I've bemoaned the fact that Nikon's gorgeous new retro cameras, the Zf and Z fc, lack any lenses that equally pack the old-school appeal. However, it turns out that you won't need to make do with modern-style mirrorless lenses, or resort to adapting Nikon's old SLR lenses with old-school quality, because there's another name in today's retro game: Voigtländer.
I first saw the old-time German lens maker's Voigtländer D35mm f/1.2 Nokton lens at the CP+ expo in Yokohama, Japan. It was mounted on a Nikon Z fc and the pairing offered up a true blast from the past.
Voigtländer Nokton D35mm f/1.2 specs
Type: Prime
Sensor: APS-C
Focal length: 35mm (around 53mm APS-C)
Max aperture: f/1.2
Minimum focus: 11.8in / 30cm
Filter size: 46mm
Dimensions: 2.6 x 1.6in / 65.8 x 41.0mm
Weight: 8.1oz / 230g
Made in Japan, the lens might look like it's from the 1980's, but it is in fact a Z-mount lens for today's latest Nikon mirrorless cameras, and is around two years old now.
The super-brief amount of time spent with the retro stunner at CP+ left me wanting more, and I just had to get my hands on it again for a much longer play. Thanks to the good folks at Flaghead Photographic, that became a reality and now I've completed this long-term review.
Voigtländer's lens has won over both me, and my camera enthusiast father who first introduced me to Nikon SLR cameras back when I was a teen. Mounted to a Nikon Z fc, the gear has taken us back to simpler times, all while offering Nikon's superb mirrorless tech for 2024. If you already own a Z fc or are considering one, then Voigtländer's lens should be your next lens to go with it.
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Voigtländer Nokton D 35mm f/1.2: Design
Made in Japan
Meaningful attention to retro details
Manual focus only
The Voigtländer Nokton D 35mm f/1.2 is an APS-C lens with approximate 53mm full-frame equivalent focal length. It's also available for Fujifilm X-mount and Sony E-mount, with each version being considerately designed to match each brand's style. For me, the Nikon Z-mount version is easily the pick of the bunch.
It's a manual focus-only lens decked with a ridged focus ring, focus distance markings, plus an aperture ring with colorful aperture markings. The focus ring has a smooth rotation, while the aperture ring is clicked. All of these details are crucial; they're faithful recreations of Nikon's old-school design.
If you're already fond of Nikon's SLR lenses from decades past, then it will be love at first sight, love at first hold and love at first use. This is the real retro deal, with the design touches alone enough to elevate Voigtländer's lens to the top of Z fc owners' wish list.
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Speaking of the Nikon Z fc, it has shutter speed and ISO exposure dials (see above); but, currently, not a single Nikon Z-mount mirrorless lens has an aperture ring. With the Voigtländer lens you now get aperture control, meaning the manual exposure triangle of ISO, shutter speed and aperture is complete.
Build quality is solid. The lens mount is made of metal, although it isn't rubber-sealed nor weather-resistant. However, you're afforded the modern convenience of electronic contacts, meaning all metadata is logged in your files for easy reference, including camera settings such as aperture, plus the date created.
You're primarily buying the Voigtländer Nokton D 35mm f/1.2 because of how it looks and feels, rather than its ease of use – it's a manual focus lens, after all – and, honestly, that will be enough for most people. But what of the images it can produce?
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Voigtländer Nokton D 35mm f/1.2: Performance
True sharpness kicks in at f/2 to f/8
Characterful bokeh
Manual focusing can be challenging when depth of field is shallow
Technically, you can use the Voigtländer Nokton D 35mm f/1.2 lens with a full-frame camera such as the Z f, but because it's an APS-C lens, you won't be making the most of the lens' image circle; the camera will automatically crop 1.5x because of vignetting, creating a field of view that's approximate to an 80mm lens.
With an APS-C camera, you have an every-day lens that's especially good for portrait photography, provided you get the hang of manual focus, which is pretty tough at such shallow depths of field. Without Nikon's subject detection autofocus at your disposal, you won't get as many critically sharp photos, no matter how long you hone focus nor how still your subject.
There's 12 aperture blades to create a smooth and rounded bokeh, especially when wide open at f/1.2. I've included various sample images that illustrate bokeh, sharpness and distortions, turning all in-camera lens corrections off (although there's no real reason to do that). The images below are taken in sequence at f/1.2, f/1.8, f/2.8, f/4 and f/5.6.
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Bokeh is cats-eye in shape in the corners; I don't mind that over the sought-after circular bokeh. And in some images the out-of-focus backgrounds have a surreal quality to them – for instance, the photo of the goat with the ground behind it in the general gallery below.
The f/1.2 maximum aperture is faster than any one of Nikon's lenses in this sensor format, giving you excellent low light and shallow depth of field potential. However, to begin seeing the lens' technical quality, you'll need to stop the aperture down to around f/2 for sharper detail and better control over lens distortions such as vignetting.
You're then in a quandry – for many users, the draw for the lens' images will be the fast f/1.2 aperture, where you can get dreamy bokeh, provided your subject in focus is close enough. I've included an out-of-focus shot to show what the bokeh could look like, but the other shot in focus is more realistic based on portraits you're likely to take.
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Bang for buck, I'd say that image quality is good – and the primary reason for knocking a mark off the lens' score, while its undisputed design scores top marks.
There are technically better lenses available, but none can compare to the feeling you get with the Voigtländer. It has certain characteristics that you come to know and grow to love.
If you own a Nikon Z fc because you fell for its charm, then the Voigtländer Nokton D35mm f/1.2 should be the next lens on your shopping list, even if it's a fraction on the pricey side.
Voigtländer Nokton D35mm f/1.2: sample images
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Portrait at f/1.2 (Image credit: Future | Tim Coleman)
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There's plenty of character in out of focus areas (Image credit: Future | Tim Coleman)
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At f/1.2 there's vignetting and detail even in sharply focused areas is a little soft (Image credit: Future | Tim Coleman)
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At f/5.6 the detail in focused areas is sharpest (Image credit: Future | Tim Coleman)
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If your subject doesn't mind staying still, manual focusing is wrokable (Image credit: Future | Tim Coleman)
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Manual focusing for erratic subjects can be challenging. I persevered to get this shot! (Image credit: Future | Tim Coleman)
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I mounted to a tripod for a slow shutter speed at f/16 to soften the choppy water (Image credit: Future | Tim Coleman)
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I liked using the Voigtlander lens for street photography (Image credit: Future | Tim Coleman)
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Detail is sharp if you use an aperture of around f/5.6 (Image credit: Future | Tim Coleman)
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You'll need to persevere for sharp shots given you don't have autofocus. (Image credit: Future | Tim Coleman)
Should you buy the Voigtländer Nokton D35mm f/1.2?
Buy it if...
Don't buy it if...
How I tested the Voigtländer Nokton D35mm f/1.2
Regular use for over a month
All kinds of photos, including portraits
Used mainly in fair weather, plus day and night
I've had the Voigtländer Nokton D35mm f/1.2 and Nikon Z fc on long-term loan for this review. The gear has accompanied me on many days out, during walks, documenting family life, capturing portraits – in essence, a walk around lens.
I've taken the same photos at all aperture settings to check lens sharpness and distortion, and paid much attention to the experience around portrait photography. The lens isn't weather-sealed and so, in general, I've guarded it well – although it has experienced light rain on the odd occasion.
There's much to like about the Panasonic Lumix S9. It inherits superb video features from its pricier sibling, the Lumix S5 II, and squeezes them into a smaller, colorful body.
It boasts a 24.2MP full-frame sensor, open gate 6K video recording (taken from the full height and width of the 3:2 aspect sensor), the option to automatically set a 180-degree shutter angle, and one of the best performing image stabilization systems for shooting video on the move.
Beyond its bigger sibling, the Lumix S9 also brings Panasonic's lesser-known Real Time LUTs color profiles to your fingertips. Fujifilm's Film Simulations have been trending, but Real Time LUTs color profiles are next-level, with no restriction on the look you want.
Once you're connected to the new Lumix Lab app, you can import a number of Real Time LUTs profiles directly on to the Lumix S9, including a variety of excellent looks made by Panasonic's network of professional creators. This is color grading made easy for photo and video.
With the Lumix S 20-60mm F3.5-5.6 lens attached, which by the way is one of the smallest L-mount lenses available in 2024. (Image credit: Future | Tim Coleman)
Design-wise, the Lumix S9 is primarily a video camera, and at $1,500 / £1,500 (Australian pricing TBC) it offers incredible bang for buck. The reason Panasonic has been able to drop the price from the $1,999 / £1,999 Lumix S5 II is simple – this is a much simpler body, and a colorful one at that, designed to appeal to young creatives.
This is no photographer's tool, despite the excellent-quality 24MP stills: the Lumix S9 doesn't have a built-in viewfinder, or a hotshoe for mounting optional accessories, such as a flash or EVF. The coldshoe is instead limited to other accessories such as an external mic, or even a top handle.
I missed having a viewfinder. Much of my testing was conducted in bright sunny weather and the flip-out touchscreen isn't the easiest to see under such conditions.
In bright conditions you can't be fully sure if the Lumix S9 has locked focus on to your subject, you just have to trust it does. To be fair, for the best part it does – the S9 has Panasonic's best ever autofocus system, with human and animal subject detection and both with options for face and eye detection only, or for bodies, too.
We're missing a headphone jack to monitor audio, which feels like a misstep for a video-focused shooter. You can activate on-screen audio monitoring which gives some indication of audio levels, but there's no easy way to properly monitor sound.
The Lumix S9 is a much bigger package with any lens attached, such as the Lumix S 20-60mm F3.5-5.6 pictured here. (Image credit: Future | Tim Coleman)
In essence, this is a full-frame camera for beginner filmmakers who want to point-and-shoot and trust that the camera will capture excellent visuals and audio, and for the whole experience to be as close to using a smartphone as possible.
To an extent, the Lumix S9 is successful in its mission. It's visually appealing, small and simple, brings lovely photo and video color profiles to your fingertips and the app is a nice touch, even if it could do with some refining.
However, considering the target market, I'm not entirely convinced this should be an L-mount interchangeable lens camera, rather a fixed lens compact with a tiny wide-angle fast aperture prime lens – much like the Fujifilm X100VI.
It's really hard to make tiny full-frame lenses, and the new pancake lens announced on the same day as the S9, plus the compact zoom in the pipeline, hardly excite. The smallest fast aperture L-mount prime lenses dwarf the camera and I'm not sure beginners will want to mess around with multiple lenses in the first place.
Design-wise, Sony's ZV-E10 feels like a better bet – with its smaller APS-C sensor and lenses, plus a decent grip. All being said, the Lumix S9 does a lot of things really well, new things, too, and we'll have to wait and see if it hits the mark with young creatives.
Panasonic Lumix S9: release date and price
Body-only price is $1,499 / £1,499 / Australia TBC
Available from June 2024
Launched alongside the Lumix S 26mm F8 pancake lens, which costs $219 / £219
The Panasonic Lumix S9 is available in four colors: Dark Olive (pictured, below), Classical Blue, Crimson Red and Jet Black, and costs $1,499 / £1,499 body-only, or $1,799 /£1,799 with the decent 20-60mm f/3.5-5.6 lens, and $2,249 / £2,249 when bought with Panasonic's new travel lens, the 28-200mm f/4-7.1. The camera is available from June 2024, and Australia pricing for all of those options is TBC.
There's no word yet if the Lumix S9 will be available as a bundle with either of the newly announced lenses, the new 26mm f/8 pancake lens or the 18-40mm F4.5-6.3 compact zoom in development. The pancake lens, which only weighs 2.04oz / 58g, costs $219 / £219 and also ships from June 2024, while the compact zoom is coming later.
At launch, the Lumix S9 is Panasonic's cheapest full-frame camera yet, although the Panasonic Lumix S5 II / S5 II X that shares much of the same tech but in a higher-spec body, is often on sale for a similar cost.
You can take off the lens to easily pack the Lumix S9 away in a small bag. (Image credit: Future | Tim Coleman)
Panasonic Lumix S9: design and handling
Newly designed body is Panasonic's smallest full-framer yet
No viewfinder, hotshoe or headphone jack
Vari-angle touchscreen
New compact lenses on the way
The Lumix S9 is Panasonic's smallest full-frame camera yet, measuring 126 x 73.9 x 46.7 mm / 4.96 x 2.91 x 1.84 inches. It's not the smallest full-frame camera around – that award goes to the Sigma FP, plus the Sony A7C II is smaller by a whisker.
The body might barely be a handful, but it still needs a lens, and even the smallest full-frame L-mount lenses currently available – excluding the new 26mm F8 pancake – dwarf the Lumix S9. Throw on the excellent 20-60mm F3.5-5.6 and the depth is increased to 133.9mm / 5.28-inches.
A thumb grip goes some way in providing a secure hold, but with no hand grip you'll probably need to support the camera with both hands, or kit it out with a third-party grip. Relatively chunky lenses are the challenge in handling small full-frame cameras like this – the all round feel is better with a camera like the full-size Lumix S5 II.
In an ideal world, the Lumix S9 would have a fixed prime lens around the size of Panasonic's new pancake lens, but with a much faster maximum aperture – the Fujifilm X100VI approach. Panasonic could then also install a built-in ND filter, and ultimately create a truly compact video camera that also shoots much better video than your phone.
Still, if you don't mind the size of lenses like the 20-60mm F3.5-5.6 and 50mm F1.8 – both of which I had with the camera for this review – then you can make some excellent quality video.
The Lumix S9's Dark Olive color variation looks the part. (Image credit: Future | Tim Coleman)
There's the question of which tasteful color variation you will pick: green, red, blue, or an all-black option for those playing it safe. For now, Panasonic's lenses remain all-black; there's no color-matching kit lenses.
Panasonic Lumix S9 key specs
Sensor: 24.2MP full-frame CMOS AF system: Hybrid with phase-detect EVF: N/A ISO range: 100 to 51,200 (ISO 50-204,800 extended range) Video: 6K/30p 'open gate' 4:2:0 10-bit internal LCD: 3.0-inch vari-angle touchscreen, 1.84m-dots Max burst: 8fps (continuous autofocus), 30fps burst Connectivity: Wi-Fi 5GHz, Bluetooth 5.0 Weight: 403g (body only), 486g incl battery and card
Control layout is super simple and beginner-friendly: on the top there's a shooting mode dial, video record button, exposure compensation, shutter button and control dial. We get a limited number of ports: mic, USB-C and mini-HDMI, but no headphone jack.
As a small, video-focused camera, there's no viewfinder nor the option to add one, while the coldshoe mount can hold an accessory like an external mic, but it won't connect directly to a hotshoe flash.
The 3-inch vari-angle touchscreen is decent, albeit hard to see in bright light. I couldn't find the option to activate a red border to clearly indicate when the camera is recording video, or even a tally lamp – inexplicable omissions for a small, video-focused camera.
The S9 body is tiny, but it still needs a lens, which adds considerable depth. (Image credit: Future | Tim Coleman)
In-camera menus are fairly-well laid out. If you select the video mode on the top dial, then all of the photography settings disappear in the menu, helping you access video options much quicker.
You'll want to customize video options to get started, for example setting the 'Shutter Speed / Gain Operation' to prioritize shutter angle to automatically apply the 180-degree shutter angle for smooth video footage. This handy option is not available on a lot of other pricier video cameras.
The vari-angle screen can flip around for selfies, although the camera lacks a clear indicator when recording videos, for instance a tally lamp or red border around the screen. (Image credit: Future | Tim Coleman)
A new LUT button on the rear gives quick access to the unmatched variety of color profiles, which can be uploaded to the camera via the Lumix Lab app in addition to those already included. I went for 'Platinum Steel' by Sam Holland for a moody vibe with soft skin tones, among others.
Panasonic wants to create a camera and app experience that's easier than ever. From my brief time using the Android version of the Lumix Lab app, the jury is still out. Connection is faster than most, but the app can still be awkward to navigate, and appears to be limited to file transfers and uploading LUTs profiles. There could be more than this, including remote control.
The Lumix S9's control layout is pared back and beginner-friendly. (Image credit: Future | Tim Coleman)
Panasonic Lumix S9: features and performance
Superb in-body image stablization
Panasonic's best phase detection autofocus
Battery life is a respectable 470-shots (depending on lens)
Single UHS-S II SD card slot
New Lumix Lab app
The Lumix S9 is well supported by Panasonic's best ever autofocus and image stablization performance, both inherited from the Lumix S5 II.
The S9's bigger sibling was the first Panasonic camera to utilize a hybrid autofocus system, with snappy contrast detection autofocus primarily for stills, and smooth phase-detection autofocus for video, featuring subject detection modes that cover human, animal, car and motorcycles.
Human and animal detection autofocus can switch between prioritizing face and eye only, or face, eye and body, and in general works really well.
Image stabilization performance is outstanding. It's possible to shoot sharp photos handheld with shutter speeds in the seconds, while handheld video footage on the go is super smooth – smooth enough for moderate action that you can avoid using a gimbal.
Connection between the Lumix S9 and Lumix Lab app proved quick and reliable using a Google Pixel 6 phone. (Image credit: Future | Tim Coleman)
There's just a single SD card slot with support for the faster UHS-II type, and you can capture up to 120 images in the continuous high burst shooting setting, which maxes out at 8 frames per second with continuous autofocus employed. This is no action photography camera, but it's hardly a slouch.
Battery life is also decent, especially considering the diminutive size of the camera. According to its CIPA rating, the S9 can squeeze out up to 470 shots from a fully charged battery, or 100 minutes of continuous 4K / 60p video recording.
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A 'Platinum Steel' Real Time LUT profile (Image credit: Future | Tim Coleman)
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The original standard color profile (Image credit: Future | Tim Coleman)
Then there's the Lumix Lab app, which at the time of writing is compatible only with the Lumix S9. In my experience using a Google Pixel 6 and the Android version of the app, pairing the camera is quicker and more reliable than most other rival apps.
In the app you get quick access to a range of Real Time LUTs color profiles. A number of Panasonic's creators have loaded some of their own publicly available and free to download LUTs in the app's Creator gallery, and I've found a look for just about every scenario.
I've included a high-contrast street photo taken in London with the Lumix S9's standard color profile, and then applied a free 'Platinum Steel' LUT which suited the scene (see above).
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Sadly, video capture times are severely limited, capped at just 15 minutes, and further reduced to 10 minutes when shooting in 6K. This is presumably to avoid overheating given the Lumix S9 lacks an internal fan, as opposed to any limitations in the camera's performance, including its processor power and card's read and write speeds.
Most people won't shoot individual clips for longer than 15 minutes, but knowing that you can in any situation is one less thing to worry about, whether that's recording speeches at an event or lengthy vlogs.
Panasonic Lumix S9: image and video quality
Superb video features including open gate video recording up to 6K / 30p
Real Time LUTs color profiles are supremely versatile
New MP4 Lite file format
Up to 14-stops dynamic range in V-log color profile
With practically the same sensor and video spec as the Lumix S5 II, you can be assured that the Lumix S9 captures superb quality video, plus sharp and punchy 24MP stills. You can read more about the image and video quality to expect in our Lumix S5 II review.
What the Lumix S9 tries to do differently is bring Panasonic's Real Time LUTs to the fore, through quick access via a direct button on the camera's body and the Lumix Lab app, through which you can easily upload any one of a vast array of color profiles for just about any shooting scenario.
You can create your own color profiles and save them to the camera, or simply take advantage of the profiles already available through the Creator's gallery in the app.
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There's also the matter of a new MP4 Lite video format. It maxes out at 4K, 10-bit 4:2:0, but produces files that are around 40% smaller than regular MP4 files, which are also available in the S9. However, for best quality video, you'll probably want to shoot in .MOV format in 4K 4:2:2 10-bit or 6K 4:2:0 10-bit, even if the file sizes are much bigger.
Whether it's a light and easy ready-made MP4 Lite video with Real Time LUT applied, or 6K 10-bit video in the V-log color profile with 14-stops of dynamic range that needs to be graded afterwards, there's video quality for every level of ability and shooting scenario.
How I tested the Panasonic Lumix S9
Two brief sessions, including a street photography walk
Paired with the 26mm pancake, 20-60mm F3.5-5.6 and 50mm F/1.8 lenses
Paired with the Lumix Lab app
I've had a fairly brief time with the Lumix S9 so far, including a London street photography session and a more leisurely time at home and on launch day. I still have the camera at home and will be continuing to use it ahead of the full review.
I've been shooting both photos and videos, and tried pairing the S9 with the Lumix Lab app to play around with various Real Time LUTs color profiles and making quick edits to photos, among other things.
During the London session I was briefly able to use the S9 with the only copy of the pancake lens available in the UK, plus I've had more time using the camera with the 20-60mm F3.5-5.6 and 50mm F1.8 Panasonic Lumix L-mount lenses.
I’ve reviewed almost every Holy Stone drone available and its latest model, the Holy Stone HS900, represents a significant improvement across the board which makes it the Chinese drone manufacturer’s best drone to date. So much so, that what’s on offer competes directly with the DJI Mini 3 and the Potensic Atom – two impressive mid-range sub-250g drones that come in at two price points.
In terms of price, the HS900 single battery kit costs $330 making it marginally more expensive than the Potensic Atom and significantly less expensive than the DJI Mini 3. Is it better than the Mini 3? No, but if you’re on a budget, it offers an enticing alternative to the Potensic Atom and also provides additional features that could be a deciding factor on which drone to choose, and firmly cements it as one of the best beginner drones available.
Holy Stone HS900 specs
Camera: Sony 1/2.3 in 48MP CMOS sensor / fixed focus f/2.6 lens
Video resolution: Up to 4K
Frame rates: 4K 30 fps / 1080p up to 60 fpsVideo transmission range: 1.86 miles / 3 kmFlight modes: Stable, Normal, Sport
Battery: 2250 mAh Li-ion / up to 30 minutes
Charger type: USB-C cable
Weight: 8.7oz / 249g
Dimensions: 5.63x3.26x2.44in / 143×82.8×62mm folded / 6.59x 8.57x2.44in / 167.4x217.8x62mm unfolded
We’ll go into much more detail later, but some of the features and functionality you can enjoy with the HS900 include a camera with a Sony 1/2.3 in 48MP CMOS sensor and a fixed focus f/2.6 lens, up to 4K 30fps video, subject tracking, time-lapse capture, cruise control, automated flight patterns and much more. Image quality is also very good, not perfect, but the minor issues here could be resolved with a future firmware update.
All-in-all, the HS900 slips into a burgeoning sub-250g drone category which is fiercely competitive, where less expensive options are now hacking at the heels of the DJI. It’s unlikely that they’ll succeed in catching up or overtaking the market leader – although DJI is facing a potential ban in the US – but with the trickle-down of features and improvements in flight performance and image quality with budget drones, it’s pilots who are ultimately benefitting from greater choice.
Holy Stone HS900: Release date and price
Released May 2024
Only available in the US at launch
Available in other regions soon
At launch in May 2024, the Holy Stone HS900 was initially only available in the US. The drone will become available in the UK and other regions shortly. At the time of writing, US residents can purchase the HS900 single battery kit from Amazon for $369.99 after applying a $100 voucher, although the price regularly fluctuates. For UK-based and Australian pilots, this converts to £280 / AU$550 respectively, but official pricing for these regions is yet to be announced so this price could vary.
The single-battery HS900 kit includes the HS900 drone, a controller, one smart battery, phone connection cables, a USB-C charging cable, a set of spare propellers, spare screws, a screwdriver and a carry bag.
Dual and triple battery kits are suggested on the Holy Stone website, so we could see additional battery kits becoming available in the future. We have been told that a battery charging hub is also due to be released, allowing multiple batteries to be charged at once rather than one at a time in the drone via USB-C.
We'll update this page with any price and availability updates.
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Holy Stone HS900: Design and controller
Lightweight folding design
New controller
Great build quality
Most drones these days feature a folding design to reduce size for transportation and storage, and the HS900 is no exception in this regard. It’s a tried, tested and ultimately successful approach to drone design, so it makes perfect sense in every way. The dark gray drone is just 5.63x3.26x2.44in / 143×82.8×62mm when folded, with an unfolded size of 6.59x8.57x2.44in / 167.4x217.8x62mm and a weight of 8.7oz / 249g. So, all pretty standard for a drone of this type.
Build quality is very good, and there’s nothing to indicate the relatively low cost of the HS900. In fact, it looks more expensive than it actually is, even if looks don't ultimately impact performance. The drone is made of lightweight plastic so it doesn’t feel substantial in the hand, but to be fair this is the case with even the most expensive sub-250g models – it’s just a way of keeping weight down. Durability certainly isn’t an issue.
Flight times are respectable, averaging around 22 minutes in moderate to gusty wind before Return to Home was initiated at 20% battery, as opposed to the advertised flight times of up to 30 minutes. However in reality, with lower winds and warmer temperatures, flight times would likely increase. The 2250mAh battery takes just over an hour to charge in the drone via USB-C, which is quite fast, and you can also charge batteries this way using a USB power bank when out in the field.
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The HS900 uses a new P2 controller which sports a simple yet functional design with all of the direct access controls you need to control the drone, the camera and the gimbal. This includes a small joystick for adjusting specific camera settings and a dual-function Fn button that can be customized with two different functions.
For the review, I set the button to tilt the gimbal between 0-degrees and 90-degrees with a single press, and to initiate Cruise Control with a double press. The build quality of the controller can’t be faulted, and although the bottom-mounted folding phone holder arms have a slightly flimsy feel to them, they securely accommodate smartphones of all sizes, so no worries here.
Holy Stone HS900: Features and flight
Smooth flight controls
Includes subject tracking
Multiple flight modes
Holy Stone drones have always been pretty good flyers, but they have also lacked the finesse of more expensive drones. With the HS900, this has all changed and the flight performance on offer is greatly improved and puts the drone comfortably among its rivals. Flight controls are also smooth and responsive, so it’s possible to perform positive maneuvers when capturing video.
What’s more, the gimbal tilt, which has a range of 30 to -90-degrees, allows you to shoot upwards slightly as well as straight down, and has a smooth so you can confidently incorporate it into maneuvers for more dynamic video shots. Image stabilization is highly effective, using a combination of the 3-axis mechanical gimbal and Electronic Image Stabilization to produce shake-free video footage.
With GPS positioning, provided by GPS, GLONASS, Galileo and BeiDou systems, hovering is generally stable with drift mostly noticeable at higher altitudes. With GPS, pilots can also take advantage of Return to Home functionality which can be initiated manually by the pilot, or automatically when the battery reaches 20% charge / when the connection between the drone and controller is lost. It can also be cancelled when the battery reaches 20% if you want to increase flight time slightly.
Despite being a small and lightweight drone, the HS900 offers level 5 wind resistance, which equates to wind speeds up to 24 mph. The HS900 was flown in wind gusts of 22mph during testing and showed no signs of struggling in any of the three main flight modes/speeds, so this claim appears to be correct. The flight modes include Stable with a top speed of 11mph, Normal with a top speed of 22mph and Sport which offers the maximum flight speed of 31mph.
Being a mid-range sub-250g drone, like its direct competitors, the HS900 doesn’t offer obstacle avoidance, so you do have to take care when flying close to obstacles and when using automated flight patterns. It does, however, have a downward vision system that’s used to determine the ground in situations when a GPS signal is unavailable, such as when flying indoors.
Holy Stone HS900 Time-lapse
The automated flight patterns on offer include Point of Interest, Spiral up, Tap Fly (waypoints), Gesture Selfie, One-key Ascension and Catapult, which work as intended. Plus, there’s subject tracking where you draw a box around the subject to be followed and the drone will do just that. This works well for the most part, but there are times when the HS900 loses the subject so it’s not perfect.
A fun and easy to use feature is Time-lapse, with manual control over the interval and video length, plus exposure and shutter speed to maintain consistency in your videos. Unlike DJI's Time-lapse feature, the HS900's version works independently from flight and you simply hover instead. If you wish to create a moving sequence, also known as a hyper-lapse, you have to judge flight distance and speed yourself, which is extremely tricky. It’s much easier to simply select a composition and shoot with the drone in a hover.
Cruise Control is another useful feature and one that, as the name suggests, allows you to set the drone on a course and maintain it without having to hold the control sticks. This provides greater consistency for videos thanks to a consistent speed. I did try to use Cruise Control when shooting a Time-lapse, but each time it adjusted the gimbal tilt making it unusable in this situation, unfortunately.
Holy Stone HS900: image quality
Sony 1/2.3 in CMOS sensor
Up to 48MP photos
4K 30 fps & 1080p 60 fps video
(Image credit: James Abbott)
Once again, like overall performance, the image quality produced by the HS900 beats all other Holy Stone drones hands down. The camera features a Sony 1/2.3-inch 48MP CMOS sensor with a fixed focus f/2.6 lens providing a 100-degree field of view, and sharp video and photo quality.
Fixed focus may sound like a step down from autofocus, which it is in a way, but it uses the principle of hyperfocal distance to provide the maximum depth-of-field possible for the combination of focal length and aperture – meaning much of the scene will be in sharp focus.
Overall image quality is very good for both photos and videos, which can be captured with the camera set to auto or manual exposure. Image quality is best in brighter conditions, like all drones with a small image sensor, but white balance is a little quirky and could benefit from adjustments in a future firmware update. The white balance presets are a little off what you would expect, with Auto providing the best, yet not always perfect results.
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Photos can be captured in 4K resolution (3840x2160 pixels) and 48MP with image dimensions of 8192x4608 pixels – these are in 16:9 format rather than the more common 4:3 format used for drone photos.
Photo capture is currently only available in JPEG format, but raw capture will be added in a future firmware update. Video can be captured in 4K at 30 fps and 1080p at 60 fps in a Normal/Standard color profile for straight-out-of-camera use, and is saved in MP4 format. A flat color profile for increased dynamic range and color grading is, unsurprisingly, unavailable.
My short wish list for a firmware update would be to build on the well-featured camera control by including a histogram and Automatic Exposure Bracketing (AEB). The former is invaluable for assessing exposure, while the latter makes shooting in high-contrast situations, such as around sunrise and sunset, much easier because you can capture bracketed exposures for HDR photography.
Holy Stone HS900 video in 4K / 30 fps
Should I buy the Holy Stone HS900?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
How I tested the Holy Stone HS900
Several days and flights
Used in mixed weather, including moderate wind
Various flight modes and video and photo settings
The Holy Stone HS900 was tested over several days of flying in a range of locations, environments and weather conditions (excluding rain) to test flight performance, flight features, overall handling and image quality for both photo and video capture. All testing is conducted in a way that meets local aviation laws and restrictions to ensure that all flights are safe and legal.
Drones are always tested using manual flight patterns for video that are typical of professional aerial video capture to shoot visually interesting footage. This also provides the opportunity to test aspects such as the connection between the drone and controller, latency between the two and the accuracy of the controls and flight in general.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering drones in terms of shooting and editing techniques, alongside writing drone reviews for a number of years. As well as flying most consumer and prosumer models, I’ve previously held a PfCO (Permission for Commercial Operations) issued by the Civil Aviation Authority in the UK, and now fly under an A2 CofC (A2 Certificate of Competency).
Fujifilm has bucked the trend by launching a new camera that is actually cheaper than its predecessor, despite three years of inflation and the improved features on board. There is, therefore, more to the new Fujifilm GFX100S II than its upgraded features – it's priced aggressively to grab the attention of pro photographers teetering between the best full-frame cameras and medium-format.
Costing around 10% less than the GFX100S was at launch, the GFX100S II is available for $5,000 / £5,000 / AU$8,700, which is a similar price to what you'd pay for comparable full-frame mirrorless cameras – a sensor format Fujifilm isn't making cameras for, but a market it clearly wants a piece of.
And with a whopping 102MP sensor creating high-resolution images exceeding those from any full-frame model, even those shot with the class-leading Sony A7R V, there are plenty of pros who could be better served by the GFX100S II's larger medium-format.
The grip of the GFX100S II is supremely comfortable. (Image credit: Future | Tim Coleman)
Not only has Fujifilm priced the GFX100S II aggressively, but it has trickled down some of the most powerful features the format has ever seen from the pricier GFX100 II flagship, including 7fps burst shooting and AI subject detection autofocus.
It might not be quite as fast as the GFX100 II overall, but the GFX100S II is no slouch and goes some way to put to bed the notion that medium-format is simply slow and confined to a small number of scenarios, such as studio portraiture.
During my hands-on time with the GFX100S II, I've taken photos and videos of animals in a wildlife reserve and been super impressed by the details in those images, but also by the overall speed and autofocus performance in what were pretty challenging scenarios, such as shooting through foliage and enclosure fencing.
The question now for pro photographers considering a larger medium-format camera is less about budget and more about needs. Yes, the GFX100S II is still slower in general than a camera like the Sony A7R V, but not by a lot. And with it you get higher-resolution images with true-to-life colors that are noticeable to pros – at times making full-frame camera image quality feel ordinary.
GFX100S II with GF 100-200mm F5.6 lens attached. (Image credit: Future | Tim Coleman)
For balance, we do need to consider the system that a camera is part of. Thankfully, there are numerous decent Fujifilm GF lenses for the GFX100S II. However, in general they are pricier and chunkier than full-frame equivalents.
Also, for most users interested in the format, there might not be enough reason to upgrade from the GFX100S II's predecessor, the GFX100S, which despite being phased out is still available to buy and now at cut prices – just $4,399 at B&H Photo or £3,499 at WEX – and with which you still get 102MP photos.
All being said, if you weren't already sure about the sensor format, the GFX100S II is the most compelling case for medium-format yet.
Fujifilm GFX100S II: release date and price
Body-only price is $4,999 / £4,999 / AU$8,699
Available from June 17
Optional metal grip available, but no vertical battery grip
Launched alongside the GF 500mm f/5.6 lens, which costs $3,499 / £3,499 / AU$6,099
Fujifilm is clearly going after those teetering between full-frame and medium format, aggressively pricing the GFX100S II. It's actually cheaper than the GFX100S was at launched by around 10%, despite three years of inflation and the improved features added.
At $4,999 / £4,999 / AU$8,699 in body-only form, the GFX100S II is going up against some of the best full-frame cameras, such as the Nikon Z8 and Sony A7R V, and is a decent alternative for those that need the best image quality over outright speed.
Unlike the flagship GFX100 II, you can't buy a vertical grip for the GFX100S II, which would improve the ergonomics with larger lenses and increase battery life. However, you can buy a standard metal hand grip for $120 / £135 / AU$245. There's no word on kit bundles yet, but we do know the sales start date, which is June 17.
(Image credit: Future | Tim Coleman)
Fujifilm GFX100S II: design and handling
Same body layout as the GFX100S, but with 'bishamon-tex' leather exterior
Improved 5.76m-dot non-removable EVF
Two-way tilt touchscreen great for shooting at awkward angles
It might look different to the GFX100S, but the GFX100S II has pretty much the same control layout and form factor. The key difference in the looks department is the camera's finish, which is Fujifilm's 'bishamon-tex' leather, as first seen in the GFX100 II (see photo, below).
The leather finish is a departure from Fujifilm's retro roots and steps into a modern aesthetic that I'm a fan of. Otherwise, it's as you were with its predecessor, meaning a rugged DSLR-style camera with deep and comfortable grip, plus generous displays that include an improved EVF, versatile multi-angle touchscreen and generous top LCD display.
The latest model is actually slightly lighter than the first one, at 1.95lb / 883g, yet remains well-balanced even with Fujifilm's chunkier GF lenses, such as the 100-200mm f/5.6 R LM OIS WR and new GF 500mm f/5.6 that I had during my hands-on.
The bishamon-tex leather finish that is the hallmark of Fujifilm's medium format cameras today. (Image credit: Future | Tim Coleman)
The camera is akin to a mid-size full-frame camera such as the mirrorless Nikon Z8 or the Canon EOS 5D Mark IV DSLR, and lighter than a sports-style shooter like the Canon EOS R3. With a GF lens attached, it's not the sort of setup you can comfortably carry for hours on end, but it's easy enough to operate.
Fujifilm GFX100S II key specs
Sensor: 102MP medium format CMOS Image processor: X-Processor 5 AF system: Hybrid with phase-detect EVF: 5.76-million dot OLED ISO range: 80 to 12,800 (ISO 40-102,400 extended range) Video: 4K/30p 4:2:2 10-bit internal LCD: 3.2-inch multi-direction tilting touchscreen, 2.36m-dots Max burst: Up to 7fps Connectivity: Wi-Fi, Bluetooth Weight: 883g (body only)
Fujifilm has been able to improve on the GFX100S without encroaching too closely on the current flagship GFX100 II. For example, the EVF has a decent bump in resolution at 5.76m-dots, with a healthy 0.84x magnification, while the pricier GFX100 II has a 9.44m-dot EVF and 1x magnification, plus its viewfinder can be removed or modified using a tilt adaptor.
While the EVF specs are a step down, the display in the GFX100S II is wonderfully big and bright, though like with a lot of EVFs you get lag in low-light conditions.
What remains the same – and needed no real improvement – is the rear LCD, which is a two-way tilt touchscreen. It can't be flipped around for selfies, but it can be tilted in both vertical and horizontal orientations, making it a breeze to view and to operate from virtually any position.
The large top LCD displays exposure information but can be customized to display other info such as a histogram. (Image credit: Future | Tim Coleman)
The backlit top LCD is super-handy, too. It displays exposure information by default, but you can change that to show the histogram among other things. These are the kind of tools that pro photographers appreciate, making the GFX100S II a particularly good landscape photography camera.
For a camera this size, there are relatively few buttons and controls, making each one easy to find, and in general the tactile response of each control is spot on, although the joystick is a little stubborn.
The two-way tilt touchscreen makes shooting from awkward angles a breeze, though you can't use it for selfies. (Image credit: Future | Tim Coleman)
By design, the GFX100S II is a photography-first camera, although there's all the basics to support video recording, including a dedicated stills / movie switch, plus mic input, headphone jack and on-the-go USB-C charging.
We also get twin card slots, although both slots are SD card only. It's another differentiator from the flagship model, which can also hold the faster CFexpress Type B card type to better support powerful features, and we'll get onto those next.
The viewfinder is fixed, whereas the one in the GFX100 II can be removed. (Image credit: Future | Tim Coleman)
Fujifilm GFX100S II: features and performance
Decent Hybrid AF with AI subject detection
Up to 7fps (electronic) for almost 200 JPEGs
Dual SD UHS-II slots but no CFexpress Type B support
In-body image stabilization specs are optimistic
Fujifilm upped the bar with the GFX100 II, delivering never-before-seen medium-format performance. We can't expect the same power from the much cheaper GFX100S II, but it's no slouch.
The same X-Processor 5 engine can process 102MP files at 7fps for up to 184 JPEG images or 30 compressed raw files. Those burst-shooting sequences aren't quite as lengthy as you'll get on the GFX100 II, though if you don't mind dropping to 4.1fps then you'll get a huge bump in the number of frames you can capture.
A comparable full-frame camera such as the Sony A7R V can shoot at 10fps, but we should remember the huge file sizes that the GFX100S II is creating: the full- resolution raw files are around 200MB a pop and measure 11648x8736 pixels.
Burst-shooting sequences and buffer performance is compromised because the GFX100S II records on to SD UHS-II cards only, with dual card slots, while the GFX100 II can record to much snappier CFexpress Type B cards.
102MP images at 7fps means you can capture superb detail and the best moment. I've heavily cropped into the full-resolution version of this image, shot through a fence with the 500mm F5.6 lens. (Image credit: Future | Tim Coleman)
Fujifilm says in-body image stabilization (IBIS) performance is improved, with up to 8-stops of stabilization depending on the lens in use. IBIS is possibly the single most important feature of a high-resolution camera like this, compensating for camera shake when shooting handheld to ensure sharp detail.
It's IBIS that enables a 102MP camera like the GFX100S II to break free from a tripod and truly be a handheld camera. Frankly, I found 8-stops a tad optimistic. First impressions are that Panasonic's IBIS in the full-frame Lumix S5 II performs better, as does the Hasselblad X2D 100C. With the new GF 500mm F5.6 lens I was reliably getting more like 4-stops stabilization, but in-the-field tests are hardly scientific and I'll run more diverse tests during a full review.
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Animal detection autofocus nailed sharp focus on the bear's eye (scroll for closeup) (Image credit: Future | Tim Coleman)
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Animal detection autofocus nailed sharp focus on the bear's eye (Image credit: Future | Tim Coleman)
What you do get, though, is the best autofocus performance of any medium-format camera. Of course, being in a wildlife reserve I mainly stuck with the AI animal detection autofocus mode, and on the whole found it to be sticky and reliable, with visual confirmation that the subject's body and eye is being tracked. I have photos of bears with pin-sharp focus on the eyes (see above).
The Sony A7R V's autofocus is quicker and more intelligent, better able to recognize not just subjects but also its posture. In the low light of an enclosure I found the GFX100S II regularly mistook a gorilla's ear for its eye, whereas I'm sure the A7R V would've nailed it. There were also times that it simply couldn't autofocus at all through a fence, but these are challenging situations for any camera.
This scenario often tricked the GFX100S II's animal detection autofocus, which often mistook the gorilla's ear for an eye and therefore focused on the ear. (Image credit: Future | Tim Coleman)
Fujifilm GFX100S II: image and video quality
Incredibly detailed photos
ISO 80-12,800 sensitivity range can be expanded to ISO 40-102,400
Only 4K / 30p video, but with internal 4:2:2 10-bit
Slightly slower sensor readout than the 'HS' sensor in the GFX100 II
20 film simulations
You're buying a 102MP camera like the GFX100 II because detail matters, and you get it in spades – all 11648x8736 pixels of it. Those 4:3 aspect ratio images made with one of Fujifilm's sharp GF lenses are breathtakingly detailed, especially in good light. This camera is an absolute dream for landscape photography.
What's more, such detail gives you immense cropping power, effectively extending your lens, which proved super-handy with the 500mm lens shooting wildlife photography. You can see the full image of a bear in the gallery below and a cropped version of the same image, which would still look great blown up large on screen or print.
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I could crop tight on the gorilla from the full scene and still have pixels to spare. (Image credit: Future | Tim Coleman)
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The full picture. (Image credit: Future | Tim Coleman)
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The kind of cropping that you can easily do with such a vast number of pixels. (Image credit: Future | Tim Coleman)
Image quality isn't just about detail – color matters, too, and I'm a fan of Fujifilm's straight-out-of-the-box standard color profile in this sensor format. Of course, it being Fujifilm you also get the full range of Film Simulations – color profiles inspired by Fujifilm's film, such as Astia and Velvia and most recently, Reala Ace.
I'm not sure how good image quality will be in low light, having just a few examples from my day with the camera. Photos of the gorilla in an enclosure (see below), shot at F5.6, 1/500sec and ISO 12,800, gave me the closest indicator, with detail not nearly as clean as when shooting at ISO 1600 or lower.
The GFX100S II has decent lenses to choose from – I've used a fair few GF lenses down the years and have always been impressed by their quality. They're quite capable of resolving intricate detail, but also of superbly controlling distortion and flare.
At ISO 10,000, contrast is reduced and detail less clean, but for such big files is possible to mitigate the adverse impact of noise. (Image credit: Future | Tim Coleman)
We can't expect the GFX100S II to pack all the same features as its pricier sibling the GFX100 II, and filmmakers in particular will feel the compromises the most. Where the flagship model shoots 8K video, the GFX100S II only records 4K up to 30fps, with no slow-motion option. Still, it's not all bad news, because you can record in superior 10-bit 4:2:2 internally, plus output raw video to an external recorder.
Fujifilm told us that the sensor is a variation of the 'HS' sensor used in the GFX100 II, and its sensor readout is a little slower. This means more potential for rolling shutter in video and in fast action photos, which can look ugly. I'll be checking this out more when I get my hands on the camera again.
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Velvia Vivid Film Simulation (Image credit: Future | Tim Coleman)
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Reala Ace Film Simulation (Image credit: Future | Tim Coleman)
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Classic Negative Film Simulation (Image credit: Future | Tim Coleman)
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Eterna Bleach Bypass Film Simulation (Image credit: Future | Tim Coleman)
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Acros Film Simulation (Image credit: Future | Tim Coleman)
How we tested the Fujifilm GFX100S II
24 hour period
Mostly animal photography in a wildlife reserve
Paired with the 100-200mm F5.6 and 500mm F5.6 lenses
I had the Fujifilm GFX100S II for a 24-hour period, during which time it was used extensively in a wildlife reserve taking pictures and videos of exotic animals large and small, out in the open and in enclosures, through foliage and with clear sight.
The camera was paired with the GF 100-200mm F/5.6 and new GF 500mm F5.6 lenses and various focus modes employed including animal detection autofocus.
There have been two branches to Fujifilm’s X-T line, with the double-digit models like the Fujifilm X-T30 and the X-T30 II being the entry-level ones. So you’d think that the successor to the already excellent Fujifilm X-T30 II would also be an entry-level camera, albeit a bit improved. Fujifilm, however, has shaken things up, with the new X-T50 now more in line with the advanced Fujifilm X-T5. It also might explain why the Japanese camera maker has entirely skipped the T40 moniker.
For starters, the X-T50 uses the same 40.2MP APS-C format sensor and X Processor 5 imaging engine as the X-T5, and it also inherits the same 5-axis in-body image stabilization that’s good for up to 7 stops of compensation.
Fujifilm X-T50 specs
Sensor: 40.2MP APS-C BSI X-Trans CMOS 5 HR AF points: 425 points Video: 6.2K/30p, 4K/60p, 1080/240p video and 4:2:2 10bit internal recording Viewfinder: 0.39-inch OLED 2.36m-dot Memory card: Single SD/SDHC/SDXC UHS-II Rear display: 3.0-inch tilt type touch LCD, 1.84m-dot Max burst: 20fps with electronic shutter Weight: 438g with battery and SD card
The sensor has a better signal-to-noise ratio compared to the X-T30 II, allowing for the base ISO sensitivity to be 125 as opposed to 160 in the older model. Shutter speed is faster too, with the electronic shutter on the X-T50 capable of dropping to 1/180,000 second. There’s improved AI subject detection autofocus with eye tracking which, again, brings it more in line with the X-T5 and makes it a whopper of an upgrade over the X-T30 II. Video specs have also been updated, with the X-T50 now able to capture up to 6.2K/30p clips.
Overall, that’s an impressive list of upgrades that make the X-T50 a remarkable camera, with top-notch image quality, both for stills and video. One physical change to the X-T50, however, indicates it might still be a more beginner-oriented camera rather than an advanced enthusiast offering.
On the X-T50, Fujifilm has decided to repurpose the Drive mode dial on the top panel to instead provide quick and easy access to up to 11 Film Simulations. This is an ingenious move to make the camera more user-friendly for beginners, but I suspect that more serious photographers would have preferred the Drive mode dial to remain where it always has been.
There are other features that also suggest this is more a beginner camera than one for demanding enthusiasts – there’s still no weather sealing on the X-T50, the EVF has been inherited from the X-T30 II, and the rear display remains a tilting type with the same resolution of 1.84 million dots.
While the chassis itself looks identical to that of the X-T30 and X-T30 II, there are changes to the button layout that don’t necessarily affect the handling of the camera. That said, the grip is still small and could be uncomfortable to hold over long periods of time, and the joystick is still awkwardly placed. I’m also not a fan of the quick menu button being beside the thumb rest, but it’s easy enough to reach without taking your eye off the EVF once you've built muscle memory to find it.
Compact and lightweight, I’d say that the X-T50 could easily become one of the best travel cameras on the market, but all its upgrades have come at a steep price, which makes it harder to recommend over the X-T5.
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: release date and price
Announced May 16, 2024; release date June 17, 2024
Launch price of $1,399 / £1,299 / AU$2,599 body only
Kits available with new XF 16-50mm f/2.8-4.8 R LM WR lens
Given the upgrades over the X-T30 II, I’m not at all surprised that the X-T50 is a more expensive camera, with a launch price tag of $1,399 / £1,299 / AU$2,599 body only. What does surprise me is just how much more it costs over its predecessor that had a launch price of $899 / £749 / AU$1,585 a couple of years ago. Even taking inflation and the upgrades into account, that’s a steep markup!
And if you want a kit, you can pick up the bundle that pairs the camera with the new XF 16-50mm f/2.8-4.8 R LM WR lens for $1,799 / £1,649 / AU$3,149.
The X-T50's launch price isn’t too much more than the Fujifilm X-T5’s current price of $1,699 / £1,449 / AU$2,899 for the body alone, which represents better value as you get more advanced features here, including dual card slots. Shop for this camera during a major sale and you could likely get it for less than the X-T50 costs.
Value score: 4 / 5
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: Design
Similar body to Fujifilm X-T30 II with minor differences
Film Simulation dial on top plate
Still no weather sealing
When a camera offers oodles of retro charm, there really isn’t the need to change the design... and at first glance, it seems like the X-T50 inherits the same body as the X-T30 series. Not quite so. There are subtle tweaks to the X-T50 chassis which Fujifilm says makes it easier to hold and use. I disagree.
It's a slightly more rounded body than the X-T30 series, but the grip still remains small when compared to more robust Fujifilm bodies like the X-T5 and the X-S series. It still handles beautifully, although if you plan to hold on to it all day, that grip is not going to be comfortable.
(Image credit: Sharmishta Sarkar / TechRadar)
For the first time on a Fujifilm camera, there’s a Film Simulation dial available on the camera body. Now, that dial itself isn’t new – it’s the same Drive mode dial on the left of the top plate that’s been repurposed. There are eight popular Simulations already marked on the dial, plus three more that can be assigned to the FS1, FS2 and FS3 options. There’s one marked ‘C’ which, you would think, stands for ‘custom’ but it’s actually an Auto option. So, essentially, there are only up to 11 out of the current 20 Simulations at your fingertips. And unfortunately, you also can't assign your own simulation recipe to any of the custom FS options on that dial.
In use, I found that it’s necessary to take the camera away from the eye to turn the dial, as there’s just not enough grip on the body to operate the selection single-handed. That said, the simulation selection you make is displayed on the EVF as well as the rear monitor, depending on what you’re using to frame your scene, so you don’t necessarily need to concentrate on the dial itself.
If you’re familiar with the X-T30 or the X-T30 II, you might notice that the rear button layout is slightly different. Firstly, there’s no autofocus lock (AF-L) to the right of the rear control wheel, with the previous exposure lock (AEL) button being replaced with an AF-ON option to trigger autofocus and metering. The AEL button has been moved to just above the joystick.
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A couple of other minor differences include the View Mode button beside the EVF no longer being labeled as such and there is now a tiny Bluetooth icon below the Display/Back button.
Everything else remains the same on the body, including the pop-up flash, the exposure and shutter speed dials on the top plate, the awkwardly placed joystick and, for me at least, the equally awkward quick menu (Q) button.
Fujifilm hasn’t updated the EVF or the rear display from the X-T30 II, so you’re still getting a 2.36 million-dot OLED EVF and a 3-inch tilt-type touchscreen with a resolution of 1.84 million dots.
There’s still only a single card slot, but it now supports the UHS-II speed devices, which is an improvement over the X-T30 II. It remains located on the bottom of the camera within the battery compartment, which makes it hard to reach if you’re using a tripod. And despite the price hike, there’s disappointingly still no weather sealing.
There are three different colorways to choose from here, with the X-T50 available in black, silver (as tested in this review) and a charcoal chassis.
Design score: 4 / 5
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: Features and performance
Inherits high-res sensor and faster processor from the Fujifilm X-T5
In-body image stabilization with up to 7 stops of compensation
Digital teleconverter available for 1.4x and 2x zoom
While its physical changes may not be too far off from its predecessor, the Fujifilm X-T50’s feature set makes it a massive upgrade. It’s now essentially a baby X-T5.
As I’ve already mentioned earlier in this review, it inherits plenty from the X-T5, including the 40.2MP sensor and the processor. That’s flagship specs right there and it definitely helps the X-T50 be a far superior camera than then X-T30 II. For starters, the extra resolution gives you a little headroom to crop images to get closer to the subject without losing too much image quality.
In fact, the extra resolution has allowed Fujifilm to add a digital teleconverter to the X-T50 that gets you 1.4x and 2x magnification, just like there is on the X-T5 and the Fujifilm X-S20. What I really like about the built-in teleconverter is that you don't lose a stop of light as you would when using a physical one attached to your kit, so it's a better option for indoor use.
However, you lose some resolution when using the digital teleconverter as it works by applying a crop. That’s not a bad thing as you still get great image quality, but your file size will essentially be halved and limits how much you can crop further into the image when you make edits.
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For the first time there’s in-body image stabilization available in the entry-level Fujifilm X-T cameras, which is an added bonus for both photographers and videographers. Again, it’s the same IBIS from the X-T5 with up to 7 stops of compensation for camera shake. I was sent the new Fujinon XF 16-50mm f/2.8-4.8 R LM WR that doesn’t have built-in optical image stabilization (OIS) and I found the IBIS alone wasn’t sufficient in reducing shake for a video clip while I was walking, but I think it would come into its own when paired with a Fujinon lens with OIS.
Despite inheriting so much from the X-T5, the maximum burst shooting speed the X-T50 can handle is 8fps using the mechanical shutter and up to 20fps with the electronic shutter engaged and no crop. That's identical to the X-T30 II, and while the the 20fps speed is more than enough for several scenarios including wildlife and sports photography, the buffer memory at this speed is very limited, topping out at about only 20 frames during my testing. At 8fps, though, Fujifilm says the camera can save over 1,000 JPEG frames a second.
The electronic shutter speed, though, is now blistering fast and can drop down to as low as 1/180,000 of a second, same as the X-T5. That's really impressive as more premium pro cameras like the Nikon Z9 top out at 1/32,000 second. This allows you to shoot wide open with a large aperture lens.
Fujifilm X-T50 + XF16-50mmF2.8-4.8 R LM WR | 1/100 sec at 16mm and f/2.8, ISO 3200 (Image credit: Sharmishta Sarkar / TechRadar)
Photographers looking to capture specific subjects will be glad to know that the X-T50 gets Fujifilm's latest AI-driven autofocus system, with detection for animals, vehicles and more. This works quite well and, during my testing, it quickly picked up boats, birds and people even if they were at a distance. However, as with Fujifilm's autofocus system previously, it's largely lens-dependent and you could struggle a little if you're using older X-series lenses.
The video features here are similar to that of the X-T5, with 6.2K/30p and 4K/60p shooting options available.
All these features are a massive upgrade over the X-T30 II and bring the X-T50 closer to the X-T5. That's where the lines get blurry between what is, on paper, a new addition to Fujifilm's entry-level line but has the specs and price tag of a flagship.
Features and performance score: 5 / 5
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: Image and video quality
Inherits the 40.2MP X-Trans CMOS 5 HR sensor from the X-H2 and X-T5
Can shoot videos up to 6.2K/30p
Native base ISO is now 125 as compared to ISO 160 on the X-T30 II
We’ve already seen what the X-T5 can do with the same sensor and processor, so it’s no surprise at all that the X-T50 can produce some spectacular results, whether it’s stills or video.
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The camera really benefits from the high resolution and the faster processor, with JPEGs directly out of camera looking stunning, although shooting in RAW will give you more headroom to make adjustments if you need to. I cropped a JPEG of a flower by 38% and, while I did lose a little image quality, it's still perfectly usable.
Of course, the film simulations go a long way in making the images look great as well. My personal favorite is the Eterna Bleach Bypass, but there’s a total of 20 to choose from to help you get creative. And while the C option on the Film Simulation dial is the Auto mode, it seems to default to the Vivid color profile most of the time.
The higher resolution also boosts the ISO performance. Images taken at ISO 3200 are actually quite good as long as you don't have to crop. Noise begins to appear at ISO 4000 in some scenarios, but even those are perfectly usable. I even shot at ISO 6400 and didn't mind the results. Pushing the sensitivity limits, I tested the camera up to ISO 12,800 – while that image wasn't pretty, I think ISO 10,000 will be fine in a pinch but expect to see noise.
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I think the X-T50 is a more photo-centric camera, but it can handle video well. You have the option to shoot at up 6.2K at 30fps but that will incur a 1.23x crop, as will the oversampled 4K mode. This is similar to what the X-T5 also offers and the performance is just as good. And Fujifilm's subject-detection autofocus works well in video too.
Handily, there’s a time duration listed for each video shooting mode, but I found the camera starts to heat up long before it can hit its limit. During my testing I was hesitant to push the video clip limits, so I stopped every time the camera got a touch over ‘comfortably warm’. You will also, of course, be restricted by the SD card you use.
Despite the IBIS, I found it difficult to capture relatively stable footage while walking slowly, as can be seen in the sample above of the galahs feeding on a grassy verge. That said, I'm no videographer and have always struggled with stability when capturing moving pictures. I found it a lot easier to pan with the IBIS engaged.
Sound pickup by the camera’s built-in mic is quite impressive, but if you are a vlogger shooting outdoors, it would be best to use an external mic for clearer sound. Also note that there's no headphone jack here.
Image and video quality score: 4.5 / 5
Fujifilm X-T50 review: score card
Should I buy the Fujifilm X-T50?
Buy it if...
Don't buy it if...
Also consider
If this review of the Fujifilm X-T50 has you mulling over other options, below are three alternatives that could also save you money.
How I tested the Fujifilm X-T50
In-depth testing done over two weeks
Used it to capture stills indoors and outdoors, plus video clips taken outdoors
ISO tests done indoors
(Image credit: Sharmishta Sarkar / TechRadar)
I was sent the Fujifilm X-T50 along with the Fujinon XF16-50mmF2.8-4.8 R LM WR lens that launched alongside it prior to the official announcement. I had the kit for about two weeks, during which I tested the camera in different scenarios, including outdoors in bright sunlight, indoors during the day and indoors at nighttime. I also tested the camera under fluorescent and LED lights.
For stills, I had the camera set to capture JPEG + RAW, but based my image quality opinions solely on the out-of-camera JPEGs. I also only used autofocus, and tested it on different subjects including boats, birds and people.
I also spent some time going through the menu system to see how different the setup is now compared to other Fujifilm cameras and also spent some time to determined how the physical controls on the camera would suit different users.
The Instax mini 99 is the latest addition to the ever-growing and evolving Fujifilm Instax family. It's a delightful addition to the range, too, and likely to seduce photographers beyond the ‘typical’ Instax crowd, along with anyone with a keen interest in instant photography. Its design, vibe and feature set feel inherently more ‘photographic’ and less ‘toy-like’ than some other Instax cameras.
Not only does it look more serious than its brightly colored cousins, but its range of extra controls and funky effects add to the creative possibilities. You have the option to tweak exposure using the Brightness dial, along with a modest selection of shooting modes such as Sports Mode, Bulb Mode (for long exposures) and even Double Exposure, and the Instax mini 99 really comes into its own with a palette of cool color effects, adding funky hues to your prints by exposing the Fujifilm Instax mini Film to LED lights in the camera.
(Image credit: Future | Ben Brain)
However, while initially seduced, I can't see a compelling reason why I wouldn't plump for a digital hybrid instant camera, such as the slightly more expensive Fujifilm Instax mini Evo, or even the comparatively priced Fujifilm Instax LiPlay. While the Instax 99 might tick the analog box for ‘purists, it’s the tangible-ness of the print that entices me to the Instax cameras, and not necessarily how I got there. The digital hybrids allow for a little less guesswork and, as such, are a more economical option in the long run.
Fujifilm Instax mini 99: design
Classic retro look
Lens with a macro mode but no selfie mirror
Rechargeable lithium-ion battery
The overall design, aesthetics and ergonomics of the Instax mini 99 are lovely. It feels slick and stylish, and it will appeal to ‘photography’ folk more than some of the youth-oriented lollipop color palettes of other instant cameras in the Instax family. It's solid but not too heavy, and it feels well made and balanced in the hand.
Fujifilm Instax Mini 99 price and release date
The Fujifilm Instax mini 99 is available now and costs $199.95 / £174.99 / AU$279.
You switch on the Instax mini 99 by twisting the lens, and the camera’s three shooting modes – Landscape, Standard, and Macro Focus – are also accessible by twisting the lens. Landscape Mode focuses on subjects positioned at a distance of 3.0m to infinity; Macro Mode is perfect for close-ups and selfies taken at between 0.3m to 0.6m, and Standard Mode covers everything in between. Once the camera was on, I repeatedly forgot to change the lens settings; fortunately, defaulting to Standard seemed to cover most subjects well enough.
The Fujifilm Instax mini 99 is powered by a 680mAh lithium-ion battery, unlike some other Instax models, which use AA batteries. Annoyingly, though, the battery can't be charged through the camera, and you’ll need to remember to take the small charger and USB-C cable with you. This isn't necessarily a hassle, but it is yet another charging accessory to potentially forget, and you’ll be in a real pickle without it.
(Image credit: Future | Ben Brain)
While I’m no stranger to being aware of and dealing with parallax, it seemed harder to calibrate my eye/brain with the Instax mini 99. I guess with more time this would become less of an issue, but the difference of view between the lens and viewfinder seemed especially displaced. The viewfinder, too, felt strangely awkward to look through at first.
The Instax mini 99 is not aimed as directly at the ‘selfie’ audience as other members of Fujfilm Instax family, such as the brightly colored Instax Mini 12; that said, it wouldn’t have been a stretch for Fujifilm to have included a front-facing mirror to help users compose and pose for some more accurate naval-gazing.
Fujifilm Instax mini 99: Performance
Manual control over brightness
Fun shooting modes including multiple exposure and color effects
Handy Instax UP! app to digitize your prints
Unlike other cameras in the Instax range, the Fujfilm Instax mini 99 gives you considerably more control over image brightness, which is great. The Brightness Control dial, which looks and feels like a typical exposure compensation dial (it’s even in the ‘right’ place on the top plate), offers five levels of dark and lightness: the Light (L+) setting selects the brightest exposure; the L, D, and N settings offer a normal range of brightness; and the Dark (D-) setting represents the darkest available brightness level. However, you’ve got to wait 90-odd seconds to see and to assess exposure, which can be frustrating. However, this is really just part of the slow, mindful, creative experience, which is fundamentally a good, albeit a relatively expensive, thing. Generally, in ‘normal’ conditions, I found ‘underexposing’ by one value to work best.
Fujifilm Instax mini 99: specs
Film type: Fujifilm Instax mini film Print size: 62 x 46mm Lens: Retractable lens, 2 components, 2 elements, f = 60mm, 1:12.7 Shooting range: Manual 3-point switching type (0.3m to 0.6m/0.6m to 3.0m/3.0m to ∞) Shooting range: 0.3m to ∞ Battery: NP-70S, charged through USB-C Dimensions: 103.5 x 117.5 x 60.0mm Weight: 340g
The Instax mini 99 comes into its own with some fun and funky shooting modes, with a wide variety of options to enhance the shooting experience. Indoor Mode is designed for low-light situations, Sports Mode increases the shutter speed for action shots, Double Exposure Mode lets the user combine two images into one, and Bulb Mode increases the amount of light let in when shooting a night view, for example. I gravitated to Multiple Exposure as the most potential fun, but I ran out of Instax mini color film before I’d nailed the technique.
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When you want to really flex your creative muscles, the Instax mini 99 features a cool creative palette of fun and funky color effects, which are accessed via the Effects dial on the top plate. You can select from one of six snazzy looks: Faded Green, Warm Tone, Light Blue, Soft Magenta, Sepia, and Light Leak. Light Leak was my favorite.
Unlike the Instax mini 99’s hybrid digital cousins, the effects are cleverly driven by LED lights inside the camera; the Colour Effect feature exposes the chosen color onto the Instax mini instant film, creating the desired effect on the print. It's pretty clever, and very cool. The effects are marginally cooler than similar ‘emulated’ effects on some of the Instax digital hybrid cameras; it's only a small margin, but you will bag more analogue kudos points.
The Vignette switch is an interesting new function. Located on the lens housing, it can darken the corners and edges of the frame for artistic purposes. It’s a nice touch.
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Making instant prints will always be more expensive, period. That said, Instax mini prints do offer the best value for money. A twin-pack of Instax mini color film, each containing 10 exposures, costs $20.99 / £14.99 / AU$28, and in this digital day and age it’s making an actual physical print that makes Instax such a delight. However, if you want to digitize your instant photo print, you can scan and share on social media platforms using (another) new app released by Fujifilm called INSTAX UP! The smartphone app most usefully allows you to scan your work, crop to the corners, and even remove reflections. It also has a bunch of album features, enabling users to organize, store, and share their digital Instax photos. I found the scanning feature the most useful.
Should I buy the Fujifilm Instax mini 99?
(Image credit: Future)
Buy it if...
Don't buy it if...
(Image credit: Future)
How I tested the Fujifilm Instax mini 99
I used two packs of Instax Mini film
I tried all the creative color effects
I experimented with the Shooting Modes
Using the Fujifilm Instax camera for a week with two packs (20 shots) of Instax mini film, I carried the camera with me on several walks in and around my local area - South-West UK. Unlike its digital hybrid cousins, such as the Instax Evo, I had to be more considerate, mindful, and measured in my shooting, as every click of the shutter cost money. This slightly discouraged the spirit of experimentation, and every action was tinged with economic anxiety. Just like life! That said, working on location and waiting 90 seconds to see results was also a refreshing and exhilarating way to work in the field. It encouraged a slow and considerate approach to photography, which I think is good.
Cameras are getting smaller, but lenses – especially zoom lenses – appear to be getting bigger. It’s normal now to be shooting with a mirrorless camera with a compact body but a big, hefty standard zoom that makes it feel front-heavy and unbalanced.
Sony, however, has started turning its attention to more compact lens designs, refusing to compromise on performance but instead sacrificing a little focal length or zoom range in exchange for smaller, lighter and perhaps cheaper optics.
The Sony FE 16-25mm F2.8 G is an excellent example. It has the same constant f/2.8 maximum aperture as Sony’s flagship FE 16-35mm f/2.8 G Master II lens, but in a smaller, lighter design that’s also little more than half the price. It doesn’t have that premium G Master label, but Sony’s regular ‘G’ lenses are now so advanced, both optically, physically and in AF technology, that it’s getting increasingly hard to see a difference.
The one compromise in the FE 16-25mm F2.8 G is its focal range. Most lenses in this category are 16-35mm zooms, but this lens stops at a maximum focal length of 25mm. It covers the same ultra-wide angles of view, but is less versatile if you need a more general semi-wide angle of view.
Does this matter? On paper it gives the FE 16-25mm F2.8 G an almost laughably limited 1.6x zoom range, but in practice that may be all you need in an ultra-wide zoom. Whether it's landscapes, architecture or interiors, you're very often going to be shooting in this narrow focal range. If you’re also carrying a regular 24-70mm, 24-105mm or Sony’s new FE 24-50mm f/2.8 G lens, it just means you’ll swap to your standard zoom sooner. You’ll get the same overall focal range from a wide/standard lens combination, just with less overlap in focal lengths.
So is the size saving worth losing that extra focal range. Sort of. The FE 16-25mm F2.8 G is certainly smaller and lighter than a regular 16-35mm f/2.8 lens, but it’s still not exactly small. I tested it on a Sony A7C II, and it still felt pretty big on that. It would balance nicely on a regular A7 body, though.
At the time of writing, the Sony FE 16-25mm F2.8 G is on pre-order, but with supplies expected around May 10th – so by the time you’re reading this, it’s probably available amongst the major resellers. The US price is around $1,198, in the UK it’s £1,249, while in Australia it's AU$2,189. You wouldn’t call it a cheap lens, but it’s way cheaper than Sony’s other constant f/2.8 ultra-wide G Master zooms.
It looks very good value for an own-brand lens with a sophisticated optical construction, fast and silent dual linear AF motors and excellent external controls. It’s also weather-sealed with a fluorine-coated front element to repel oil, grease and water.
Sony FE 16-25mm F2.8 G: design
Sony certainly hasn’t stinted on build quality and controls. This lens uses ‘engineering plastics’ to keep the weight down, but there’s no harm in that and the finish is excellent. The aperture control ring is first rate too, with firm and positive clicks between each 1/3 aperture setting and an extra firm detent at f/22 to switch it to auto aperture control.
If you’re shooting video and changing aperture/iris settings while filming, you can use a Click On/Off switch on the underside to enable stepless silent aperture adjustment.
Focusing is so fast as to be practically instantaneous, and silent too. This is where you’re likely to notice most difference between Sony’s newer own-brand lenses and cheaper third-party alternatives. There’s a slightly stiff AF/MF switch on the barrel, and in manual focus mode the focus ring at the front of the lens feels a fraction light but offers progressive and accurate focus control.
This lens is compatible with Sony’s focus breathing compensation mode, depending on the camera you’re using. The focus breathing doesn’t seem particularly strong, though objects do appear to grow somewhat smaller as they go out of focus.
There’s one other external feature worth highlighting – the FE 16-25mm F2.8 G has a very compact front element that doesn’t protrude, so it’s perfectly possible to attach regular filters and it has a pretty common 67mm filter thread, so you may not have to buy any outsize filters just for this lens.
Focusing is full internal, and while there is a change in the length as you zoom from one end of the range to the other, it’s only a few millimeters, so if you’re balancing a gimbal you probably only need to do it once and not keep changing it for different zoom settings.
The limitations of this lens's focal range are obvious, but its build quality, handling, features and performance are a pleasant surprise, and it certainly feels as if you're getting your money's worth.
The advantage of an ultra-wide zoom like this is that you can get in front of obstacles and spectators that would otherwise be in the way, and still get the whole of your subject in the frame. (Image credit: Rod Lawton)
The weather was not kind during testing, so I mixed indoor and outdoor shots. The indoor shots were good for checking angles, of view, distortion and close focusing capability, while the outdoor shots were at a motorcycle meet that tested the practicality of this 16-25mm zoom range for this kind of walkaround shooting. I also did a brick wall test at both ends of the zoom range to check for optical quality across the aperture range.
I also paid attention to the autofocus performance, both for speed and silence, to see how effective Sony’s dual linear motor setup actually is, and I paid particular attention to the feel and operation of the external controls, as these are a significant selling point for this lens.
I also wanted to find out how the Sony FE 16-25mm F2.8 G handled on the smaller A7C series body (OK, as it happens), whether it was especially nose-heavy on a tripod and how easy it was to balance on a gimbal. My Ronin SC had a long enough camera plate and fore-aft adjustment to cope easily, and the very small lens extension when zooming meant no rebalancing was necessary.
As photographers and videographers, sometimes we just want to pack one lens that can do it all, but this comes with a few drawbacks. Typically, the broader the focal range and faster the maximum aperture, the bigger, heavier and ultimately more expensive the lens. The good news for Nikon shooters is that the Nikkor Z 28-400mm f/4-8 VR lens – which the manufacturer refers to as its ‘superzoom’ – is the lightest full-frame lens in its maker’s line-up while offering a maximum focal length of 400mm. As well as being useful for bringing the faraway closer, the telephoto end is also well suited to portraiture, for when we want to attractively throw the background out of focus and achieve attractive bokeh, while keeping our subject pin-sharp.
With a minimum focus distance of 0.2m at its widest setting allowing for reasonable close-ups of flora and fauna, and a still-useful 1.2m at the telephoto end, those shooting handheld in more demanding lighting conditions are aided by Nikon’s built-in Vibration Reduction image stabilization, here providing equivalent to up to five stops. This is boosted to 5.5 stops when the lens is used with a Nikon camera, such as the Z f, that has a Synchro VR feature. This allows for image-stabilized camera bodies and image-stabilized lenses to work in tandem – an automatic process if the user has already activated it, the result being less pronounced blur caused by camera shake. For the record, other Nikon camera bodies with this feature aside from the Z f include its flagship Z 8 and Z 9 mirrorless models.
Nikon Z 28-400mm f/4-8 VR specs
Type: Zoom
Sensor: Full-frame
Focal length: 28-400mm
Max aperture: f/4-8
Minimum focus: 7.88in / 0.2 m at 28 mm and 47.2in / 1.2 m at 400 mm
Filter size: 77mm
Dimensions: 3.4 x 5.6in / 84.5 x 141.5 mm
Weight: 25.5oz / 725g
At its widest 28mm setting this lens also proves perfectly suited for landscape and travel photography – it’s wide, without being so wide as to cause fisheye or barrel-like distortion – while nudge a bit further up the zoom range and it’s great for street photography and people watching. In short, yes, this is a single lens that can do it all.
It’s a contender for one of the best Nikon Z lenses, and of course you’ll need one of the best mirrorless cameras from Nikon to pair it with. I used the impressive retro-styled Nikon Z f for the duration of my test, which felt like something of a perfect marriage, in that the camera body and lens are almost identical in weight, so the combination doesn’t feel too ‘front-heavy’ in the hand.
(Image credit: Future | Gavin Stoker)
Nikon Z 28-400mm f/4-8 VR: price and availability
Costs $1,299.95 / £1,399 / AU$2,199
Available to buy now
Lens hood is supplied
The Nikkor Z 28-400mm f/4-8 VR was announced on March 26 2024, and costs $1,299.95 / £1,399 / AU$2,199
While it’s not a cheap lens, having spent some time shooting with it the price feels fair (and it’s much better value for Nikon users in the US than in the UK). That’s not just because of build quality and performance, but because it’s basically capable of replacing a whole bag full of prime lenses that would otherwise be necessary to cover anything approaching the broad focal range on offer here.
On top of that, most of us don’t want to kart a lens the size and weight of a dedicated 400mm around with us for day-to-day shooting, on the off-chance that we might actually need it – even if Nikon claims its Nikkor Z 400mm f/4.5 VR S is the lightest lens in its class at 2.75lb / 1,245g. Similarly, at the other end of the scale, a 28mm focal length might not be quite what we always have in mind for the treatment of a particular subject.
A possible alternative to the Nikkor Z 28-400mm f/4-8 VR is the Nikkor Z 24-200mm f/4-6.3 VR if you’re after a catch-all zoom for this specific mount. It starts out wider and only has half the reach of the 28-400mm, but it’s also less expensive at around $899.95 / £899 / AU$1,599.
(Image credit: Future | Gavin Stoker)
Nikon Z 28-400mm f/4-8 VR: design
14.2x optical zoom
Extending barrel
Rubber-sealed and weather resistant
We get the equivalent of a generous 14.2x optical zoom, with common focal distances/framing options marked in millimeters at regular intervals on the barrel itself. Just behind these sits a control ring with a rougher feel and which is assigned to manual focus by default, although it can be assigned to adjust aperture, exposure compensation, or ISO. When set to manual focus, twisting the ring will momentarily override autofocus.
The focus markings on the lens barrel start out at the maximum 28mm, progressing through 35mm, 50mm, 70mm, 105mm, 200mm and 300mm before arriving at 400mm. At this point the almost comically fully extended lens barrel resembles a child’s kaleidoscope, and not just the look but also the feel of this lens reminded me of a ‘super-zoom’ bridge camera like the Nikon Coolpix P1000. The lens’s ridged rubberized surface enables a nice firm grip when holding or rotating the barrel to cycle through its broad focal range.
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The design of the Nikkor Z 28-400mm f/4-8 VR is further practical in offering a degree of weather resistance, with Nikon helpfully providing sealing around the mount and its moving parts. I was testing the camera in the UK in April, a month that’s prone to sudden rain showers, and while I made sure that neither the lens nor the camera got too wet, a light drizzle didn’t stop me from continuing to shoot.
A lens hood is included to prevent instances of possible flare in brighter conditions, and this can be ‘worn’ in reverse/inverted on the lens for easier transportation without affecting lens use. There’s also a lens lock to prevent the barrel from being accidentally nudged and extending as you’re walking around with it, although I didn’t often feel the need to engage this.
Nikon Z 28-400mm f/4-8 VR: Performance
Only 1.6lbs / 725g
Balances well with Nikon's smaller Z-mount cameras
Speedy autofocus
This lens is as much about portability and practicality as it is about performance, and Nikon has attempted to balance these attributes without too much obvious compromise. A good start is that the lens weighs a manageable 1.6lb / 725g, which makes it fairly evenly balanced when twinned with a body such as the 1.57lb / 710g Nikon Z f I tested it on. The pairing makes for a very solid and sturdy combination that gave me confidence from the off. I carried the camera with lens affixed around for the day without experiencing neck or shoulder ache, although it’s probably at the limit of what I’d feel comfortable traveling with or taking on holiday.
The beauty of this lens’s multi-purpose nature is that if you suddenly come across practically any image opportunity when out and about, you have the tool in your hands to be able to capture that image. Autofocus is both rapid and accurate, and unless there’s busy foreground detail getting in the way you have a high likelihood of achieving the shot you want, which is worth its weight in gold, creatively.
(Image credit: Future | Gavin Stoker)
While to my eye results at maximum telephoto weren’t always quite as razor-sharp as from a dedicated 400mm prime lens married to a full frame sensor – and I occasionally got some slight image blur at maximum telephoto when shooting handheld – that’s to be expected. On the whole, I was more than satisfied, and I reckon that all but the most demanding of enthusiasts and amateurs will find detail both plentiful and sufficient for their needs.
Generally speaking, images are consistently sharp across the frame, whether shooting at maximum wide-angle, extreme telephoto, or pretty much any point in between. Where I occasionally got a softer frame, this was often down to the fact that I was shooting handheld, and simply reframing an image and trying again with my palm wide open and supporting the lens barrel yielded a sharper result. Throughout my test period I kept Vibration Reduction active.
While a lot of zoom lenses have photographers wishing for just that bit more poke at the telephoto end to get them that bit closer, I found the Nikkor’s 400mm maximum setting useful and versatile. For those who prefer shooting with autofocus, I’m pleased to report that the lens’s stepping motor is as quiet as Nikon claims – imperceptibly quiet in fact. I was able to take several shots of a nearby robin perching on a tree branch at eye-level without startling it.
Nikon Z 28-400mm f/4-8 VR: sample images
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Should I buy the Nikon Z 28-400mm f/4-8 VR?
Buy it if...
Don't buy it if...
How I tested the Nikon Z 28-400mm f/4-8 VR
A mixture of landscape, wildlife and portrait photography
Used in changeable weather
Nikon pitching the Nikkor Z 28-400mm f/4-8 VR as a jack-of-all trades option, I tested it in a variety of shooting scenarios, and the lens generally proved to be a capable performer. Landscapes, wildlife, portraits – we shot them all, with consistently pleasing results. I was ‘blessed’ with changeable weather conditions during my testing period, allowing me to put it through its paces in less than ideal light, and it coped ably with a variety of conditions.
With simple-to-use controls and easy-to-load film, the Lomography Lomomatic 110 camera is a fun introduction to the world of shooting film. The retro bright-orange design, or the more stylish silver option, will appeal to those who shoot on film as much for the retro-trend factor as for the aesthetics of the images.
The camera comes with limitations, though, and these come down not to the camera itself, but from the use of 110 film. The small format is half the size of a 35mm film frame, which means even a 6 x 4-inch print severely magnifies the limitations of the format.
So while the camera itself is hard to fault, the film format to which it's intrinsically linked means it's hard to recommend unless the extremely low-fidelity aesthetic is what you're looking for.
(Image credit: Future)
Lomography Lomomatic 110 Camera: design
Taking the Lomomatic 110 out of my pocket and raising it to my eye caught people's attention wherever I was. The vivid orange and taupe color combination was as equally eye-catching to my children as it was to complete strangers, with a few staring and wondering what the strange-looking contraption was.
Lomography Lomomatic 110 price and release date
The Lomography Lomomatic 110 has a list price of $99 / £89 without the flash unit, and is available now on the Lomography website. The version with the flash module is available to pre-order and costs $119 / £109. The metal-bodied version is only available with the flash module, and is also available to pre-order, priced at $150 / £149.
For Australia and other regions, prices are as quoted in US dollars. Delivery charges will vary depending on location.
That said, to anyone who remembers 1980s 110 cameras, the design, if not the color scheme, will be familiar. Back then the design was heralded as a pocketable everyday camera for the masses that was simple to use, and the Lomomatic 110 still easily fits in the pocket of a pair of jeans, even if that's not such an impressive feat these days, when the move to digital has made many cameras, as well as other tech smaller. Measuring approximately 1.6 x 1.4 x 5.5 inches / 40 x 35 x 140mm, the camera is about the same size as a Kit Kat Chunky (sorry non-UK readers, but think big chocolate bar). It can be made shorter by unscrewing the flash unit, which takes it down to about 4.3 inches / 110mm.
Loading the 110 film cartridge is simple: the back of the camera swings open, you slot the film in place, and you can then start taking photos. There's no manual or automatic film wind-on – instead, you extend the camera and close it again, which advances the film to the next frame.
(Image credit: Future)
Extending the camera effectively turns it on (it's powered by a CR123A battery), uncovers the 23mm lens (more on this later) and reveals the simple controls. On top of the camera there's a shutter button, a button to activate Bulb mode, and another to cycle through the film ISO options: 100, 200 and 400, which are about the only speeds you'll find available at the time of this review.
Focusing is done via manual scale control, and there are four options: 0.8m, 1.5m, 3m and infinity. Underneath these is the option to switch between Night and Day mode, which switches the aperture of the lens between f/2.8 and f/5.6. The shutter speed is then calculated automatically by the camera's built-in light meter, which has an exposure time range of 30 sec to 1/250 sec.
The flash module is similarly simple to use, with a thumbwheel allowing it to be easily screwed and attached to the main camera. There are three power options: daytime, night and off. The daytime option adds a touch of fill-in flash for portraits on sunny days, while for night shots the flash will be the main light source. If you want to get retro with your camera there's a selection of tiny color filters that you can slide into a slot in front of the flash to tint your images.
Once you've put your film in and are set up, the only real consideration before you take each image is to remember to set the focus distance. This was a lot easier to remember than I thought it would be; with each roll of film only having 24 images on it, you naturally slow down and think before you take a shot.
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Lomography Lomomatic 110 Camera: performance
As this is a film camera, there's not much to say about image quality, as this is to a large degree dependent on the film you're using, as well as the limitations of the lens. However, we can talk about the 110 film format. It is a very simple-to-use format, with the cartridge slotting in very easily, and winding on achieved by taking a shot, then compacting and then expanding the camera. There are still a handful of companies producing 110 films, including Lomography. Expect to pay a heavy premium for those 24 exposures, though, with a 110 cartridge cost between £8-12/US$8-12. Then there is the size of image 13 mm × 17 mm (0.51 in × 0.67 in), which is roughly half the size of a 35mm film frame.
As the film frame is half the size of a 35mm, or full-frame, camera, the 20mm focal length lens has the same field of view as a 40mm lens if you were using a full-frame camera. This is quite a standard focal length for a 110 film camera, as it offers a fairly natural field of view in comparison to human vision, but you can struggle a little if you want to take in broader vistas.
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Developing the film was straightforward. There are still numerous postal processing services in the UK, and I was even able to drop my film into my local photo lab for next-day development and printing – it's been a while since I experienced the excitement of picking up a roll of film and seeing my images for the first time.
Sadly, while the camera is very good, the 110 film format isn’t, and it never has been. The size of the negative is too small to produce a good print. Producing a standard 6 x 4-inch print from 35mm film is not problem, but for 110 it's pushing the small film to its limit. I could see that the Lomomatic lens is sharp enough in the centre, but the film can’t keep up.
(Image credit: Future)
The other downside is that the magnification factor also magnifies any dust that's on the negative, so tiny specs are rendered as huge marks on your images. Some labs may be able to account for this, and many will offer an additional dust and scratch removal service, but if you want to scan your prints for use on social media, expect to spend a lot of time retouching them.
Of course, if you want a very retro-looking image then 110 film delivers, but it delivers too well. Yes you have the character of shooting on film that's so popular in 2024, but you also need to be prepared for how huge the drop-off in quality is, and all the time spent dealing with dust and scratches.
Should I buy the Lomography Lomomatic 110 Camera?
(Image credit: Future)
Buy it if...
Don't buy it if...
(Image credit: Lomography)
How I tested the Lomography Lomomatic 110
I travelled with the camera through an airport x-ray machine
I had a roll of film developed and prints made
I tried shooting at different focus distances
I tested the Lomography Lomotatic 110 film camera by shooting in a variety of different situations. I used it on a long weekend away in the sunshine, snapping a variety of typical tourist-type images. This involved taking a roll of undeveloped film twice through an airport X-ray hand-luggage scanner and the film, encased in a plastic cassette, survived with no evidence of scan lines once developed.
I also used it at home, taking a few photos around my local area in rather more overcast conditions. This helped me to test how the automatic shutter speed coped with the different lighting situations. I tested the flash by using it as a fill-in light when taking some photos of my son playing around the house and garden.
With there being few manual controls, even given the limitations of shooting just 24 exposures on a roll of film, I was able to test the camera from the point of view of someone using it for casual family and travel images.
My film was developed at a local mini-lab. While the lab you choose to develop your film will play a part in the quality of the prints, the overall sharpness and detail that 110 film produces will not differ from lab to lab.
Nikon's Nikkor Z 40mm f/2 is one of two lightweight, inexpensive prime lenses for the Z-mount - the other being the wider 28mm f/2.8.
At 40mm, it’s currently the closest match to the ‘nifty fifty’ lenses of old, aiming to provide a lightweight lens with a compact footprint, flexible focal length, and a relatively fast aperture. Above all, it’s cheap - really cheap for a proprietary lens sitting at just £259 / $289 /AU$310 new. Compared to the Nikon S 50mm f/1.8 or the S 35mm f/1.8, the 40mm comes in at under half the price while still offering some form of weather sealing and excellent performance.
Optically, this lens has a few idiosyncrasies - namely corner sharpness and coma - but the 40mm is innately usable in a wide range of situations. It’s wide enough for some landscapes and close enough for most portraits. Personally, I find the 40mm focal length more usable than 50mm for a walkabout lens - and f/2 is plenty outside of extreme situations.
Nikon Z 40mm f/2 specs
Type: Prime
Sensor: Full-frame
Focal length: 40mm (60mm APS-C)
Max aperture: f/2
Minimum focus: 11.8in / 30cm
Filter size: 52mm
Dimensions: 2.8 x 1.8in / 70 x 45.5mm
Weight: 6oz / 170g
I tested on a full-frame Nikon Z6 but the lens is also compatible with the 'DX' APS-C Nikon Z-mount cameras. In this case, the focal length becomes 60mm. It’s getting into portrait lens territory for APS-C here although it would also be a good choice for a shy street photographer who wants some distance from their subject.
Nikon Z 40mm f/2: design
The Nikon Z 40mm f/2 features an entirely plastic build that feels well engineered and deceptively robust in the hand. Overall, it’s a solid and well put together lens but the plastic thread and mount do cheapen the overall feel somewhat. You’re never tricked into thinking this is a premium lens, even though its output is excellent.
The Nikon Z 40mm f/2 is, however, extremely light - weighing just 6oz / 170g. Pairing this lens up with my Nikon Z6 results in a package that weighs just over 21oz / 600g, which rivals crop sensor setups for sheer portability. While I’d never call this pairing ‘pocketable’, it’s a featherweight combination for a full-frame system and perfect for every day shooting.
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And, I have to say - the 40mm pairs nicely with the Z6’s relatively minimalist, being workmanlike in its design since there are no external AF switches, custom control rings, or any other kind of outward flare to speak of. I'd say it looks decent enough on one of Nikon’s more modern bodies. Is it boring? Maybe, but it doesn't look out of place.
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It’s worth noting here that the Nikon Z 40mm f/2 comes in two variations - the standard version that I tested and a more retro-themed ‘SE’ variant. If you're looking for a prime to pair up with the much more old-school-looking Nikon Zf or Nikon Zfc then you'll want to make sure you're checking out the SE for maximum retro effect.
Neither variant ships with a first-party lens hood but both are dust and drip-resistant, which is a major selling point for a lens this inexpensive. In recent years, third-party manufacturers (most notably Viltrox) have started to offer compelling budget alternatives to entry-level first-party lenses but weather sealing is one area where most are severely lacking. And, I can personally attest that the splash resistance of this lens is fantastic - having been soaked from head to toe on Dartmoor during field testing.
Nikon Z 40mm f/2: performance
Thanks to built-in lens corrections on Z-mount bodies, you'll get extremely good results out of camera with the 40mm. For the price, the lens is impressively sharp even at f/2 and exhibits minimal chromatic aberration or vignetting. Flare is also controlled - despite this lens likely not featuring Nikon’s higher-end coatings.
I’ve shot thousands of images with the 40mm and I’ve come to appreciate how it renders a scene. I've read some describe this lens as 'classic' in character and while its sharpness is certainly more akin to a modern lens, colors certainly do pop under the right circumstances. Bokeh-wise, the 40mm is also relatively circular/puffy in the center but becomes less bloomier and more defined around the edges.
As with most lenses, the sharpness sweet spot for the 40mm is around f/5 to f/8 but even at these optimal apertures the 40mm is notably sharpest in the centre. Depending on what you're shooting the 40mm will exhibit some softness at the extreme corners - as with this sample image of a dock leaf taken at f/5.6.
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Full image taken at f/5.6 (Image credit: Future / Alex Whitelock)
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Cropped image of bottom left corner (Image credit: Future / Alex Whitelock)
Despite having a minimum focus distance of 11.8in / 30cm the lens is also quite soft when close focusing. You can narrow down the aperture for more sharpness but you’ll miss out on that creamy DoF (depth of field) up close, which means the 40mm can suffer for specialized applications like floral photography. Just below you can see a specific example of a flower taken at around a foot distance, where the focus point was set directly on the central bud.
The Nikon 40mm f/2 exhibits some softness up close, even central in the frame. (Image credit: Future / Alex Whitelock)
The 40mm also exhibits some coma, which can result in noticeably smeared lights during night photography towards the extreme edges of the frame. In real-life testing, I found this to be an incredibly minor issue that only cropped up on a few niche cases such as the attached scene just below. Astrophotographers will likely skip this lens over in favor of the wider (and similarly priced) 28mm but note that this lens does feature some astigmatism if you're deadset on edge-to-edge clarity.
The Nikon 40mm f/2 renders some coma on the extreme edges of the frame. (Image credit: Future / Alex Whitelock)
That’s where my criticisms end, however. In practical use the 40mm performs admirably. Autofocus is extremely quick and minimal focus breathing means this is a versatile lens that can also handle video. Note, however, that my lens has a slight whirring sound when focusing - an absolute non-issue for me as a photographer but videographers may notice. I wouldn't rule out copy variation here since it's not a widely reported issue, though.
Nikon Z 40mm f/2: sample images
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Should I buy the Nikon Z 40mm f/2?
Buy it if...
Don't buy it if...
How I tested the Nikon Z 40mm f/2
Regular use for over a year and counting
Used in fair and inclement weather
Day and nighttime use
I've had the Nikon Z 40mm f/2 in my kit for over a year now; in which time I've used it extensively for general purpose photography both home and abroad. Subsequently, I've been able to thoroughly test the lens in a variety of situations to determine its strengths and weaknesses.
Since Nikon openly advertises this lens as weather-sealed, I've made sure to test this lens in adverse conditions, particularly in rainy environments. I've also extensively tested this lens at night, making use of its wide aperture of f/2.
