charging mount for on-the-go charging. The USB-C supplied cable works with any compatible powerbank and wall mount charger. You don’t sacrifice waterproofing either – which remains up to 33ft / 10m. In theory you could film underwater while charging the camera via Contacto, obviously provided the power source such as power bank is waterproof or not submerged the water itself – for which you might need a long cable!

If you regularly change what your Hero 13 Black is mounted to, then its new magnetic mounting is a godsend. The likes of DJI and Insta360 already utilize magnetic mounting and GoPro has thankfully has followed suit – it really needed to – and introduced some ball-head mounts for easy repositioning of the camera.

GoPro continues to embrace its legacy 'fingers' mounting method – the lowest profile option – plus 1/4-20in mounting, easing the transition for those already familiar with GoPro design.

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GoPro Hero 13 Black: features and performance

Limited capture time for new Burst Slo-mo video modes
New HLG HDR video color profile

Like the Hero 12 Black, regular 5.3K video recording remains at up to 60fps, but you can up that rate to 120fps – that’s 4x slow motion – using the new Burst Slo-Mo video option.

In the same Burst Slo-Mo menu, there’s also a 400fps option at a resolution of 720p, plus 360fps at 900p. All these burst modes are limited in capture time: the 5.3K 120fps option can run for 5 seconds, while the other two last for 15 seconds.

It takes the Hero 13 Black approximately the same amount of time to process the files before you can start shooting again. As such, I wouldn’t rely on these new burst modes in all situations because of the processing time, during which you could be missing the moment in demanding shoots. Burst Slo-Mo is an example of an impressive feature on paper, but with limited real world application

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In the video preset menu, you can choose between standard, HDR and Log color profiles. Depending on which option you select and if you’ve got a Lens Mod in play, the maximum video resolution and frame rates available might change.

For example, with the Ultra-Wide Lens Mod, you can’t shoot 5.3K video, you’re limited to 4K. For HDR video, you can’t shoot at 60fps because 30fps is the limit. It takes a while to figure out what you can and can’t do with the Hero 13 Black – those headline features aren’t available in all settings.

I’m not knocking GoPro about that – I can’t think of another action camera that shoots unlimited 5.3K 120fps video, nor one that has Lens Mods for different looks. I’m just setting your expectations right.

Battery life and overheating are hot topics with GoPro cameras (no pun intended). As previously mentioned, there's improvements in both of those areas. You'll notice a much better battery performance for video runtime when there isn't airflow, like recording in a room or simply walking about.

I was using the Hero 13 Black in Spain in 30°C heat and, although it was getting warm, it never gave me any problems. I'll do more in-depth testing on this in the coming weeks.

GoPro Hero 13 Black: image and video quality

Same 8:7 aspect ratio sensor as the Hero 12 Black
Improved slow-mo video record modes

To get a feel for the Hero 13 Black's image quality, you can take a look at our Hero 12 Black review – after all they share the same image sensor, plus maximum video and photo resolution.

Through GoPro's Lens Mods it's possible to shoot different kinds of shots, and I look forward to using the Macro Lens Mod more, plus the anamorphic lens next year.

I've included a few video samples that I'm able to share, below, and will unpack video and image quality in the full review.

How I tested the GoPro Hero 13 Black

A few days with limited scenarios
Paired with the Macro and Ultra-Wide Lens Mods
Used with various mounts for sports

During a two day hands-on with the Hero 13 Black ahead of its release, I was able to shoot behind the scenes at the MotoGP (from which video clips can’t be shared), making timewarp sequences, plus it had a proper run out around a go karting track. I attached it to a crash helmet and to an arm for different perspectives, used the Ultra-Wide Lens Mod and tried out the various color profiles, including HDR. The slow motion burst modes were utilized, too, to slow down movement of water and bottles of bubbly on the post race podium. I also tested the close focusing capabilities with and without the Macro Lens Mod. Since that trip, I've been using the camera on bike rides and will be running more tests in the coming weeks to complete the full review.

First reviewed September 2024

Nikon Z 35mm f/1.4 review: a modest modern-day classic

7:59 pm | August 30, 2024

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

Nikon Z 35mm f/1.4: two-minute review

Fixed 35mm lenses, especially those with a fast aperture, are incredibly popular with visual storytellers. They're able to shoot clean images in high contrast and low light, provide decent close-focusing skills, and offer a moderately wide perspective that allows you to include your subject's surroundings as part of the story. These are true documentary lenses.

In fact, when I lived in East Africa working for a non-profit as a photographer and writer, there was an 18-month period during which about 90% of the photos I took were with the excellent Sigma 35mm f/1.4 Art lens for DSLR cameras, a lens I still use today with my Nikon Z6 II mirrorless camera through the F-mount to Z-mount adapter.

So I was really excited when Nikon finally announced a Z-mount 35mm lens, a lens that I expect to be one of the best-selling lenses for Nikon mirrorless cameras. Sadly, however, that doesn't mean the Z 35mm f/1.4 is one of Nikon's best lenses.

Nikon Z 35mm f/1.4 specs

Type: Prime
Sensor: Full-frame
Focal length: 35mm
Max aperture: f/1.4
Minimum focus: 0.89ft / 0.27m
Filter size: 62mm
Dimensions: 3 x 3.5in / 74.5 x 88.5mm
Weight: 14.7oz / 415g

Sure, image quality is sharp across the entire image area, while autofocus is fast, quiet and reliable. However, I'm not seeing the sort of optical progress I'm used to when a manufacturer produces an mirrorless version of a DSLR lens.

We're getting the same sort of lens distortions as before, and I even prefer the bokeh in my stalwart Sigma 35mm f/1.4 Art lens, which is smoother compared to the Z 35mm f/1.4's fussy bokeh.

Still, Nikon's moderately wide fast-aperture prime does a lot of things well. It focuses much faster than my DSLR lens adapted to the Z6 II, and it's an entirely different offering to Canon's recent RF 35mm F1.4 which is bigger and much pricier.

Canon has opted for the pro route with its 35mm fast aperture lens, while Nikon has opted for the more attainable and affordable enthusiast route: this is not one of Nikon's pro 'S' lenses, meaning official weather sealing is off the table.

Balance-wise, the Z 35mm f/1.4 is a perfect match with the new Nikon Z6 III, Nikon Z8, or even Nikon's entry-level full-frame camera, the Z5, and it's an all-round lens that I could see getting a heck of a lot of use if it lived in my gear bag; I just wish its build quality and bokeh characteristics were a little better.

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Nikon Z 35mm f/1.4 lens on a Nikon Z6 II — (Image credit: Future | Tim Coleman)

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Nikon Z 35mm f/1.4: Design

Simple and compact design
Handy customizable control ring
Not officially weather sealed
Minimum focus distance delivers decent close-focusing capabilities

There's not too much to run through with regards to the Nikon Z 35mm f/1.4's design because it's such a simple lens. The only exterior controls are a focus ring and a neat customizable control ring. What I like the most about the latter is that you can set it to be a click-less aperture ring, which is particularly handy for filmmaking.

Otherwise, we don't even get a manual / autofocus switch. That's a shame for people like me who regularly switch between the two focusing methods, who must instead dig through an in-camera menus to make the change – an unnecessary time sink.

What I do like is the form factor of the lens. It's impressively compact and lightweight at just 14.7oz / 415g, and an ideal pairing for extended periods out in the field with Nikon's mid-range mirrorless models like the Z6 II.

The size, if not the weight, is very similar to the heavier Sigma 35mm f/1.4 lens, although for DSLR lenses you also need Nikon's DSLR to mirrorless adaptor – you can see how the lenses compare in the product photos below.

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Nikon Z 35mm f/1.4 lens alongside the Sigma 35mm F1.4 DG Art — From left to right: the Nikon F-mount to Z-mount adaptor, the Sigma 35mm f/1.4 Art, the Nikon Z 35mm f/1.4. (Image credit: Future | Tim Coleman)

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Sadly, the Z 35mm f/1.4 isn't officially weather sealed, which is probably a deal-breaker for pros working in demanding conditions. I felt the build quality was fine during testing, and had no qualms exposing the lens to light rain, but I'd think twice about packing it in the bag for a couple of weeks in the desert. At one point I found myself taking my super soaker-touting child to task when she got me, and the lens, wet in the garden – I'm otherwise a good sport.

These moderate-wide-angle lenses historically focus impressively closely, meaning you can capture the finer details as well as your subject and their surroundings; after all, there are stories to be found in the micro and macro. We get a minimum focus distance of 0.89ft / 0.27m, which delivers a maximum magnification ratio of 0.18x. For reference, a 'true-macro' lens has a magnification ratio of 1x or more.

What impressed me most about the design of the Z 35mm f/1.4, when compared to my 10-year-old Sigma equivalent, is the speed and accuracy of its autofocus performance.

Where the Sigma lens through an adaptor was hunting, the new Nikon lens quickly and quietly latched onto my subject. Where the Sigma had front-focusing issues, even with the Z6 II's eye-detection autofocus in play, the Nikon Z 35mm was getting focus bang on the eye every time.

It's the direct compatibility with a Nikon mirrorless camera and the autofocus performance that would most tempt me to trade in my old Sigma DSLR lens, and one of the key reasons I'm so glad that I upgraded from DSLR to mirrorless years ago.

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Closeup of the Nikon Z 35mm f/1.4 lens front element — With the aperture wide open at f/1.4, you don't see the aperture blades. (Image credit: Future | Tim Coleman)

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Nikon Z 35mm f/1.4: Performance

Optically sharp edge-to-edge
Wide aperture is handy for shooting in low light and for shallow depth of field
Bokeh could be better

I'll start this performance section by re-emphasizing that autofocus speed and reliability are excellent, delivering accurate focusing on the eyes in portraits. The same couldn't be said in my tests when using an adapted Sigma lens for DSLRs; and I'll take accurate focusing over outright optical quality.

That said, the optical quality from the Z 35mm f/1.4 is very good. Looking closely at an image of pebbles at f/5.6, I can see that detail is very sharp across the entire frame – there's virtually no drop-off in the corners, which is impressive.

There's the usual vignetting that I would expect from a wide-aperture lens like this. Light fall-off in the corners is very evident at f/1.4, those corners brighten up a lot at f/2, and somewhere between f/4 and f/5.6 vignetting is all but gone. Check out the series of sample images below, taken at full aperture stops.

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Closeup of a footballer's feet, with one foot standing on top of a ball — f/1.4 (Image credit: Future)

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Bokeh, however, is a mixed bag. If you're particularly close to your subject and shooting wide open at f/1.4, you can get circular bokeh 'balls' in out-of-focus light sources, such as dappled light through tree leaves. There are only moderate signs of cat's-eye bokeh in the corners – I've found the effect much more severe in pricier lenses. (I don't mind the cat's-eye shape, but some people get very picky about it.)

The big strike for me regarding bokeh is the fringing you get around those bokeh balls. Instead of the buttery-smooth edges like I was getting with my 10-year-old Sigma, edges are harsher, with green and magenta fringing. It's only obvious when you're looking really closely, but it is there (see the close-ups of a portrait, below).

That being said, I did turn off all in-camera lens corrections for this test (something I always do), and there are aforementioned distortions that would be somewhat improved by activating those corrections.

Also, I don't use a 35mm f/1.4 lens primarily for its bokeh quality. I use it for telling stories in scenarios with both good light and bad, for which the maximum f/1.4 aperture is a godsend. I regularly make use of the maximum aperture, and would absolutely pay the premium over cheaper f/1.8, f/2, f/2.8 alternatives to get a f/1.4 lens.

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Portrait taken at f/1.4 with the Nikon Z 35mm f/1.4 lens — Portrait at f/1.4. Focus is on the money, whereas the same photo with the Sigma was front-focused on the mouth. (Image credit: Future | Tim Coleman)

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Nikon Z 35mm f/1.4: sample images

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The famous Durdle Door beach at first light, taken with the Nikon Z 35mm f/1.4 lens — I don't think a 35mm lens is great for landscape photography. In this situation, I'd rather a wider lens and to be closer to the point of interest. (Image credit: Future | Tim Coleman)

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Pebble on a beach, taken with the Nikon Z 35mm f/1.4 lens — While it's not a great landscape photography lens, it's great at picking out details. (Image credit: Future | Tim Coleman)

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Footballer holding a football, closeup, taken with the Nikon Z 35mm f/1.4 lens — You can get shallow depth of field if your subject is close. (Image credit: Future | Tim Coleman)

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A couple cuddling up watching the sunrise over the ocean, taken with the Nikon Z 35mm f/1.4 lens — (Image credit: Future | Tim Coleman)

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Pebbles on a beach, taken with the Nikon Z 35mm f/1.4 lens — The pebbles in this photo at f/5. are sharp, even in the corners. (Image credit: Future | Tim Coleman)

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Tug boat on a river, taken with the Nikon Z 35mm f/1.4 lens — The 35mm is a perfect storytelling lens. (Image credit: Future | Tim Coleman)

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Rolling hills vista, taken with the Nikon Z 35mm f/1.4 lens — Again, not my personal choice for landcapes. I'd actually prefer a telephoto lens for this scene, and have the same photo with an 85mm lens that's better. (Image credit: Future | Tim Coleman)

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Silhouette of a fisherman knee deep in the ocean, taken with the Nikon Z 35mm f/1.4 lens — Portraits of people among their surrounding as part of the story – that's where a 35mm lens shines. (Image credit: Future | Tim Coleman)

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Closeup of caught fish on beach, taken with the Nikon Z 35mm f/1.4 lens — And then here's the details of the same story of the fisherman in the previous photo. (Image credit: Future | Tim Coleman)

Should you buy the Nikon Z 35mm f/1.4?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 35mm f/1.4

Regular use over the course of several weeks
Paired with the Nikon Z6 II
Like-for-like tests with the Sigma 35mm F1.4 DG Art

Nikon loaned me the Z 35mm f/1.4 for a few weeks, during which time I documented everyday life and took it on an extended summer vacation. I used it in both fair and inclement weather (though I felt I needed to protect it somewhat during downpours given it's not officially weather sealed), and both in bright light and during the 'blue hour'.

The Z 35mm f/1.4 was been attached to my Nikon Z6 II, which is a 24MP full-frame mirrorless camera. I've not used the lens with a higher-resolution camera like the 45MP Nikon Z8, and I therefore can't comment on whether it's able to resolve detail from such cameras.

I've made several series of the same images, working down the aperture range at full stops to compare how image quality stacks up at the various settings. I also took the chance to compare the lens with my 10-year-old Sigma 35mm F1.4 Art, taking like-for-like shots.

All in-camera lens corrections were turned off throughout my testing.

First reviewed August 2024

Sony FE 85mm F1.4 GM II review: a spectacular portrait lens

7:00 pm | August 28, 2024

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Tags: FE | Comments: Off

Sony FE 85mm F1.4 GM II: One-minute review

Sony’s G Master lenses are its flagship products, and it looks like the company is steadily working through its G Master range, replacing original lenses with G Master II versions.

The 85mm F1.4 is the first of four f/1.4 prime lenses to get this treatment, and the Sony FE 85mm F1.4 GM II is far more than a simple update. With a new and more sophisticated optical formula promising improved resolution and aberration control, a new dual linear motor autofocus system for a big step up in speed and responsiveness, and a 20% weight saving, Sony has really pulled out all the stops for its new premium ‘portrait’ lens.

For all the improvements, though, there must be a few Sony owners who are a little disappointed that Sony hasn’t stretched to an f/1.2 lens rather than another f/1.4. Still, a best-ever f/1.4 is pretty good compensation, and the Sony FE 85mm F1.4 GM II is a truly spectacular performer.

The edge-to-edge resolution is extraordinary – you have to look closely to see any difference in edge detail at f/1.4 compared to f/8. This is a lens you could happily use wide-open all the time without giving a second thought to any impact on image quality.

It’s also completely free of bokeh fringing, or at least it was in all of our sample images, and this is an aberration that wide-aperture primes can be particularly prone to. It’s also extremely difficult to remove in software.

The new lens is not quite perfect for bokeh rendering and focus breathing. It’s still extremely good, with no visible onion-skin effect in bokeh balls (one of the many improvements Sony is touting) though there is a noticeable cats-eye bokeh effect near the frame edges at wide apertures (but then maybe next year cats-eye bokeh will be in fashion and everyone will love it…).

Focus breathing is still visible too, even though Sony says it’s ‘optically’ suppressed. Most modern Sony bodies support in-camera focus breathing compensation, though, so this may not prove an issue.

The Sony FE 85mm F1.4 GM II is equally impressive physically. It’s a little slimmer and 20% lighter than its predecessor, despite having more complex optics and more powerful linear AF actuators. You get a de-clickable aperture ring for both stills photography and video, with an iris lock (surprisingly useful) and two programmable function buttons. It handles superbly.

There will be a price difference compared to the original version, however. That’s probably to be expected, but it does make Sony’s premium portrait lens even more expensive to buy. You have to figure out how many more bucks you want to spend for all this excellence.

Sony FE 85mm F1.4 GM II: Price and availability

The Sony FE 85mm F1.4 will be available in September 2024 at a UK price of £1,850 (pricing for the US and Australia is TBC), which is almost the same price as the outgoing first generation 85mm F1.4. We don’t yet know if the older lens will stay on sale, but if it does we would expect it to get heavily discounted, given the significant optical and technical advances in the new lens. The new lens does seem pretty good value then, though the third-party Sigma 85mm f/1.4 DG HSM Art is little more than half the price.

Quick specs

Sony FE 85mm F1.4 GM II: Design

• Physical aperture ring with de-click switch
• Two customizable function buttons
• 20% lighter than the original 85mm F1.4

The original Sony FE 85mm F1.4 G Master was a big old boy. The new lens is the same length but a few millimetres slimmer and a whole 20% lighter. That’s a significant difference – though this still feels a pretty big lens on an A7-series body, especially if you clip on the lens hood.

There’s little to distinguish the new lens from the old one, except that the aperture ring is now on a slightly slimmer section of barrel. This might make it easier to find with your fingertips without looking, but the location hasn’t changed.

The aperture ring has firm and satisfying click-stops at 1/3-stop intervals, and if you slide the Click switch to Off on the lower part of the lens barrel, it turns into a silky smooth iris control for video.

Are you the sort of person who likes function buttons on lenses? If you are, you’ll love this lens, because there are two of them. There’s also an Iris Lock switch, which does seem like a pretty smart addition – it’s all too easy to accidentally shift the aperture ring on a lens in stills photography, and easier still to change the iris setting while filming.

There’s really nothing to fault in the Sony FE 85mm F1.4 GM II’s design. You might wish for a slightly smaller, lighter optic, but if you want an 85mm f/1.4 then the size goes with the territory. It’s also worth spelling out what’s inside this lens, as it includes 14 elements in 11 groups, with two ultra-high-precision Sony XA elements, two ED elements, internal focusing, and Sony’s Nano AR II coating.

Sony FE 85mm F1.4 GM II: Performance

• Exceptional edge-to-edge sharpness even wide open
• No visible bokeh fringing in any of our test shots
• Some cats-eye bokeh and focus breathing
• Silent, super-fast autofocus

This lens’s edge-to-edge sharpness and aberration control is simply exceptional. Sony says the center sharpness has been improved over the original lens, but it’s the edge sharpness that left me most impressed. Even at f/1.4 the edges are clean and crisp, and show a level of detail that’s really rather impressive. There’s little to be gained from stopping down, so this is a lens on which you can use the aperture setting solely for its creative effect without worrying at all about its effect on image quality.

It was also great to see no sign of longitudinal color fringing, or ‘bokeh fringing’ in any of the test shots. Bokeh is obviously going to be one of the key selling points of this lens, and it does indeed render beautifully soft background blur and very subtle fall-off. The only chinks in the armor are noticeable cats-eye bokeh wide open and some focus breathing, even though Sony says this is suppressed.

The other aspect of performance to talk about is this lens’s AF. The dual linear motors in this new lens are a substantial upgrade over the Ring SSM system in the original lens, and this really comes to the fore with portrait subjects and face/eye tracking – especially if your subjects are a pair of flighty canines, as used in our tests.

It’s a real challenge keeping the eyes sharp when dogs make sudden and unpredictable movements, and even with a lens like this you’re going to get failures, but when the Sony FE 85mm F1.4 GM II gets even an instant of stillness to achieve focus, it can nail the shot and deliver images with stunning clarity.

It’s one thing having one of the latest Alpha bodies with advanced AI AF and subject tracking, but you still need a lens like this one that can keep up. Indeed, Sony says the Sony FE 85mm F1.4 GM II can keep up with the mighty Sony A9 III flat out at 120fps.

Sony FE 85mm F1.4 GM II: Sample images

Here's a further selection of shots taken with the Sony FE 85mm F1.4 GM II showing its rendering style, focus breathing and bokeh rendering from f/1.4-f/16.

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Should I buy the Sony FE 85mm F1.4 GM II?

Buy it if...

You want the best Sony 85mm lens there is
The original FE 85mm F1.4 G Master was good, but the version II lens raises the bar to another level. With superb resolution, both in the center and right to the edges, nice bokeh and responsive AF, if you miss the perfect shot it’s down to you, not this lens.

You’re trying to keep the weight down too
Usually, when you opt for a lighter lens you can expect some small compromise in optical quality. Not here. The Sony FE 85mm F1.4 GM II is 20% smaller than the original lens, but even better optically. It weighs in at a manageable 642g, which is impressive given all that exotic glassware.

You’re slowly upgrading to GM II lenses
Sony has already updated its ‘trinity’ f/2.8 professional zooms to the latest G Master II standards, and it looks as if it’s now turning its attention to its f/1.4 primes. These are pretty expensive lenses, especially if you already have the first-generation versions, but for many pro shooters it will be worth it.

Don't buy it if...

You already have the original FE 85mm F1.4 GM
At least not without taking a long, hard look. This new lens is pretty exceptional, but the ‘old’ one is extremely good too. Unless you can identify one or more areas where the original lens is deficient in ways that definitely impact your work, we’d suggest you might want to save your money.

Your budget is feeling the squeeze
The Sigma 85mm f/1.4 DG HSM Art may not equal the Sony FE 85mm F1.4 GM II in every area, but it’s an extremely good lens in its own right and just half the price. If your main concern is getting the best at all costs, the Sony is fine, but the Sigma arguably delivers almost as much for a lot less money.

You need to travel light
The Sony FE 85mm F1.4 GM II is 20% lighter than the first generation version, but at 642g and 107.3mm in length, it’s still a big lens. Sony has yet to extend its range of compact primes to the 90mm focal length, but there is always the 297g Sigma 90mm f/2.8 DG DN Contemporary – which is not just smaller and lighter but vastly cheaper too.

How I tested the Sony FE 85mm F1.4 GM II

• I checked for edge-to-edge resolution across the aperture range
• I tested bokeh quality wide-open and stopped down
• I tested for bokeh fringing
• I tested the focus breathing suppression

Sony makes some pretty bold claims for the performance of the Sony FE 85mm F1.4 GM II, so I was keen to try these out. In particular, Sony highlights the new lens’s resolution, so I checked its center and edge performance across the aperture range from f/1.4 to f/16, using a highly detailed subject at infinity.

Sony also says the new lens creates excellent bokeh, which I tested with a controlled lighting setup with bright lights in the background across the aperture range. The Sony FE 85mm F1.4 GM II is also claimed to have no bokeh fringing – also known as longitudinal chromatic aberration – where out-of-focus outlines can show clear color fringing. This is a problem for lenses designed for blurred backgrounds, so I found a subject which would test this tendency properly.

One of the biggest steps forward in the new lens is its autofocus performance, which Sony claims is three times faster for photography and seven times better at tracking AF for movies, thanks to twin linear actuators. The first version of this lens used a Ring SSM system. I tried this out using a pair of extremely tricky canine subjects – humans can be told to stay still, but dogs generally do what they like!

Lastly, I wanted to try out this lens’s focus breathing. Changes in apparent scale during focus pulls can be extremely annoying for videographers, and while Sony says the new lens optically suppresses focus breathing, it’s also compatible with cameras that can apply focus breathing compensation – so if Sony is still hedging its bets here it sounded like something that needed testing.

Alfie Cameras TYCH+ review: pocket-sized analogue creativity unleashed

10:30 am | August 19, 2024

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

Alfie Cameras Tych+: one-minute review

The Aflie Cameras TYCH is a new and exciting half-frame analogue camera from Alfie Cameras. It’s amazingly compact, beautifully designed, and packs an incredible range of optics and creative options onto a rotating lens board, from an f/156 pinhole to a 33.3mm (50mm equivalent) f/8 rapid rectilinear lens. This presents many cool, creative options in a camera so cleverly conceived, designed, and engineered, that it’s small enough to more or less fit into a pocket.

Being “half-frame” means you’ll get twice as many shots of a roll of film: a 36-exposure 35mm film will effectively double the number of images you can take, giving you 70 plus shots. With the ever-increasing cost of film, this is an attractive consideration for anyone who wants to dip their toes into the analogue sea.

Like all things analogue, there are other factors to consider, too, and you’ll need to work a bit harder to see the results. In fact, you’ll have to develop the film or have a lab do it for you. Either way, this will add time; you won’t get the instant gratification of an LCD screen or even an instant print. However, that’s kind of the point – slowing down is one of the delights of analogue photography, and something Alfie Cameras intended to achieve. So kudos to the company for doing it so well.

Alfie Tych camera on pink surface alongside 35mm film roll — (Image credit: Future | Ben Brain)

Alfie Cameras Tych+: price and availability

There are two versions of Tych: the Tych+ 'premium' and the Tych. Our review is of the premium version which costs £499 (roughly $600 / AU$1,000) on the Alfie Cameras website, while the regular Tych costs £299 (around $390 / AU$590). At the time of writing, Alfie Cameras products, which are made in the UK, are only available in the UK but is ships globally, with a few exceptions.

Like all half-frame cameras, both of Alfie Cameras' Tych cameras accept readily available 35mm film and you get twice the number of (half-size) photos per film roll compared to a 35mm film camera.

Alfie Tych camera held up to photographer's eye — (Image credit: Future | Ben Brain)

Alfie Cameras Tych+: design

Unique and compact design
Four lenses for four different looks
Double the number of shots per film roll compared to 35mm cameras

Alfie Cameras has a mission to reinvent film photography for both old and new photographers. The Alfie TYCH does just that; its cool, contemporary design is unique, and its ultra-compact size is impressive. This camera will likely appeal to old-time film photographers wanting to reconnect with their analogue past; new photographs seduced by the magical allure of film photography; plus anyone seeking some creative reprieve from a digital overload of screens, screens, and more screens.

The Alfie TYCH is a half-frame film camera, designed to hold a roll of 35mm film. Most cameras that take 35mm film are full-frame, allowing you to take 36 photographs. Being half-frame means that, while half the size, the Alfie TYCH will allow you to shoot around twice as many pictures. Today, with the massively rising costs of film and processing, this is a major win for anyone wanting to dip their toes in analogue waters.

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Alfie Tych camera on pink surface — (Image credit: Future | Ben Brain)

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It isn’t just the Alfie TYCH’s half-frame design that makes it an attractive option; it also manages to pack in four lenses on a rotary lens board, comprising a 33.3mm (50mm equivalent) f/8 rapid rectilinear lens; a 30mm f/8 single-element meniscus lens; a 25mm f/56 zone plate; and a 25mm f/125 pinhole lens. These offer various focal lengths and, more crucially, four very different aesthetic vibes. All are fixed focus, with the pinhole and 25mm being from 0m to infinity, and the 33.3mm and 30mm from 2m to infinity and 1.5m to infinity, respectively, so not too much to consider with focusing.

Most surprising is that all of this is squeezed effortlessly into an ultra-compact, well-made camera body that weighs just 120g and is 90mm x 79mm x 45mm, in a unit that fits comfortably into a single hand.

Alfie Cameras Tych+: performance

The correct mode for each lens is selected independently
Reliable exposure metering
Manual film wind
33.3mm f/8 lens performs best of the four lenses on offer

Loading a roll of 35mm film into the Alfie TYCH was easy; but if you haven’t done this before, you may want to watch a video; there are some useful videos available on the Alfie Camera YouTube channel.

Once loaded with film, it’s simply a case of turning the TYCH on, selecting the lens and taking a shot. Well, almost; each of the four lenses has its own pre-programmed auto (aperture priority) mode that uses information from the little light meter that sits above the lens board. You must select the right mode for the lens you're using. This was a bit of a faff to begin; sometimes, getting the right mode, setting the ISO and so on felt a little glitchy. Forgetting to change the mode after rotating to another lens option cost me a few duff exposures, too, but I soon got into the swing of it.

The little meter above the lens reads the light and kicks out an appropriate shutter speed for the configured lens and aperture. In my tests, this proved pretty accurate. But note that this is also what the USB-C charger is for – it isn’t for transferring images to a computer!

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Alfie Tych camera in the hand — (Image credit: Future | Ben Brain)

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The Alfie TYCH, in one of the auto modes, will give exposures ranging from 30 seconds to 1/500 sec, although you can switch to manual mode and use the Bulb setting for exposures longer than 30 seconds. For additional exposure control, there’s exposure compensation with +/-2 stops in ½ stop increments and ISO settings from 12 to 6400, an electronic shutter count, and even a shutter delay. If you’re using the pinhole, which has an aperture of f/156, you’ll likely need to use a tripod, since exposures are likely to be slower. I used a pocket Manfrotto tripod to keep the Alfie steady – it will easily fit into a small bag, for example.

The premium optics viewfinder made framing marginally easier. Naturally, it isn’t as accurate as an electronic viewfinder (EVF), but it roughly translated well into my final images.

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Alfie Tych camera film developing process — (Image credit: Future | Ben Brain)

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The film advance is a small wheel positioned on the top right of the back of the Tych. Initially, my instinct was to go to the Select button at the top, where film advance cranks have more traditionally been found on film cameras.

In fact, it took me a while to remember to advance the film at all; unlike standard 35mm cameras, there’s no shutter to recock, so it’s easy to take one picture on top of another inadvertently. This created one or two happy accidents; but on the whole, it just produced bad exposures. That said, multiple exposure is a fun creative technique, one the Alfie lends itself well to. A little Frame Indicator window at the rear of the camera tells you when the film has been advanced enough to take the next shot. I enjoyed experimenting with this and creating images where one slightly overlapped. Given more time and film, I’d be inclined to experiment with this more.

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Alfie Tych camera black and white film scan of a portrait — (Image credit: Future | Ben Brain)

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Alfie Tych camera black and white film scan diptic of a tree in an urban landscape — (Image credit: Future | Ben Brain)

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Alfie Tych camera black and white film scan diptic of trees — (Image credit: Future | Ben Brain)

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Alfie Tych camera black and white film scan of an urban scene and tree — (Image credit: Future | Ben Brain)

Not surprisingly, the premium 33.3mm (50mm equivalent) f/8 rapid rectilinear lens with four elements in two groups produced the best images. While the others had some delightful characteristics, I sense that sticking with the Alfie TYCH in the long term, I probably wouldn’t deviate from this lens frequently.

I was thrilled with the images taken with my first roll of the film through an Alfie TYCH. Of course, there were plenty of mistakes; but the small selection of images you can see here both excited and inspired me to want to return to my analogue roots, to ditch the screens for a bit, and delight in the magic of photography.

Should I buy the Alfie Cameras Tych+?

Alfie Tych camera in the hands over a pink surface — (Image credit: Future | Ben Brain)

Buy it if...

Don't buy it if...

How I tested the Alfie Cameras Tych+

I used one roll of 35mm film (approx 70 to 80 images)
I tried all four lenses in a bunch of different lighting situations and locations
I experimented with techniques such as multiple exposure

Packing the ultra-compact Alfie TYCH on my travels was easy, since it’s so small and lightweight. I loaded one roll of Ilford FP4 35mm film, which would allow me to shoot approximately 70 frames (half-frames). Once home, I processed the film in the kitchen sink using Fotospeed FD10 developer, standard stop bath, and fixer. A selection of frames were photographed using a copy stand and lightbox, a Sigma FPL mirrorless camera with a 70mm macro lens. The files were edited in Adobe Camera Raw to invert tonality (make a positive image) and tweak the tones.

First reviewed July 2024

Polaroid Go 2 review: retro fun

11:30 am | August 17, 2024

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

Two-minute review

I grew up being photographed with, and taking photographs with, Polaroid cameras, which were pretty much standard fare for family photography in the 1970s, 80s and 90s. The Polaroid Go 2 is based on the Polaroid 1000 Land Camera in terms of aesthetics, but with a modernized and miniaturized design. Due to its small size, basic-but-fun features and ease of use, it's a contender for one of the best film cameras you can buy.

The last Polaroid camera I used and reviewed before the Go 2 was the Polaroid z340, which was released back in 2011. This was a digital camera that used a Zink printing system to produce prints with a printed rebate alongside digital image files, and while it was innovative, it lacked the charm and the quality of traditional analog Polaroid prints. The Go 2 rectifies this, taking us back to what makes Polaroid cameras so appealing: true instant analog photography.

The Polaroid Go 2 is available in multiple kits alongside accessories, with the standalone camera costing $80 / £80 / AU$90. You ultimately need some film to get started, so the Starter Set that includes the camera and a Film Double Pack (16 exposures) is potentially a better starting point, and costs $100 / £95 / AU$110. A Film Double Pack X2 (32 exposures) will set you back $40 / £20 / AU$50, and this is available with traditional white or stylish black rebates.

Polaroid Go 2: design

The Go 2 is much smaller than the Polaroid 100 Land Camera it takes its design cues from, being palm-sized but with a much more rounded finish. It's also available in black, white, blue, and red, so you can select the color you prefer. For me, the black finish looks best, contrasting nicely with the red shutter button and the Polaroid rainbow.

The camera is made using 30% recycled polycarbonate and ABS plastics, and the build quality feels good. There is some movement of the film door against its lock on the bottom of the camera when you're holding it, but this doesn’t cause any issues. Loading the camera is incredibly easy, especially if you've used instant cameras in the past; if you haven't, labelled film packs and the quick-start guide will guide you through the process.

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Front of the Polaroid Go 2 — (Image credit: James Abbott)

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top of the Polaroid Go 2 — (Image credit: James Abbott)

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Back of the Polaroid Go 2 — (Image credit: James Abbott)

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Polaroid Go 2 film in the box, foil packet and opened — (Image credit: James Abbott)

The viewfinder is surprisingly reliable despite parallax error, which is the difference between what you see through the viewfinder and what the adjacent lens captures. One useful feature of the viewfinder is that the front is mirrored, so you can use it to help compose selfies, which can be taken using either the shutter button or the self-timer.

The camera uses an internal rechargeable battery that's charged via USB-C. Battery life is good, and the remaining charge is indicated by green, orange and red on the LED that shows the camera is switched on. The only downside here is that the battery is built-in, so you can't change or replace it, although this is only likely to be an issue after years of use.

Polaroid Go 2: performance

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Polaroid Go 2 instant film image of a bridge over a river — (Image credit: James Abbott)

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Polaroid Go 2 instant film image of a cat lit by flash — (Image credit: James Abbott)

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Polaroid Go 2 instant film image of a mural on a wall — (Image credit: James Abbott)

The Go 2 couldn’t be easier to use; it's a point-and-shoot camera with automatic exposure and a fixed-focus lens. The lens is made of polycarbonate resin, and produces an equivalent focal length of 51.1mm, which is perfect for this type of camera. The minimum focusing distance is 1.5ft / 45cm, so the Go 2 isn’t at all suited to close-up photography, unfortunately.

The shutter speed is automatically set between 1/300 sec and 1 sec, while the aperture is adjusted between f/9 and f/42. Exposure overall isn’t bad, but I found that images erred slightly towards underexposure, and the camera performs much better in brighter conditions than in low light. There is a flash that helps in low light, but it's not powerful, so its effectiveness is limited. Still, it's better to have than not.

Image quality isn’t quite what I remember of Polaroid cameras, lacking the clarity and color balance I can recall. Sure, it was never perfect from point-and-shoot Polaroid cameras, but it was better. Development time is also advertised as 10-15 minutes, which does appear correct, and this is much longer than Polaroid film of old, which only took a few minutes to develop. I suspect that the chemicals have been changed since then, potentially using a more environmentally friendly and/or less costly formula.

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Polaroid Go 2 instant film image showing a double exposure — Double exposures captured with the Polaroid Go 2 (Image credit: James Abbott)

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This wait time takes away some of the magical immediacy of using an instant camera, but at the same time it's ultimately not a problem. Prints are 2.62 x 2.12 inches / 66.6 x 53.9mm with a 1.85 x 1.81-inch / 47 x 46mm image area; the small print size is comparable to that of Fujifilm's Instax Mini prints, albeit with Polaroid's square format rather than Fujifilm's rectangular image area.

Prints also typically exhibit more color casts and haziness than I remember, producing a more retro look and feel than Polaroid film from even as late as the early noughties. This isn’t a bad thing though; it certainly taps into the popularity of retro photography effects these days, and I like it.

Two features of the camera that stand out are the self-timer and the ability to capture double exposures. These are activated using specific presses of the flash button, and for double exposures, you're shown a 1 and 2 on the shot remaining screen so you know which shot you're taking. The flash is also activated by default, so if you don’t want or need flash you have to switch it off each time you switch the camera on.

Should I buy the Polaroid Go 2?

Polaroid Go 2 opened ready to load film — (Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the Polaroid Go 2 instant camera

Polaroid Go 2 being held to show the small size — (Image credit: James Abbott)

I tested the Polaroid Go 2 Instant Camera over several days, using it to capture a range of subjects in different lighting conditions. I also tested the few features that the camera has to offer, which are basic, but fun and useful nonetheless.

Since exposure is fully automatic, except for being able to switch the flash on or off, all testing was a point-and-shoot affair, but that's exactly what basic Polaroid cameras are used for – instantaneous simplicity. Having somewhere to safely store exposed prints was a necessity, however.

Having used both Polaroid and Fujifilm Instax cameras in the past, using the Go 2 was as intuitive as I'd hoped, and the small size and light weight of the camera made it much easier to carry around than full-size instant cameras.

First reviewed August 2024

Panasonic DC-FZ80D / FZ82D review: the bridge camera is back, but should it be?

2:07 pm | August 16, 2024

Author: admin | Category: Bridge Cameras Cameras Computers Gadgets | Tags: DSLR, ISO | Comments: Off

Panasonic FZ80D: One-minute review

Panasonic Lumix FZ80D/FZ82D — (Image credit: Rod Lawton)

The Panasonic FZ80D / FZ82D (Confusingly, Panasonic seems to call it the latter, but it most retailers call it the former) is an updated variant on the Lumix FZ80 bridge camera launched back in 2017. The new version has been refreshed with USB-C charging and improved resolution for the EVF and rear screen. Otherwise, it’s pretty much the same camera, so it’s more of a relaunch than a new camera.

The specifications look pretty spectacular on paper, including a huge 60x zoom, a very useful 20mm equivalent wide-angle capability, 4K video, and Panasonic’s clever 4K Photo modes, which can grab an 8MP still from a continuous 4K video sequence, or focus on a subject after you’ve shot it by capturing a short video sequence with multiple focus points.

They key drawback with cameras of this type, though, is the sensor size. The FZ80D / FZ82D uses a tiny 1/2.3-inch sensor no bigger than those in a smartphone, as it’s the only way to get this incredible zoom range in an affordable, portable camera.

This impacts heavily on the image quality, and it’s compounded by a drop-off in lens performance at long zoom settings. At short-to-medium zoom settings images are about as good as those from a smartphone, but by the time you reach the longest zoom setting – which is probably one of the reasons why you bought the FZ80D / FZ82D – the definition has fallen through the floor, and is not really adequate.

The FZ80D / FZ82D delivers a huge list of features for the money, but its plasticky build quality, and especially its variable performance, could leave you disappointed. It does an awful lot, but it does none of it very well.

Panasonic FZ80D / FZ82D: Price and availability

$478 / £429 / AU$699
Available now

The Panasonic FZ80D / FZ82D is priced at $478 / £429 / AU$699, and is available now. That puts it at a similar price to some of the cheaper best beginner mirrorless cameras, but none of these will come with zoom lenses that match the Panasonic’s zoom range – such lenses don't exist for mirrorless cameras, although of course you can swap lenses on a mirrorless camera, and there are telephotos available that give you something like the same reach. The difference is the image quality – images from the FZ80D / FZ82D do not approach the quality of those from the best mirrorless cameras, and you don’t need to be an expert to see the difference.

Quick specs

Panasonic FZ80D: Design

• Same shape and size as a beginner DSLR

• Distinctly plasticky feel overall

• Disappointing fixed rear screen

The Panasonic FZ80D / FZ82D definitely looks the real deal. It’s the same size and shape as an old-school beginner DSLR like a Canon EOS Rebel, for example, with the same rounded corners and big viewfinder housing on the top. The difference is apparent when you turn it on and use the zoom lever to extend that huge 60x zoom – you could never do that on a DSLR.

The body does have a plasticky feel, though the dials and buttons work pretty well. There’s only one control dial rather than two, which is often the case with beginner-oriented cameras, and there’s no spinning dial around the four-way pad on the back, which is actually a bit of a relief since these seldom work well.

While the FZ80D / FZ82D does have improved EVF and rear screen resolution compared to the original FZ80, it’s not all good news. For a start, there’s no eye sensor to detect when you’ve taken the camera from your eye – if you want to compose a shot on the rear screen instead you have to press a button next to the viewfinder.

Worse, the rear screen is fixed – it doesn’t even have a tilt mechanism. That’s a real surprise in an era when just about every camera has some kind of rear screen articulation, and it’s going to make the FZ80D awkward for low-angle shots or video. Cheaply made but not cheap – that’s not a good combination.

Happily there’s not too much else to complain about. The menus are big, clear, and easily navigated, and the main mode dial has custom settings for those who like to shoot with specific setups. The memory card slot is next to the battery in the base of the camera, which is always a bit of a nuisance, but pretty normal in a lower-end camera.

Design-wise, the FZ80D / FZ82D is a mixed bag. It’s a good size and fits your hand well, but the finish and controls have a budget feel, and the viewing system is primitive.

Panasonic FZ80D: Performance

• Fairly snappy autofocus

• Reasonable high-ISO quality

• Very weak stabilization at full zoom

The major disappointment with the Panasonic FZ80D / FZ82D is its performance at longer zoom settings, which is especially annoying because the huge zoom range is probably what convinced you to buy this camera. It does indeed zoom to an amazing 1200mm-equivalent (in full-frame terms) focal length, but by this point the image detail is very soft and there’s visible color fringing around object outlines. In fact, judging by the processed look of fine details and textures, it looks as if there’s some heavy image processing going on at the long zoom settings to try to compensate for the lens’s limitations.

This doesn’t just affect the maximum zoom setting. You can see the fine detail rendition starting to fall away even at 400mm-equivalent, and it just gets worse from there. I wouldn’t use the FZ80D / FZ82D past its 400mm setting for this reason, which means a lot of the focal range would be wasted for me.

There’s another issue with shooting at the 1200mm-equivalent maximum zoom: camera shake. The FZ80D / FZ82D does have image stabilization, and this works well at shorter focal lengths. But at 1200mm, it just can’t cope – if you try to shoot handheld the viewfinder image leaps all over the place, and even if you brace the camera against a wall or railing, getting a sharp-ish shot at this focal length is a lottery.

Panasonic FZ80D — Want to see what a 60x zoom can do? This is my test subject with the camera zoomed right out to 20mm. Can you even see it? (Image credit: Rod Lawton)

At shorter focal lengths and for everyday subjects, the FZ80D / FZ82D performs pretty well. Images look sharp, crisp, and clear, though highlight detail in bright skies is often lost, and the camera does not have the HDR modes that smartphones have. You might think it’ll be a step up if you switch from a smartphone to a bridge camera like this, but in some respects it’s a step down.

The autofocus is nice and snappy, and there’s a macro mode for close-up shots, which makes this camera even more versatile. The 4K Photo mode is good for extracting single frames from extended bursts, and the Post Focus mode is almost uncanny in the way it lets you choose the focus point after you’ve taken the shot. In fact, here the camera is capturing a short video with a focus that shifts from near to far, so it’s not magic after all – it just feels like it.

The issue with the 4K Photo and Post Focus modes is that they're based around 4K video capture, which means the images you extract are just 8 megapixels. If you want to capture a full-resolution sequence you’ll need to switch to the high-speed shooting mode, which tops out at 10fps, and that’s with the focus fixed on the first frame. 4K Photo mode aside, the FZ80D / FZ82D is okay for action sequences, but not great.

It did okay in my ISO tests, though. You can see fine details and textures start to slip away by ISO 400, but even at ISO 3200 images look reasonable as long as you don’t blow them up too much. This is where the FZ80D’s small sensor really holds it back; on a DSLR or mirrorless camera you'd be able to go way beyond these ISO settings before starting to lose quality.

Panasonic FZ80D / FZ82D: Sample images

Here’s a gallery showing our penguin at different focal length settings: 1200mm, 800mm, 400mm, 200mm, 100mm, 50mm and 20mm, moving the tripod nearer each time to keep the penguin more or less the same size in the frame to check for image quality at different zoom settings.

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Panasonic FZ80D at 200mm

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Here are some more sample images shot at a range of focal lengths, and which are more representative of casual day-to-day photography.

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Should I buy the Panasonic FZ80D / FZ82D?

Buy it if...

You want one camera that can do everything

The FZ80D / FZ82D covers a zoom range wider and longer than most people will ever need, with a macro mode for close-ups, 4K video and more.

You’re on a tight budget and still experimenting

The FZ80D / FZ82D is cheaper than all but a few low-end mirrorless cameras, and none of them can match its zoom range. It might help you decide which direction to take in your photography.

You’re not that bothered by outright image quality

Lots of people aren’t. It’s only at longer zoom settings that the FZ80D / FZ82D starts to fall apart, and in regular shooting it can hold its own against a smartphone.

Don't buy it if...

You’re looking for a ‘second’ camera

If your main camera is a DSLR or mirrorless system, you’re unlikely to be happy with the results from the FZ80D / FZ82D, despite its do-it all convenience.

You don’t really need that huge zoom range

Look instead at bridge cameras with larger 1-inch sensors. They cost more and the zoom ranges may be shorter, but the image quality will be a whole lot better.

You’re looking for a handy ‘travel’ camera

The FZ80D / FZ82D is too big for a coat pocket and the image quality is not good enough for once-in-a-lifetime experiences. It’s not small enough and, to be honest, not good enough.

How I tested the Panasonic FZ80D / FZ82D

• I shot the same subject at different zoom settings with the camera on a tripod and the ISO set to 80 for absolute best quality

• I also tested the camera’s ISO performance using a tripod

• I checked the image stabilization across the zoom range

• I shot a range of subjects at different zoom settings handheld to get a feel for the kind of results average users can expect

The key feature of the Panasonic FZ80D / FZ82D is its massive 60x zoom range, but this is of limited use if it can’t maintain a good level of image quality at longer zoom settings. This is a regular failing of long-range bridge cameras, and likely to be a major disappointment for users who bought the camera specifically for that range.

It was also important to check the overall image quality and ISO performance. The FZ80D / FZ82D has a 1/2.3-inch sensor that's far smaller than the sensors in even cheap mirrorless cameras, and this can be a serious limiting factor.

Fujifilm Instax Wide 400 review: wide appeal?

5:45 pm | July 31, 2024

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

Fujifilm Instax Wide 400: One-minute review

The Fujifilm Instax Wide 400 is one of the best instant cameras for casual photographers who like the appeal of wider prints. It's ideal for landscape photographers and camping trips especially, with the wider format able to capture much more in the frame than other popular Instax Mini cameras, although be prepared to compromise when it comes to portraits.

Unlike other Instax cameras the Wide 400 doesn't have a built-in selfie mirror, and instead comes with a fiddly mirror attachment that doubles up as a macro lens. This can be clipped onto the Wide 400's lens when you want to take a selfie or portrait of a subject, or anything that's roughly 40-50cm away from the end of the lens.

Fujifilm Instax Wide 400 review — (Image credit: Beth Nicholls)

During testing, I found the focusing process takes a bit of getting used to, but once you grasp it, and with the help of the enhanced viewfinder and target marker, it can capture pretty sharp shots. The biggest pain points with the Instax Wide 400 are the design and lack of features. Not much has been tweaked from the Wide 300 model other than the addition of the self-timer (which is admittedly very handy) and enhanced viewfinder, but otherwise, it has no modern digital elements like the Instax EVO or Mini 99.

As for the design, the Wide 400 can withstand a lot thanks to its rugged and textured build, and it's very grippy too. With that said, it does feel larger and heavier than necessary, and what was Instax thinking with that color? I think it's one of the worst-looking instant cameras on the market (sorry Instax), and frankly I felt a little embarrassed to shoot with it in public. However, if you can get past the basic features and 'army-green' finish, it could be a worthwhile addition to your analog camera collection, and the print quality is good.

Fujifilm Instax Wide 400: Price and availability

The Fujifilm Instax Wide 400 is available for $149.99 / £129.99 / AU$229.99, which I think is a fair price compared with other Instax models. The Instax Square SQ40 retails at the same price, and other models are only marginally more affordable with similar features – you can check out more options in our best Instax Mini prices round-up .

However, a wide-format competitor such as the Lomography Lomo'Instant Wide (priced at $169 /£149) might offer more for your money in terms of creative control, with options for multiple exposure and optional flash – and it takes Instax Wide film too. There's also the retro Instax 500AF to consider if you can find one, which Redditers seem to be raving about lately.

Fujifilm Instax Wide 400: design

Better looking than the Wide 300
Very rugged and sturdy build
What's with the green?

The Instax Wide 400 might not be the prettiest Instax on the market, but the design has certainly improved since the Wide 300 model, with the sticky-out viewfinder ditched in favor of a more appealing and clean-cut build. The body is still made from a smooth plastic, which doesn't help it fit in very well among its more premium-looking Instax cousins, and while the textures around the lens barrel and battery compartment are great for grip, I think it makes the camera look a little juvenile.

As for the general design, the Instax Wide 400 is rugged, heavy, and bulky. It's not until you get this camera in your hands and lay eyes on it that you realize just how big and wide it is. I would say that my hands are medium-sized, so I'm not sure if the hands-on images in this review are doing it justice. Or maybe it's because I'm used to handling my Instax Mini 40 and Mini 99 models that this camera feels so abnormally large to me.

There's no built-in selfie mirror but, like the Instax Wide 300, the Instax Wide 400 comes with a clip-on macro lens attachment that has a mirror poking out of the side. With this camera being so large I don't think it would have taken much to include a built-in selfie mirror on the lens itself, but it's better to have one as an accessory than not at all.

Speaking of accessories, there's also a new angle-adjustment accessory that comes with the Wide 400. This comprises two black plastic wedges of different sizes on a separate strap (i.e., not the main camera strap) which you can place under the camera to tilt it upwards when it’s placed on a surface for selfies or group shots.. This worked quite well when I tested it, and it's a clever method that saves you having to look for handy objects on which to prop the camera.

Possibly my biggest gripe with the design of the Instax Wide 400 is that it's only available in a single color option, at least for now – and what was Instax thinking with that awful green shade? It's worth mentioning that a lot of the promotional images make this camera appear more teal, but in reality it's green, and a slightly dull 'army green' at that. Yet, despite the green finish, the Instax Wide 400 could also pass as a kid's camera from a distance.

I've never been self-conscious walking around with a camera before, but the Wide 400 is so large and unappealing that it draws a lot of attention to itself, and to whoever's holding it, and I felt a little embarrassed taking it out to my local seaside town during testing. I guess if you think of the Wide 400 as a camera that's intended for outdoorsy types, landscape photographers, and camping trips, then the green color choice makes a bit more sense than say, bright pink.

Fujifilm Instax Wide 400: Performance

Can capture very sharp shots when used correctly
Selfies are tricky (unless you have long arms)
The self-timer is the perfect feature for group photos
Lacks other modern features

I thoroughly enjoyed my time testing the new Instax Wide 400 camera, and I certainly get the appeal of wider-format film (which is double the width of two Instax Mini prints) when it comes to landscape photography and capturing group selfies. The camera takes really nice-looking photos in normal mode, as well as in landscape mode, and you can expect the usual Instax quality in the prints produced.

However, I found that using this camera for self-portraits and with close-up subjects is where its performance faltered. The included clip-on lens attachment shortens the focus range of the camera to 40-50cm, and is intended for taking photos of closer subjects as well as self-portraits at arm’s length. With this in mind, I used my dog Tilly as my test subject for a few shots, and found that it was very hit-and-miss with the focus (see the sample images below).

I tried to capture the same shot a few times by switching up the distance between me and Tilly, while using the upgraded viewfinder and target spot to keep her center frame. It was difficult to estimate the distance between myself and Tilly, and I took a photo in normal mode without the lens attachment for comparison, but all that was in focus was the background behind her. In short: when used correctly, the camera plus lens attachment can produce very sharp results, but it will take some experimentation, and a fair few failed prints, before you get the hang of it.

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As for selfies, these was again very tricky to master using the selfie mirror and close-up lens attachment. I also found during testing that my arms just weren't long enough to hold the camera in front of me and press the shutter while keeping my face in frame, which in hindsight, is probably why Instax chose to add the self-timer feature, and has heavily pitched the Wide 400 as a camera for group selfie shots using some kind of stable surface or tripod.

The self-timer is definitely the most useful feature on the camera, and the only 'modern' upgrade. The one-button camera design with automatic exposure is great for beginners and very user-friendly, although it doesn't offer any real benefit for photographers who like to take control of the shot and make adjustments to manual exposure. This is a little disappointing, given that most new products from Instax allow for some creative control and experimentation.

For example, the latest Instax mini 99 camera is the most advanced Instax to date, with fancy new exposure control dials, a double exposure feature, and unique light leak filters. The Instax mini EVO, meanwhile, is an excellent hybrid instant camera, blurring the lines between digital and analogue.

I was hoping Instax might bring these new tools to formats other than the Instax Mini series, but that's not the case here. Even adding a bulb mode, or the option to toggle the flash without having to cover it with your finger, would have been useful.

I also found that this camera didn't perform as well in darker conditions, even when subjects were well-lit and when using the flash. I shot a photo of some sunflowers in a vase in my conservatory when the room was still very light, and the print came out dark. I took the same image the following morning and it was much brighter. I didn't realize this would have such a big impact, as shown in the images below.

Fujifilm Instax Wide 400: Sample images

It's important to recognize that this is not a camera for serious photographers, so if you're looking for high-res studio-quality images then look elsewhere. But if you're just after a bit of fun, and an affordable way to share physical memories and keepsakes with others, then the Instax Wide ticks a lot of boxes.

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Fujifilm Instax Wide 400 review sample images — (Image credit: Beth Nicholls)

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Should I buy the Fujifilm Instax Wide 400?

Buy it if...

Don't buy it if...

How I tested the Fujifilm Instax Wide 400:

I used two packs of Instax Wide film (20 shots) and one pack of the black edition wide film (10 shots)
I used the camera in a variety of indoor and outdoor locations, and in cloudy, overcast, and sunny conditions
I experimented with self-portraits, group portraits, and closer subjects

I used the Fujifilm Instax Wide 400 for a few weeks, and I felt that I really put this camera through its paces. I aimed to test out the quality of the prints produced in a variety of conditions, including different lighting setups, alternating weather conditions, varied subject matter, with and without flash by covering it with my finger, and for both selfies and group photos.

I mainly tested the performance of this camera by venturing around my local high street and seaside resort in the south-west of England, capturing a mix of landscape and portrait images. It wasn't all about the print quality though, as I also wanted to test the camera's handling and user-friendliness.

Nikon Z6 III review – an exquisite all-rounder that’s close to perfection

7:48 pm | July 26, 2024

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

Nikon Z6 III: two-minute review

Sitting at the more affordable end of Nikon’s range of full-frame models, the Z6 III is designed to be an all-rounder, which can tackle a variety of subjects, whether that’s for photo or video.

What makes it more affordable is its 24.5MP sensor, which is just shy of half that of other pricier models in the line-up, including the Z7 II, the Z8 and the Z9. However, it's an exciting new “partially stacked” sensor, which unleashes ultra fast shooting speeds available, making this a real powerhouse when it comes to sports and action - and marking a major improvement on its predecessor, the Z6 II.

There’s up to an incredible 120fps shooting available - with some big caveats - but up to 20fps at full resolution in raw with full AF/AE. In practice, this turns out to be more than you’ll need for most types of action and returns a fantastic hit rate where almost every shot is in focus thanks to the superb autofocusing system which has been brought over from the Z8 and Z9 cameras.

Nikon Z6 III with the 24-120mm f/4 lens — With the 24-120mm f/4 lens, a great all-rounder lens that suits the Z6 III incredibly well (Image credit: Amy Davies)

For video, there’s now 6K up to 60fps available, as well as 4K at a range of frame rates up to 120fps. Being able to create oversampled video at 4K thanks to its 6K shooting ability will be appealing to lots of content creators, and gives you scope to get more shooting angles from whatever lenses you have.

In terms of body design and layout, much has stayed the same or similar since the Z6 II, however the III is now toting a fully articulating screen, making it far more suited to video work than ever before.

We’ve also got a brand new viewfinder and it's Nikon's best yet, with a 5,760k-dot resolution and an ultra-wide color gamut, plus a 60fps refresh rate. These specs all combine to make the Z6 III’s viewfinder one of the best experiences on the market.

Nikon Z6 III with the screen folded outwards — The Nikon Z6 III has a new fully articulated screen (Image credit: Amy Davies)

Image quality doesn’t show a revolutionary improvement from the Z6 II, which is pretty much as we’d expect. However, it's easier to get the shots you want thanks to improved autofocus and burst shooting performance, so while individual shots might not be an improvement in terms of things like dynamic range, color and detail, the fact that you can get more shots in focus is what makes the big difference. Video quality is also great.

When it comes to pricing, the Z6 III is more affordable than the Z8 and Z9, but you will be paying a premium for how much better it is than the Z6 II, especially considering that camera is now on sale since the Z6 III was announced. In fact, you’ll also be paying a premium right now over the high-resolution Z7 II. Between those two cameras, it’s up to you to decide whether you want high resolution at the expense of speed, or the other way around.

If you mainly shoot landscapes and other still subjects, the Z7 II might be the better choice, but if you ever shoot anything moving - or at least think you might - then the Z6 III is a much better choice.

Nikon Z6 III: release date and price

Body only price is $2,496 / £2,699 / AU$4499
Available now

The Z6 series has always been on the more affordable end of Nikon’s pro-spec line-up. Although it’s higher in value than the Z5 series, it’s generally cheaper than the Z7, Z8 or Z9 cameras. That said, the feature-packed Z6 III will set you back more than its predecessor did at launch by around 25%, and with the Z6 II on sale, the Z6 III is £1000/$1000 more expensive for the body only version at the time of this review. Right now, the Z6 II feels like a comparative bargain, especially if you can live without some of the Z6 III's improved autofocusing and burst rates.

The Z6 III is also currently more expensive than the Z7 II, so if you need higher resolution, you might opt for that model instead - again though, you’ll be missing out on things like fast shooting. If Nikon hasn't given up on the Z7 series, we could see a speedier Z7 III, but that would be treading a little too close to the Z8 and we think a new Z7 model is unlikely.

Perhaps the best thing to compare the Z6 III within Nikon’s own line-up is the Z8, with which it shares similar focusing capabilities. Here you’ll need to fork out an additional £600, and use a larger and heavier camera - but you do get higher resolution.

In the end, it likely comes down to speed vs resolution. If you need speed, go for the Z6 III, if you need resolution, the Z7 II or the Z8 if you can stretch to that is the best choice.

What about compared to other brands? Well, the Z6 III is significantly more expensive than its current main competitors, the Canon EOS R6 II, or the Sony A7 IV - both models which are also ripe for an upgrade. Although more expensive, you will get more for your money from the Z6 III, so if you’re particularly after some of its impressive features, then it’s likely to be worth the extra expense.

Price score: 4/5

Nikon Z6 III: design and handling

New vari-angle touchscreen
Super high-res EVF
Chunkier grip
New additional battery grip

If you’re looking for a fast Nikon, then you might have had your head turned by the Nikon Z8 or even the Nikon Z9, but then been quickly put off by the size of either of those models. The Z6 III is a a much more easy-to-manage size than either the Z8 or the Z9, although it's little heavier than its predecessor (760g vs 705g body only) – that's mostly down to the chunkier hand grip which I'm all for because it gives a secure hold.

Layout and button placement remains largely unchanged from the Z6 II, with a mode dial to the left of the viewfinder, plus all of your regularly used buttons and dials on the right hand side. A relatively minor tweak, but one which makes a decent bit of difference, is the drive mode and playback buttons have been swapped over. This means you can hit playback with your right thumb, rather than having to bring in your left hand to quickly scroll through the images you’ve just taken. I find this particularly handy when I’m shooting and want to have a quick check in the viewfinder that whatever I’ve just photographed is in focus - then I can have another go if something hasn’t come out quite right.

Overall, the Z6 III is a fairly intuitive camera to use with everything pretty much where you’d like it to be. A useful joystick can be employed to move the AF point around, an "i" button houses a host of quick settings, and the rear and front dials work in tandem to control shutter speed and aperture.

Elsewhere, a pretty big difference compared with the old Z6 II is the new screen, which is now a fully articulated device designed to appeal to the video crowd. It’s also useful for shooting things like selfies, or anything awkwardly positioned that you want to frame vertically. Previously, we had a tilting display, which personally I prefer for stills, but I can see why articulating made more sense in this all-rounder model. The size and resolution of the screen, at 3.2”/2100k-dots remains the same as in the Z6 II.

Nikon Z6 III key specs

Sensor: 24.5MP
AF System: Hybrid phase-detection / contrast AF
EVF: 0.5in, 5760k-dot UXGA OLED electronic viewfinder, 0.8x magnification
ISO range: 100-64000 (50-204800 extended)
Video: 6K 60p / 4K 120p / Full HD 240p
LCD: Vari-angle TFT touch-sensitive, 2100k-dot
Max burst: 120fps (crop mode)
Connectivity: Wi-Fi 5GHz, Bluetooth 5.0
Weight: 670g (body only), 760g (with battery and memory card)

The EVF has also had a bit of a glow-up. While the previous 3,690k-dot resolution EVF of the Z6 II was by no means bad to use, once you look through the 5,670k-dot device found on the Z6 III, you might find the Z6 II's viewfinder has been well and truly ruined for you. Not only is the Z6 III's high in resolution, it has also got an ultra-wide color gamut (DCI-P3, the first time this has been used in a mirrorless camera), and a fast 60fps refresh rate for a smooth display even shooting at high frame rates.

As with the Z6 II, we’ve got dual memory card slots. One is for CFExpress B, and is also compatible with the older XQD format. Another is the more widely used SD format with support for the faster UHS-II version, which is good news for anyone who doesn’t necessarily want to fork out on expensive memory cards to use this camera.

If you want extra battery power, or better handling when shooting vertically, there’s an optional MB-N14 battery grip you can also buy. If you’ve already got an older battery grip, it’s a bit annoying that the old MB-N11 or MB-N12 battery grips from previous Z series models aren’t compatible here, though. On the plus side, the MB-N14 is compatible with both the newer and older models, so if you’re toting a multi-device setup, you can at least swap between the two.

Nikon Z6 III memory card slots — The Z6 III has two memory card slots available (Image credit: Amy Davies)

Design score: 4.5/5

Nikon Z6 III: features and performance

Up to 120fps shooting with Pre-Release Capture
World’s first partially-stacked 24.5MP sensor
8-stops in-camera image stabilization
3D tracking and subject detection focus, plus focusing down to -10EV
6K video up to 60fps
New Nikon Imaging Cloud service

The Z6 series has always been Nikon’s “all-rounder”, with a lower resolution sensor than the likes of the Z7 and the Z8/Z9, at a more attractive price and more-rounded feature set.

With the Z6 III, you really do get an incredibly versatile piece of kit that's markedly more powerful for landscapes to sports and action, as well as meeting video and content creators needs too.

Although resolution has stayed on the “low” side at 24.5MP (only by comparison with the super high-resolutions we’ve become a little bit spoiled by), we now have what’s known as a “partially-stacked” sensor which has been designed to be fast, without quite such a high-cost as we’d expect from a fully-stacked sensor found in the Z8 or Z9 camera. It’s also got the same EXPEED 7 processor as found in the Z8 and Z9.

So, while the Z6 III's sensor is still not quite as speedy as the Z8/Z9, it’s still 3.5x quicker than that found in the Z6 II, and what’s more, it’s better equipped to deal with rolling shutter distortion that you might expect to see when recording moving subjects.

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A sample image taken with the Nikon Z6 III — You can shoot at 20fps in raw with full AF/AE (Image credit: Amy Davies)

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As a result, we get up to a ludicrously fast 120fps shooting available - though you will have to shoot DX (APS-C) format JPEGs which end up at only 10MP. You do get full AF/AE while recording though.

For full-frame shooting, up to 60fps is available (JPEG only), which should still be more than you really need for most types of moving subject. As if that wasn’t enough, there’s also pre-release capture which will start recording frames before you’ve even fully engaged the shutter button - super handy if you’re not sure exactly when a piece of action is about to begin. If you want RAWs to go along with JPEGs, you can shoot at 20fps with the electronic shutter.

Having super-fast frame rates is no good without a great AF system to go with it and there's good news there too. You get the latest autofocusing system available from Nikon, as seen in the Z8 and Z9, to give you 3D tracking and subject-detection options including humans, animals and a range of vehicles.

It’s got to the point now where I’ve stopped using single-point AF, and leave it on automatic subject recognition and let the camera decide for me at least half of the time. If I’m photographing anything that is likely to move around the frame, such as my baby or my dog, then it just makes sense to let the tracking do what it does best and keep up with them.

Also new is the ability to focus down to -10EV, making it superb at locking onto the subject in low-light too. There’s no messing about here.

Image stabilization has also been given a boost, with the Z6 III benefiting from the same 8-stop system as seen in the Nikon Zf. This 8-stops is measured using the 24-120mm f/4S that I’ve been using myself during this review. I’ve found that I can happily shoot with the telephoto end of this lens, at a fairly narrow aperture, in less than perfect lighting conditions and still get sharp shots almost all of the time, and the same is true of using longer lenses too.

Content creators who crave decent video specs should find a lot to like about the Z6 III too, with this being a real hybrid shooter. There’s 6K recording and a variety of different frame rates, plus the ability to shoot at different bit rates and codecs including Nikon’s N-raw, Pro Res Raw HQ, ProRes 422HQ / H.265, H.264 codecs in 12-bit raw, and 10-bit log recording.

OK, so there’s no 8K available, but 6K gives you lots of flexibility to crop in and produce oversampled 4K video, which is the quality most people require right now. Other functions here include 240p slow-motion, up to 120 minutes of record time, and the ability to use an external mic as a line-level input for recording sound directly in camera as you go. Having the screen now articulating means that those who want to record pieces to camera can do so easily, too.

It’s worth mentioning Nikon’s new Imaging Cloud service here. This is an instant backup and transfer service that will store your images for free for up to 30 days after they’re first transferred. It’s a neat way to back up your images on the fly, and only requires setting up the service once. Then, so long as you can connect freely to a WiFi network you can use it easily - although it's worth noting that if you need to login via a web browser it won’t work, which could be a problem in public locations such as cafes and hotels.

As part of Nikon's new cloud service, you also get color-profile image recipes which can be transferred to the camera, as well as firmware updates that can be transmitted and either installed automatically or manually. For now, this is only available for the Z6 III, but it is due to come to other Nikon models at a later date.

Features and performance score: 5/5

Nikon Z6 III: image and video quality

Similar performance to Nikon Zf
Great detail and and sharpness
Good colors and dynamic range
Excellent video results

Although there will always be those who are drawn to very high resolution cameras, models such as the Z6 III show that you don’t necessarily need all those megapixels to still get excellent shots - and there’s actually plenty of benefits to sticking on the low side too.

Pair the Z6 III with excellent Nikon Z glass and you'll find that you’ve got some incredibly sharp images, and while you don’t have the kind of fine-grain detail you’d expect from the likes of the Z7 II, the Z8 or the Z9, for most ordinary all-rounders, you’ve got plenty to be getting on with here.

That said, with the lower pixel count, shooting in DX (APS-C) crop mode leaves you with only 10MP, which is a bit less usable than you would get from the same setup with Nikon's 45MP cameras. If this is something you think you’ll find yourself doing frequently, you might want to consider whether it’s worth paying the extra cash for the Z8.

That said, it really does depend on what you intend to do with your images. I’ve taken some impressively sharp images of my dog using the 120fps DX-crop mode, which are - as you might imagine - more than fine to share on social media, or print at what you might call “normal” sizes (A3 or below).

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Sample image taken with the Nikon Z6 III — Eye-detection works on different species, including birds (Image credit: Amy Davies)

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There have been some reports that the new partially stacked sensor found inside the Z6 III performs worse for dynamic range than the predecessor, the Z6 II, in lab tests. While that may be true, it’s not something I can say I’ve noticed in my real-world shots, and I’ve actually found the colors and dynamic range to be excellent.

Most of the time the “Auto” Picture Style results in colors which are a decent blend of vibrant and realistic - if you're shooting in raw you’ve got plenty of scope to adjust colors exactly how you want after the fact, too. Nikon’s Active D-Lighting does a great job of producing well-balanced exposures that require minimal post-production tweaking too, with good detail in the shadows and keeping blown-out highlights under control. Similarly, automatic white balance generally produces accurate results in a variety of situations.

It’s often the case that lower resolution sensors perform better in low light situations, so if that’s something you do quite a bit of, the Z6 III could be a good choice. I’ve found it to produce very clean images in low light situations, with even very high ISO shots (such as ISO 64000) resulting in a high-detail, low noise JPEG. There’s more noise in the corresponding raw file, which gives you the option to tweak noise-reduction settings as you see fit.

Overall, image quality here is pretty similar to the Nikon Zf, which also has a 24.5MP sensor, as well as the Z6 II. There was never really an issue with the quality of the final image from the Z6 II, but it was undeniably more difficult to get what you desired if you were shooting fast-moving subjects - in short the new sensor and focusing system makes the journey to a great picture far more achievable.

4K video sample

6K video sample

Video quality is just as great as picture quality, with plenty of detail and very little in the way of rolling shutter effect, thanks to the new sensor. You don’t have 8K video here, but the 6K option is excellent, as is the oversampled 4K. The internal mic is fine for clips on the fly, coping relatively well with some background noise. Of course, serious content creators will likely invest in external audio kit. Either way, there’s really a lot for hybrid content creators to get their teeth into here.

Image quality score: 5/5

Nikon Z6 III: testing scorecard

Should I buy the Nikon Z6 III?

Buy it if...

Don't buy it if...

Nikon Z6 III: also consider

How I tested the Nikon Z6 III

Three week-review period
Paired with 24-120mm f/4, 50mm f/1.8, 14-28mm f/2.8 and 70-180mm f/2.8 lenses

I’ve had three weeks with the Nikon Z6 III, having previously used all of Nikon’s Z series since the format was first introduced in 2018.

During my two weeks with the Z6 III, I have tried it in a number of different shooting situations. I’ve photographed landscapes and interiors to get a feel for general image quality. I photographed my dog in action to give fast shooting and AF capability a good test run, as well as photographing birds to check that the Eye AF works across different species. I also photographed my daughter in a number of different situations to get a feel for how portraiture feels with the Z6 III.

I have been using the Z6 III with four different lenses. The 24-120mm f/4 lens was chosen for its versatility and used most frequently. It was joined by the 70-180mm f/2.8 lens for action and (fairly close) wildlife, as well as portraits, the 14-28mm f/2.8 for interiors and landscapes and the 50mm f/1.8 for portraits, street and candid shots.

First reviewed July 2024

Panasonic Lumix GH7 review: a high-performance hybrid

6:00 pm | July 23, 2024

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

Panasonic Lumix GH7: one-minute review

At first glance, the Panasonic Lumix GH7 is identical to its predecessor, the Lumix GH6. The two cameras’ bodies and control layouts may be the same, but Panasonic has spent the two years since the GH6’s arrival working out any kinks and building on its strong showing. The result is the GH7, a multi-talented mirrorless camera with no great weaknesses.

The GH6 had a dizzying range of video options, plus a built-in cooling system that allows for unlimited video recording; great connectivity, fast continuous stills shooting and incredibly effective in-body image stabilization. All of these things remain the case with the GH7, but its new sensor improves image quality, and its new phase-detection autofocus system fixes the one area where the GH6 felt noticeably behind the times.

It’s not the perfect camera, of course. The cooling setup makes it fairly bulky by Micro Four Thirds standards, with its body weighing more than the full-frame Panasonic Lumix S5 II, and its battery life still feels a bit stingy by modern standards. But it’s tough to find any truly significant faults, and given that the price is the same as the GH6’s was at launch in 2022, it feels like great value for money too. Bang for buck, the GH7 is one of the best video cameras available.

Panasonic Lumix GH7 camera in the hand — Big body, small sensor: the Lumix GH7 feels like a full-frame camera. (Image credit: Future | Sam Kieldsen)

Panasonic Lumix GH7: release date and price

Available now
$2,199 / £1,999 / AU$3,899 body only
Also sold in a kit with 12-60mm lens

The Panasonic Lumix GH7 is available now, with a list price of $2,199 / £1,999 / AU$3,899 body-only. It can also be purchased in a kit with a Leica DG Vario-Elmarit 12-60mm F2.8-4 zoom lens for $2,799 / £2,499 / AU$4,899. That’s the same list price at which the GH6 was launched a couple of years ago, so I have no complaints about Panasonic’s pricing decisions here.

Price score: 4.5/5

Panasonic Lumix GH7 camera and lens being adjusted — The Panasonic Lumix GH7 camera with 12-60mm Leica lens attached. (Image credit: Future | Sam Kieldsen)

Panasonic Lumix GH7: design and handling

Body and control layout virtually identical to GH6
Fairly bulky for Micro Four-Thirds camera
Articulated swivel-and-tilt touchscreen
Built-in fan cooling system

If you’ve used the GH6 you’ll find the GH7 pleasingly familiar. In fact, the two camera bodies are essentially the same – put them side by side and the name tag on the front is the only way to tell the difference. That’s not a bad thing by any means, although I will say that the GH7, like its predecessor, is bulky by Micro Four Thirds standards. At 25.4oz / 721g, the body is heavier than the full-frame Lumix S5 (26.1oz / 714g); it’s a chunky 138.4 x 100.3 x 99.6mm in size too. So, if you’re expecting its small sensor to result in a lightweight and easily portable camera, you’re going to be disappointed.

Still, I found it manageable, and it’s also important to note that MFT lenses are generally much lighter and smaller than full-frame L-mount lenses, so you’ll likely be reducing the overall weight by opting for the GH7 over a full-frame model. I also like the fact that it remains dust- and splash-proof, if not officially IP-rated or guaranteed to remain undamaged if it does get wet or sandy.

Panasonic Lumix GH7 camera's front with no lens attached — (Image credit: Future | Sam Kieldsen)

The built-in cooling system is the main culprit for the bulky build. As with the GH6, it sits at the rear of the camera, behind the screen, and uses a fan to suck in cool air and blow out warm air. This system is essential for one of the GH7’s key selling points, though: its ability to record unlimited 4K 60fps video clips. With many cameras limiting 4K clip duration due to overheating (and some requiring a lengthy cooldown period after the forced shutdown), I think the advantage of that cooling setup is a fair trade-off for the extra weight and size.

Panasonic Lumix GH7 key specs

Sensor: 25.2MP BSI CMOS MFT sensor
AF system: Phase-detection autofocus
EVF: 3.68m-dot OLED
ISO range: 100-25600 (100 to 12800 video range)
Video: 5.8K/30p 4:2:0, C4K/60p 4:2:2
LCD: 3-inch TFT free-angle touchscreen
Max burst: 14fps (continuous AF), 75fps (electronic shutter)
Connectivity: Wi-Fi 2.4/5GHz, Bluetooth 5.0 Low Energy
Dimensions: 138.4 x 100.3 x 99.6mm
Weight: 721g

As with the GH6, the 3-inch screen is excellent: not only does it flip out and swivel, it also features a two-stage tilting mechanism that enables you to move it away from any cables that might be plugged into the camera. Even if it didn’t originate on the GH7, it’s still probably the most flexible screen design I’ve seen on a mirrorless camera.

The control setup is great too, with plenty of easily accessible buttons. The highlight for me is the fact that there’s an extra record button on the front of the camera, which is something content creators who spend a lot of time filming themselves will appreciate. There are also front and rear tally lamps, making it immediately clear if you’re recording or not.

Top plate of the Panasonic Lumix GH7 camera — (Image credit: Future | Sam Kieldsen)

Connectivity remains as impressive as on the GH6. There’s a full-size HDMI output (capable of carrying 5.8K RAW video to an external recorder), USB-C (capable of recording directing to an SSD right out of the box), 3.5mm mic in and 3.5mm headphone out. There’s also a hot shoe for flashguns and accessories, while the dual-card storage setup has one CFexpress Type B slot (required when recording videos with 800Mbps or higher bit rates) and one SD slot.

There’s no USB-C webcam function here, which seems to be a Panasonic quirk, but you can live-stream directly from the camera to YouTube Live or other RTMP-based services if you wish. Both the USB-C and Wi-Fi connections support this.

Design score: 4/5

Panasonic Lumix GH7 camera's rear screen folded away — (Image credit: Future | Sam Kieldsen)

Panasonic Lumix GH7: features and performance

New phase-detection autofocus system
Excellent in-body image stabilization
14fps continuous shooting
Short-ish battery life
32-bit float audio recording (with XLR2 mic adapter)

Perhaps the biggest feature improvement in the Lumix GH7 is the addition of a hybrid autofocus system that includes phase-detection autofocus, replacing the pure contrast-based autofocus setup of the GH6. Where the GH6 could still hunt somewhat when attempting to lock on to a subject, the GH7 is deadly accurate; it locks on quickly and stays locked on, making life for vloggers and YouTubers who self-shoot significantly easier. It’s a major improvement over the GH6, bringing the GH7 in line with its competitors on the autofocus front.

The autofocus system can be set to recognise and stay locked onto humans faces and eyes, humans in general (which includes body shapes), animals, cars, motorcycles, trains, and airplanes. The menu gives additional control over how it behaves too, and overall it feels like a great system for content creators.

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Panasonic Lumix GH7 sample images, flower closeup — (Image credit: Future | Sam Kieldsen)

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Panasonic Lumix GH7 sample images closeup of a weed with turquoise background — (Image credit: Future | Sam Kieldsen)

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Panasonic Lumix GH7 sample images at a sunny UK coastal town — (Image credit: Future | Sam Kieldsen)

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The GH6’s in-body image stabilization system was excellent, and the GH7’s is just as good; and if you don’t mind a slight crop to your video, the additional electronic stabilization improves things further. Mount a lens with built-in OIS and things gets even better, with the systems combining to deliver an almost gimbal-like experience when shooting handheld. Again, it’s something vloggers and content creators will adore, as they can self-shoot beautifully stable walk-and-talk videos with little more than a GorillaPod or similar handle.

Another strong area of performance is shooting speed. When you’re shooting stills using its mechanical shutter, the GH7 can capture continuously at a brisk 14fps – and that’s with autofocus enabled. Switch to the electronic shutter and the speed goes up to 75fps with manual focus and 60fps with autofocus. That’s very fast indeed.

Connection ports on the side of the Panasonic Lumix GH7 camera — (Image credit: Future | Sam Kieldsen)

Battery life, on the other hand, is one of the GH7’s weaker aspects. In my experience, a fully charged battery was only good for around an hour of video recording, so you’ll want to pack extras if you’re planning a long day of shooting, although it’s worth noting that the USB-C port allows for easy on-the-go recharging and constant power supply too.

There’s another feature which I think deserves mention, even if it’s only available for users who buy the optional XLR2 microphone adapter: the ability to record in 32-bit float audio, which is a world-first on a mirrorless camera. 32-bit float is an audio format with much wider dynamic range, making it less prone to clipping and much more flexible when it comes to post-production adjustment. What shooting in raw is for images, 32-bit float is for audio.

Features and performance score: 4.5/5

Panasonic Lumix GH7: image and video quality

Same 25.2MP CMOS image sensor as G9 II
5.7K 30p ProRes RAW HQ internal recording
4K 120p and FHD 240p slow-motion video
Supports real-time LUTs

It wasn’t long ago that journalists and influencers in certain quarters were declaring Micro Four Thirds dead, but the GH7’s image performance is definitive proof of life. Like the triumphant Lumix G9 II launched earlier this year, the GH7 uses Panasonic’s new 25.2MP CMOS sensor, and its imaging performance appears to be largely identical.

In spite of its relatively small size, this sensor delivers excellent quality for both video and stills. While I’d still opt for a full-frame camera like the Lumix S5 II over the GH7 if I was primarily shooting in low light, the GH7’s Micro Four Thirds sensor feels like it can go toe-to-toe with the best APS-C cameras in any lighting condition, mostly thanks to a Dynamic Range Boost setup that captures and merges two outputs in parallel.

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The GH6’s sensor had the same Dynamic Range Boost setup, and while I personally encountered no great issue with it during my own review of that camera, many users complained of major problems in very high-contrast conditions. This seemed due to the fact that the base ISO started too high, and the result was the appearance of unsightly horizontal streaks. That’s been fixed now, thankfully, and you can pretty much shoot in any situation without experiencing anything except a mild bit of noise at higher ISOs.

Whether you’re recording video or snapping photos, there’s a huge dynamic range here considering the sensor size. Images are bursting with detail in both bright and darker areas, and the general color science and look of Panasonic’s standard shooting modes is as good as ever. For users who want to wring every bit of dynamic range from their videos, shooting in V-log gives you a whole extra stop according to Panasonic, taking the full range to over 13 stops (it’s over 12 in standard modes).

I don’t have the space here to detail every one of the plethora of video shooting modes available on the GH7. What I will say is that it’s a truly impressive lineup that caters to all levels of video creator (as was the GH6’s before it), including 5.7K 30p Apple ProRes RAW (with a staggering 4.2Gbps bitrate), 5.8K 30p/5.7K 60p 10-bit 4:2:0 MOV and C4K 120p 4:2:0 MP4. Like many Panasonic cameras it also offers ‘open gate’ recording, which captures video using the entire surface of the sensor – all the better for cropping to your desired aspect ratio in post-production.

The camera can also record 4K at 120fps and Full HD at 240fps for smooth slow-motion playback, both with audio included – although users should note that the Dynamic Range Boost is disabled for any recordings over 60fps, which does detract slightly from the image quality of high-speed recordings.

Panasonic has made it easy to apply LUTs in-camera too, allowing you to ‘bake-in’ LUTs to your photos and video as you shoot them. You can use the preset LUTs that come on the GH7 or add your own. The easiest way to do this is with a smartphone and the Lumix Lab app – the app lets you download LUTs made by Panasonic or other users and transfer them to the GH7, where they can then be accessed via the menu system.

Image quality score: 4.5/5

Panasonic Lumix GH7: testing scorecard

Should I buy the Panasonic Lumix GH7?

Buy it if...

Don't buy it if...

Panasonic Lumix GH7: also consider

How I tested the Panasonic Lumix GH7

One week review period
Vlogging plus run-and-gun videos
Used with two lenses: Leica 12-60mm F2.8-4 and the Leica 9mm F1.7

I tested the Panasonic GH7 for a week, using it in a wide range of scenarios: vlogging at home with a tripod and while walking around town with the help of a Joby GorillaPod; taking snapshots and landscape photos; and capturing b-roll footage in a range of different formats and frame rates. I used two Panasonic lenses during the review process: the Leica DG Vario-Elmarit 12-60mm F2.8-4 zoom and the Leica DG Summilux 9mm F1.7 wide-angle prime.

First reviewed July 2024

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