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Canon EOS R5 Mark II review: arguably the most versatile and easy-to-use pro camera yet
9:11 am | September 11, 2024

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Canon EOS R5 Mark II: Two-minute review

When I originally wrote my Canon EOS R5 review, I called it the brand’s “best ever stills camera”. Four years later and I'm going to have to repeat myself – this time, however, I have to take it a step further and say that the EOS R5 Mark II is also Canon's most versatile camera yet.

There are quite a few significant differences between the two R5 generations that makes the Mark II feel more like an entirely new series rather than an upgrade. In fact, it has more in common with the Canon EOS R1 than the EOS R5, with the two new flagships sharing the headline features. So, essentially, what the Nikon Z8 is to the Nikon Z9, the R5 II is to the R1 – a smaller, albeit higher-resolution, version.

While the sensor resolution remains at 45MP, the R5 II now uses a stacked design that enables speedier readouts to minimize rolling shutter distortions, just like on the Nikon Z8. This, however, has resulted in a slight loss of dynamic range compared to the R5, but not so much that it will bother most photographers in real-world use.

The R5 II gains a second imaging processor – working in conjunction with the Digic X chip, the Digic Accelerator enables burst speeds of up to 30fps when shooting RAW, with an additional 15 frames available with pre-recording enabled. The Nikon Z8 tops out at 20fps in RAW.

Speed aside, the autofocus accuracy here is also better than what I experienced with the original R5 and, during my testing, the Mark II was more than ready to take on a challenge straight out of the box. In fact, I think the AF performance here is better than the Nikon Z8, which is my daily shooter. Not only has Canon improved its AF algorithm, it’s also added a couple of new features that make it really hard to miss a shot – you can select specific people to prioritize as your main subject in People Priority mode, while the new Action Priority feature uses deep-learning algorithms to tell the camera when a specific action is about to take place and automatically shift the focus point accordingly. The latter, however, is still a work in progress with only three team sports supported at launch.

Canon has been using Eye Control AF in its pro sports cameras – namely the EOS 1D X Mark III DSLR and the EOS R3 – but it’s now available on the R5 II. While it’s been improved in some ways, it’s still hard to calibrate it for all users.

Also new are a couple of AI-driven features that allow you to edit shots in-camera. The Image Upscaling feature can enhance resolution by 4x, after which you crop it in-camera to zoom in closer to a distant subject. It’s a handy feature to have, but only works for images shot as JPEG/HEIF and can be impractical for some photographers in the field. Photographers who find the need to push the limits of a camera’s ISO performance will be glad to know there’s a Neural Network Noise Reduction feature built in that can be employed, but you will need to shoot in RAW for this feature to work and the processed file is then saved as a JPEG.

Video specs have also been improved, with the R5 II capable of shooting 8K/60p clips (versus 30fps on the R5) for up to 120 minutes with a new Cooling Fan Grip. Importantly, Canon’s C-Log2 – the video encoding option previously only available in the brand’s cinema cameras – is now supported on the R5 II, offering better dynamic range and easier color grading compared to C-Log3.

Where it falls short compared to its predecessor is battery life. Despite a new high-powered LP-E6P pack, it’s only rated for 630 shots compared to the 950 that the LP-E6NH was rated for in the R5. To be fair, though, it is powering the new features and the higher speed.

Of course, new features come at a cost, but if they all do what they say on the tin, then it could be argued that the R5 II would be a worthy investment despite a higher price. What makes it even more so is that this camera truly does make pro photography easy and, given it can handle any scenario, it's a remarkably versatile shooter as well. Thankfully, though, Canon has priced its flagship well, with only a 10% increase over the launch price of the EOS R5.

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Release date and price

  • Body-only price is $4,299 / £4,499 / AU$6,499
  • Available since August 2024
  • Three optional grips: Standard BG-R20, battery BG-R20EP and cooling fan CF-R20EP

With a body-only suggested retail cost of $4,299 / £4,499 / AU$6,499, the EOS R5 II is quite competitively priced. It’s slightly more than the R5’s body-only launch price in some markets (which was $3,899 / £4,199 / AU$6,899 in July 2020), and that’s to be expected given the slew of updates it’s got over its predecessor.

Aussie photographers, though, should be overjoyed if they’ve been holding out for a worthy upgrade from an older camera, especially since it’s cheaper than the Nikon Z8’s launch price too ($3,999 / £3,999 / AU$6,999). That said, it’s now possible to find the Z8 at discounts of about $700 / £450 / AU$1,000 – making it a compelling alternative to its Canon competition.

The R5 II was slated for an August 2024 release and is now available to purchase from authorized retailers in the US and Australia, but is still listed as a pre-order in the UK at the time of publication.

It’s possible to also pick up a single-lens kit for $5,399 / £5,749 / $AU$7,999, which bundles the RF 24-105mm f/4 L IS lens with the R5 II.

For the first time for any camera maker, Canon has also released three optional grips that can be purchased separately, which includes a Cooling Fan Grip ($399 / £549 / AU$829) that improves video recording times but lacks the vertical control layout. For that, you’ll need to opt for the Battery Grip that will set you back $349 / £489.99 / AU$699.

• Price score: 4.5 / 5

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Design and handling

  • Small changes to top plate control layout
  • Improved blackout-free 5.76m-dot OLED EVF with Eye Control AF
  • Under-camera cooling vents keep the body slim

At first glance it’s easy to think the EOS R5 Mark II body is identical to its predecessor, but there’s one change Canon has made that makes me rather happy – the power controls that were on the left of the top plate on the R5 are now a ring around the Mode button on the top right of the Mark II. This means it’s a lot easier to switch the camera on and off in one hand. The old power wheel is now the toggle to switch between stills and video capture.

Canon EOS R5 II key specs

Sensor: 45MP full-frame BSI stacked CMOS sensor
AF system: Hybrid with phase-detect Dual Pixel AF
EVF: 5.76m-dot OLED
ISO range: 100 to 51,200 (ISO 50-102,400 extended range)
Video: 8K/60fps raw, 4K/120fps, 1080p/240fps
LCD: 3.2-inch vari-angle touchscreen, 2.1m-dots
Max burst: 30fps (electronic shutter, continuous autofocus)
Connectivity: USB-C 3.2, Wi-Fi 6E, Bluetooth 5.3
Weight: 656g (body-only), 746g including battery and card

The one other minor change on the top plate is the new hot shoe cover. The R5 test unit that was sent to me for review in 2020 didn’t have such a cover, so this is new to me and I love the clean design – it makes the top of the R5 II look… well, ‘unblemished’ is the only word I can think of to describe it. As much as I like it, the cover is nigh impossible to release. I spent a lot of time trying to get it open and failed, meaning I wasn’t able to get a peek at the hot shoe during my few weeks with the camera.

The rest of the control layout remains exactly the same as on the R5, which is a wise move as Canon’s designs have always been intuitive. It is, however, oh-so-slightly heavier than the older camera, tipping the scales at 26.3oz / 746g. That’s lighter than the Nikon Z8 (32oz / 910g) and more in line with the Sony A7R V. It feels comfortable in the hand during long periods of use, even with the beefy RF 24-70mm f/2.8L standard zoom and RF 100-500mm f/4.5-7.1L IS USM telephoto lenses that I used for this review.

Another small but significant refinement is the 5.7 million dot OLED viewfinder – Canon says it’s twice as bright and blackout free. While I can’t vouch for the ‘twice’ part, it’s definitely a significant difference compared to the R5 and I prefer it over the 3.69m-dot EVF on the Nikon Z8. The new EVF also inherits Canon’s Eye Control AF that debuted on the EOS 1D X Mark III. This feature tracks your eye movements as you scan the scene through the viewfinder and shifts the focus point accordingly.

As with all Canon cameras, build quality is excellent. The R5 II features a magnesium-alloy chassis with a fully weather-sealed exterior, and the controls are robust. That said, I found the rear wheel movement on the R5 II a little clunky compared to what it feels like on the R1, where movement is nicely dampened and rotation is smooth.

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The sensor shutter and the LCD screen opened on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)
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The side of the Canon EOS R5 Mark II with port covers closed

(Image credit: Sharmishta Sarkar / Future)
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The rear of the Canon EOS R5 Mark II camera

(Image credit: Sharmishta Sarkar / Future)
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The rear of the Canon EOS R5 Mark II with the LCD display set at an angle

(Image credit: Sharmishta Sarkar / Future)
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Card slots in the Canon EOS R5 Mark II camera

(Image credit: Sharmishta Sarkar / Future)
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The front of the Canon EOS R5 Mark II with the sensor shutter open

(Image credit: Sharmishta Sarkar / Future)

Everything else from a design standpoint is standard fare for a pro camera – an illuminated top LCD display, a textured AF joystick on the rear and dual card slots. One of these supports a CFexpress Type B device while the other supports a SD card with UHS-II speed, but you’ll need to invest in the former if you want to take full advantage of the R5 II’s speed.

Filmmakers will appreciate the fact that the EOS R5 II has a full-size HMDI port (the EOS R5 doesn't) and a tally lamp to indicate when you're recording. Moreover, key shooting information can be displayed on-screen.

There are also cooling vents on the camera's underside and they do an admirable job of keeping temperatures down when shooting high-resolution clips. In fact, temperature regulation is a lot better here than when I first tested the R5 (which was prior to the firmware updates that improved recording times). That said, I found that the R5 II can begin to get warm even when shooting constant bursts with Servo AF engaged, something sports photographers will likely need to do, but the temperature warning that appears on the display (or the EVF) never went beyond the first bar during my testing.

Naturally, there are both mic and headphone ports, plus USB-C for charging. The battery is an improved LP-E6P unit, which delivers up to 640 shots on a full charge, although that number will be a lot higher if you're capturing lots of high-speed bursts. Case in point, I ended up shooting over 8,000 frames during one testing session before the battery life dropped by three-quarters, but I couldn’t do much more as my 128GB CFexpress card was full.

• Design score: 5 / 5

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Features and performance

  • New People and Action Priority modes
  • In-camera editing features
  • 15 frames of pre-recording

I’ve already listed the R5 II’s feature set at the start of this review, including the new stacked design for the sensor and the second processing unit that aids in maintaining the camera’s speed. Between the two, the R5 II is capable of rattling off at 30fps using the electronic shutter with autofocus engaged, and at a decent 1/160 second. While this helps with keeping rolling shutter distortions down to a minimum, a stacked sensor can reduce dynamic range, which is the case here, but it’s so insignificant that it would hardly be an issue in real-world use.

Buffer memory is better compared to the older R5, with the Mark II capable of saving up to 93 frames (or 3.1 seconds of capture) when shooting RAW to a memory card at 30fps (compared to 83 for the R5) or 230 RAW frames (or 8 seconds) when at 12fps (versus 180 with the R5). Buffer memory is over 1,000 frames when shooting JPG/HEIF, although I found that shooting constant bursts at 30fps in any format can bring up the temperature warning and slow the camera down a smidge.

Menu system on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)

Despite that, the speed the R5 II offers is great for sports and wildlife photographers alike, and the additional 15 frames of pre-capture means it can be quite hard to miss a shot – that’s an extra half second of captures. Paired with what I think is arguably the best and easiest-to-use autofocus system in the camera world, the R5 II makes pro photography incredibly simple.

And I do mean ‘simple’. Straight out of the box, the camera is ready to shoot, but engage either the new People Priority or Action Priority modes and sports photography becomes incredibly easy – all you need to do as a photographer is get your framing right and the camera will do the rest.

People Priority takes face detection to the next level and is ideal for team sports or wedding photography. Within the camera’s menu system is the option to ‘register’ a face… or 10. You'll need to take a head shot – and it doesn’t even have to be perfect – or capture an image of the person(s) from the internet to Register People Priority. Depending on the order you capture the faces, the camera prioritizes them from 1 (most important) to 10 (least important) and will focus on the people within the frame with the highest priority.

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Two surfers in the water at a wave park

The People Priority feature is intelligent enough to know when to shift subject tracking... (Image credit: Sharmishta Sarkar / TechRadar)
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A surfer at a wave park

..and when to stick with it. (Image credit: Sharmishta Sarkar / Future)

I didn’t get to try it with the maximum of 10 people during my testing, but it worked with pinpoint accuracy with three people in the frame. I also found that if a person with the highest priority within a scene only has a tiny fraction of their face turned to the camera (aka in partial profile), the R5 II will automatically shift the focus to the next highest priority face if it’s more visible. On the other hand, if a non-registered person appears in the frame, the camera can stick with the main subject even if only the back of the head is visible. That is intelligent autofocus indeed!

Action Priority is perfect for team sports that have a spherical ball in constant play but, at launch, Canon only has this feature set up for three sports – basketball, football (soccer) and volleyball. Using deep-learning algorithms, Canon has figured out how to ‘teach’ the camera to recognize body movements so the focus can shift to a player who either has the ball in possession or is about to get it. That means the R5 II can, in theory, predict where the ball is going next and focus on the right ‘moment’ rather than on a specific player.

I say ‘in theory’ because I didn’t get the opportunity to test this mode out on the three preset sports, but my colleague based in the UK got a chance to test Action Priority using a pre-production camera unit at a basketball game and it seemed to work then. That said, three sports is very limited and it would be great if Canon can start adding more (not just those with spherical balls) as quickly as possible. In fact, it’s the same case with the EOS R1 too, and it's as yet unclear whether the balls need to be a specific size to trigger the camera's response (aka, will it handle sports like tennis or cricket – that use smaller balls – just as well?).

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Neural Network Noise Reduction feature on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)
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Neural Network Noise Reduction feature on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)
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Neural Network Noise Reduction feature on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)

There’s no easy way to switch between the two modes without delving back into the menu system, but nearly all the buttons on the camera can be customized. For example, I swapped the AE Lock button to trigger Action Priority and set the AF-On control on the rear panel for People Priority mode. I also set the M-Fn function to trigger Eye Control AF.

Speaking of which, this is the only autofocus feature on the R5 II that I had trouble with. While my colleague was suitably impressed, I just couldn’t get the calibration right – I even reset the camera to try again and failed. And this is despite Canon claiming they’ve made improvements to the Eye Control AF that makes it easier for people who wear glasses (like me) to use it. Seems like this isn’t an isolated problem as others have reported a similar issue.

Even without Eye Control AF, the R5 II’s autofocus and tracking is excellent and Canon has improved low-light AF sensitivity to -7.5EV (compared to -6EV in the older model, although the Nikon Z8 is effective at -9EV). The native ISO range remains steady at 100 to 51,200, or 50 to 102,400 expanded. While noise is very well controlled up to ISO 6400, even images shot at ISO 12,800 are usable if you don't need to crop in to zoom. And if noise at this high ISO is an issue for you, Canon’s new Neural Network Noise Reduction feature can help – it can denoise selected images in-camera by up to 2 stops as long as they're RAW files.

Within the Playback menu settings is the option to Process RAW Files, where the noise reduction editing feature is nestled. There are three options to choose from – Low, Standard and High – and they can be utilized in a pinch to cut down on some grain. The processed file is then saved as either a JPEG or HEIF.

I'm uncertain why Canon choose to enable this processing for RAW files only, and I'm hoping a future firmware update will allow for JPEGs/HEIFs to also be edited in-camera in the same way.

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A whisky decanter on a bar top shot at ISO 1250

Captured at ISO 1250 (Image credit: Sharmishta Sarkar / Future)
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A whisky decanter on a bar top shot at ISO 12,800

Captured at ISO 12,800 (Image credit: Sharmishta Sarkar / Future)
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A whisky decanter on a bar top shot at ISO 12,800

In-camera noise reduction applied to a RAW file at ISO 12,800 (Image credit: Sharmishta Sarkar / Future)
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A close crop of the base of a whisky decanter at ISO 12,800

The original ISO 12,800 file cropped to show noise (Image credit: Sharmishta Sarkar / Future)
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A close crop of the base of a whisky decanter shot at ISO 12,800

In-camera processed file to show noise reduction with NR Standard applied (Image credit: Sharmishta Sarkar / Future)

In a similar vein, if you want a higher resolution version of a particular image, you can upscale it in-camera to add up to 4x the pixel count using AI to extrapolate the image’s EXIF data, creating stills of up to 180MP from the original 45MP shot. While this is an excellent option for landscape photographers, it turned out to be rather impractical when shooting bursts. Pro sports and wildlife photographers will end up with so many shots that it could be hard to find the specific one you want to select to be upscaled.

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Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

The original 45MP resolution (Image credit: Future | Tim Coleman)
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Closeup crop of a portrait of blonde model taken with the Canon EOS R5 II

A close-up crop of the original 45MP file (Image credit: Future | Tim Coleman)
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Canon EOS R5 II portrait

The same crop on the upscaled 180MP, demonstrating how much bigger the file is (Image credit: Future | Tim Coleman)
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Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

The closeup of the original 45MP image again (Image credit: Future | Tim Coleman)
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Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

And the upscaled 180MP version at the same size which should appear sharper (Image credit: Future | Tim Coleman)

Thankfully Canon has thought of that and you can select a range of images to upscale, but that will eat into your memory card’s free storage. Moreover, I found that Lightroom (my go-to image editing software) struggled with the larger files, crashing four times before I was able to view them – and this is on a MacBook Pro equipped with Apple’s decently powerful M3 Pro processor.

The main caveat for this feature is that it only works for JPEG/HEIF files and not RAW. Perhaps this will change down the line via future firmware updates, but it's still handy to have.

Menu system on the Canon EOS R5 Mark II

(Image credit: Sharmishta Sarkar / Future)

In terms of video, the R5 II is a powerhouse, with better heat management than its predecessor. Without the Cooling Fan Grip, Canon says the R5 II can shoot up to 18 minutes in 8K/60p RAW internally when ambient temperature is about 23ºC / 73ºF, although during my testing I managed about 4 minutes before I got the temperature warning, then another 2.5 minutes before the temperature gauge went into the red. Another minute later, the camera stopped recording with the warning that no more footage could be captured until the camera cooled down. That’s just 7.5 minutes but, to be fair, the ambient temperature was 26ºC (78.8ºF) and I was standing in direct sunlight.

Recording times increase as the resolution is lowered, with the possibility of up to 45 minutes when shooting 45K/60p without the fan. If you invest in the Cooling Fan Grip, there is theoretically no recording time limits with the fan set to high.

While not all the exciting features on the R5 II work as well as Canon would like us to think (I’m referring to Eye Control AF here), and there are dedicated hybrid cameras that handle pro filmmaking better, it’s really hard to fault the R5 II when everything else makes taking great shots really easy.

• Features & performance score: 5 / 5

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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 Mark II review: Image and video quality

  • Gorgeous colors but slightly lower dynamic range
  • Great details and sharpness, even in shadows
  • Top notch video results

Not everyone needs a high-resolution camera but many prefer it. With 45MP on tap, there's more than enough sensor resolution here to suit most photographers, and having fewer pixels compared to the 61MP Sony A7R V and the 45.7MP Nikon Z8 means the Canon can handle speed better than some of its competition.

Even on a pre-production model of the R5 II, I was able to get excellent results, with colors that I personally find pleasing, plus focus and subject tracking practically pinpoint perfect. And that performance was just as impressive when I tested the final production model.

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An image of a surfer at a wave park

(Image credit: Sharmishta Sarkar / TechRadar)
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An image of a surfer at a wave park

(Image credit: Sharmishta Sarkar / TechRadar)
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A surfer at a wave park

(Image credit: Sharmishta Sarkar / Future)

It’s been really hard to find fault with the results of the R5 II, despite the limitations of its stacked sensor design. As I’ve mentioned previously, this gives the camera its speed but comes at the cost of a little bit of dynamic range. I didn’t have the older R5 with me to do a direct comparison but, in my real-world testing, I found this compromise to be so small, even when shooting with the electronic shutter, that it’s hardly worth commenting on. Unless you plan on significantly cropping an image, the resulting noise in darker areas will not be a problem because of the lower dynamic range.

Otherwise, images shot using the R5 II are sharp, with very reliable autofocus and subject tracking performance – meaning all a photographer needs to think about is composition.

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A black-and-white photo of the Sydney Harbour Bridge

(Image credit: Sharmishta Sarkar / Future)
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A bridge across a river at dawn

(Image credit: Sharmishta Sarkar / Future)
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The Sydney skyline at sunrise

(Image credit: Sharmishta Sarkar / Future)

I also pushed the R5 II’s ISO sensitivity to see how well it holds up at the higher end of the spectrum and was suitably impressed. While there is some noise at ISO 6400, it’s hard to discern unless you crop significantly. Even at ISO 8000 or 12,800, the noise is decently controlled and, if in a pinch you think there’s too much visible graining, the option to use the Neural Network Noise Reduction feature is there… as long as you’re shooting RAW. And there are always photo editors like Topaz Photo AI that will help reduce the grain.

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A white-faced heron chick ruffling its feathers on the banks of a lake

(Image credit: Sharmishta Sarkar / Future)
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A silver gull with wings stretched landing in a lake

(Image credit: Sharmishta Sarkar / Future)
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A spoonbill with its beak wide open

(Image credit: Sharmishta Sarkar / Future)
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A female superb fairy wren with her juvenile

(Image credit: Sharmishta Sarkar / Future)
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A black swan in a lake with two cygnets

(Image credit: Sharmishta Sarkar / Future)
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A bee on a yellow flower

(Image credit: Sharmishta Sarkar / Future)

While video quality is also very good, I doubt pro creators will opt for the R5 II – there are other hybrid cameras, like the Panasonic Lumix S5 II or the Sony A7S III that would be better suited for professional videography. Still, if it’s 8K video that you’re after, I think it’s as good as the Nikon Z8 / Z9, if not better. And with better recording times out of the box than its predecessor, the R5 II can be a worthy investment for hybrid work.

It uses the full sensor to shoot 8K/60p and 12-bit RAW footage internally, but there are a few different resolutions and frame rates to shoot from if 8K is overkill for your needs. You can shoot in either DCI (17:9) or UHD (16:9), with a bunch of codecs to choose from. Perhaps the best news for videographers is the addition of Canon’s C-Log 2 custom picture profile. This has, so far, only been available on Canon’s EOS cinema cameras, but it offers better dynamic range and more natural colors compared to C-Log 3, which makes it easier for video creators to color grade and produce more appealing visuals.

There is now no 4GB video recording limit and, during my testing, I had no issues with heat buildup with video clips of 50 seconds to 1-minute in duration when shooting in 4K. the temperature gauge, however, will appear on the display (or EVF), which I found handy, as it's a visual indication of how warm (or hot) the camera is getting with use.

Image stabilization for video and stills is also quite impressive. While I’m not a good videographer at the best of times, I struggled to hold the R5 II steady with the RF 100-500mm f/4.5-7.1L IS USM telephoto lenses at 500mm for durations of over 10 seconds, but found it a little easier to handle at 300mm.

• Image & video quality score: 5 / 5

Should I buy the Canon EOS R5 Mark II?

Buy it if...

You’ve been holding out for a great full-frame high-res camera

Whether you want to upgrade from your Canon EOS 5D Mark IV DSLR or any of the older EOS R-series cameras – or even just keen to change systems – it’s really easy to recommend the R5 II.

You want an easy-to-use pro camera

Its fast and accurate performance aside, the R5 II has very intuitive physical controls and the menu system is simplified, making this pro camera really easy to wrap your head around.

You want a versatile camera for any kind photography

While its in-camera editing features have some caveats, the R5 II will be as comfortable shooting landscapes and nature as it would be in a sports arena or a war zone. It has the chops – and then some – to handle it all, plus even some decent video skills.

Don't buy it if...

You’re a pro video content creator

It might have good video prowess but, if filmmaking is your priority, you might be better off with a camera that was designed specifically for video.

You don’t want to drain your savings

While the R5 II is well priced compared to its predecessor and the competition, I wouldn’t call it ‘affordable’ or ‘cheap’. If money is a constraint, you could consider dropping a sensor size and yet retain high resolution if that was important to you.

You exclusively shoot landscapes or architecture, or do mostly studio work

If you aren’t going to put the R5 II’s speed and accuracy to good use, it might be overkill for your needs. Moreover, some photographers who do more studio work – like portraits or product shots – might be better served with a medium format sensor, and it’s now possible to get one for about the same price or lower.

Also consider

Nikon Z8

In direct competition with the R5 II, the Nikon Z8 is arguably the easiest alternative to recommend. While the physical setup is different to Canon's, and it might lack the new autofocus and in-camera editing features, the Z8 is a superb shooter that offers just as much speed (even more, in fact, if you're willing to forgo some resolution). It even allows you to shoot with a crop (DX) if you want more reach.
Read our full Nikon Z8 review

Sony A7R V

If resolution is important to you, then the 61MP sensor in the A7R V might be just what you're after. While you won't be able to get the speed, you will gain Sony's rather good autofocus system with its own nifty AI features, like knowing exactly what to focus on and where. It doesn't have the video chops as the R5 II or the Z8 listed above, but landscape photographers might prefer this high-res shooter.
Read our in-depth Sony A7R V review

Fujifilm GFX100 II

Again, if resolution is more important and money isn't an issue, the GFX100 II is arguably the most powerful medium format camera on the market. It can handle both stills (102MP shots at up to 8fps) and video (8K/30p) well, although the lens options will be limited if AF speed is important.
Read our full Fujifilm GFX100 II review

How I tested the Canon EOS R5 Mark II

  • Tested over a period of three weeks; paired with RF 24-70mm f/2.8L and RF 100-500mm f/4.5-7.1L IS USM lenses
  • Used to shoot mostly wildlife with high-speed bursts and Servo AF engaged
  • Captured several video clips to test frame rates and resolutions

Having already tested the original R5, and as a current Nikon Z8 user, I am in a unique position to judge the R5 II as it gives me a couple of different points of comparison.

I had the Canon EOS R5 Mark II for about three weeks for this review and did my best to try it out in different scenarios. While there weren't any local sports to capture during my testing period, I pushed the camera's speed limits by capturing birds at a waterbird refuge. I also took the camera on a whale-watching cruise (sadly the humpbacks weren't very active on that day).

This was done with the camera set to capture at 30fps using the electronic shutter and Servo AF engaged. I used some of these images to test the upscaling feature.

The waterbird refuge is also where I did most of the video testing, using the birds as my subjects.

I also captured some urban landscapes as single shots. My testing of the stills including some indoor captures to test the ISO performance, and I used this to see how well the camera's built-in noise reduction feature works.

Read more about how we test

[First reviewed September 2024]

Panasonic Lumix GH7 review: a high-performance hybrid
6:00 pm | July 23, 2024

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

Panasonic Lumix GH7: one-minute review

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

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

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

Panasonic Lumix GH7 camera in the hand

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

Panasonic Lumix GH7: release date and price

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

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

  • Price score: 4.5/5

Panasonic Lumix GH7 camera and lens being adjusted

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

Panasonic Lumix GH7: design and handling

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

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

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

Panasonic Lumix GH7 camera's front with no lens attached

(Image credit: Future | Sam Kieldsen)

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

Panasonic Lumix GH7 key specs

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

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

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

Top plate of the Panasonic Lumix GH7 camera

(Image credit: Future | Sam Kieldsen)

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

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

  • Design score: 4/5

Panasonic Lumix GH7 camera's rear screen folded away

(Image credit: Future | Sam Kieldsen)

Panasonic Lumix GH7: features and performance

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

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

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

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Panasonic Lumix GH7 sample images, flower closeup

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

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

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

(Image credit: Future | Sam Kieldsen)

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

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

Connection ports on the side of the Panasonic Lumix GH7 camera

(Image credit: Future | Sam Kieldsen)

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

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

  • Features and performance score: 4.5/5

Panasonic Lumix GH7: image and video quality

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

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

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

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Panasonic Lumix GH7 sample images at a sunny UK coastal town

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

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

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

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

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Panasonic Lumix GH7 sample images at a sunny UK coastal town

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Panasonic Lumix GH7 sample images at a sunny UK coastal town

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Panasonic Lumix GH7 sample images at a sunny UK coastal town

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Panasonic Lumix GH7 sample images at a sunny UK coastal town

(Image credit: Future | Sam Kieldsen)

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

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

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

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

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

  • Image quality score: 4.5/5

Panasonic Lumix GH7: testing scorecard

Should I buy the Panasonic Lumix GH7?

Panasonic Lumix GH7 camera's front with no lens attached

(Image credit: Future | Sam Kieldsen)

Buy it if...

Don't buy it if...

Panasonic Lumix GH7: also consider

How I tested the Panasonic Lumix GH7

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

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

First reviewed July 2024

Canon EOS R5 II review – a polished upgrade
1:00 pm | July 17, 2024

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

How do you improve on one of the outright best cameras, the EOS R5? By making its successor quicker in just about every regard, which is what Canon has managed to do with the new Canon EOS R5 II.

It's a versatile professional camera that captures high-resolution 45MP stills and 8K video like the EOS R5, but with a few new features under the hood that improve overall performance, and an impressive array of video features and high-speed modes. 

The sensor resolution stays at 45MP, but it's now a stacked sensor with faster readout that should eliminate rolling shutter distortion, as on the Nikon Z8. Canon says the EOS R5 II (and new flagship EOS R1) boast the fastest sensor readout speed on the market. 

We also get what Canon calls a 'DIGIC Accelerator' – which is effectively a new second processor to bolster the DIGIC X and deliver faster processing speeds, resulting in faster burst-shooting speeds, now up to 30fps, that can be sustained for longer, with pre-recording up to 15 frames. 

Another major new feature for the line is Eye Control AF (as used in the EOS R3) and the latest version of Canon's Dual Pixel Intelligent AF system, now equipped with what Canon calls deep learning and specific Action Priority modes including basketball, football, and volleyball. The autofocus system is able to recognize and store specific faces and body postures, and predict movement to focus sharply on what's important in the frame.  

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

You could be forgiven for thinking that these new features sound like they should be in a pro sports camera, like the pricier EOS R1 announced on the same day; and indeed they are, so it's majorly impressive that Canon has also added them to a cheaper, all-purpose professional camera like the EOS R5 II.

Canon needed to add in these improvements really, because how else could it improve on the four-year-old EOS R5, a camera which has stood the test of time and remains one of the best cameras for photography?

For a certain type of photographer, though, the EOS R5 II is overkill, and the EOS R5 will do just fine: landscape and portrait photographers, stand down. But if you ever shoot action, or would like a better-equipped video camera, then the EOS R5 II steps in. 

It's a faster camera in every way, impressively tracking subjects in high-speed action scenarios. However, I didn't have the older model to compare just how much faster and reliable the EOS R5 II is for action, impressive as the new AF modes appear to be. Image stabilization performance has, at least on paper, been improved too, while there are some intriguing new in-camera AI-powered image-editing tools, of which more later.

Canon EOS R5 II mirrorless camera

With the 24-70mm F2.8L lens attached. (Image credit: Future | Tim Coleman)

Outwardly the EOS R5 II has changed little compared to its predecessor, although I was pleased to see new cooling vents on the underside of the EOS R5 II to minimize overheating, which was a well-publicized criticism of the EOS R5. There are also not one, nor two, but three optional vertical grip accessories to choose from, one of which includes a cooling fan to extend video record times.

There's lots to talk about in the new model, but I've only had a day with a beta version of the EOS R5 II, and I'm still working on a more in-depth full review. For now, my first impressions are highly positive, and the Canon EOS R5 II could be the new full-frame mirrorless camera to beat.

Canon EOS R5 II: release date and price

  • Body-only price is $4,499 / £4,499 / AU$6,699
  • Available from August 2024
  • Three optional grips: Standard BG-R20, battery BG-R20EP and cooling fan CF-R20EP

The Canon EOS R5 II launches with a body-only price of $4,499 / £4,499 / AU$6,699, which is around 10% more than the launch price of the EOS R5. The price difference feels about right allowing for inflation and the new features on offer, although it would have been nice to see it priced a little closer to the EOS R5's launch price to better compete with the Nikon Z8. You can also pick up the EOS R5 II with the 24-105mm F4L lens for $5,699 / £5,799.99 / AU$8,549.

The EOS R5 II is set to be available from August 2024, and there will be no fewer than three optional grips to choose from (prices TBC), which is a first. The Cooling Fan grip improves video record times, but lacks the vertical grip control layout which you can find in the Battery Grip that can extend battery life. 

Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 II: design and handling

  • New blackout-free 5.76m-dot OLED EVF with Eye Control AF
  • Cooling vents on the underside to minimize overheating
  • Dual card slots: CFexpress Type B and SD

Canon hasn't tinkered too much with the EOS R5 II design compared to its predecessor, and that's a wise move. It weighs just 26.3oz / 746g, and is a smaller camera than the Nikon Z8 – it's more in line with a Sony A7R V – though you can beef it up with an optional grip to improve the balance with larger lenses. Nonetheless, the EOS R5 II is comfortable in the hand over long sessions shooting with pro lenses, like the 24-70mm F2.8L that I used for most of this hands-on review.

Canon EOS R5 II key specs

Sensor: 45MP full-frame BSI stacked CMOS sensor
AF system: Hybrid with phase-detect Dual Pixel Intelligent
EVF: 5.76m-dot OLED
ISO range: 100 to 51,200 (ISO 50-102,400 extended range)
Video: 8K/60fps raw, 4K 120fps, Full HD 240fps
LCD: 3.2-inch vari-angle touchscreen, 2.1m-dots
Max burst: 30fps (electronic shutter, continuous autofocus)
Connectivity: USB-C 3.2, Wi-Fi 6GHz, Bluetooth 5.0
Weight: 656g (body-only), 746g including battery and card

Familiar it may be, the EOS R5 II actually has a few refinements over the EOS R5. The 5.76m-dot viewfinder is new: Canon says it's twice as bright, and it's blackout-free and equipped with Eye Control autofocus that's twice as responsive as on the EOS R3.

If you haven't tried Eye Control AF before, let me tell you: it's brilliant. It tracks your eye as you scan the scene through the viewfinder, and moves the focus point accordingly, pinpointed to where you're looking in the frame.

I initiated the autofocus function with two presets: one for horizontal shooting and the other for vertical, and the EOS R5 II had no problem recognizing my eye. In use, it performed really well, especially in tandem with subject-tracking autofocus.

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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Build quality is excellent, with a magnesium alloy chassis, weather-sealed exterior, and robust controls. However, I was also testing the new EOS R1 at the same time as the EOS R5 II, and to me the pro sports model had a better feel overall. For example, the control wheel on the EOS R1's rear is nicely dampened and rotates smoothly, making the wheel on the EOS R5 II feel cheaper by comparison. 

Filmmakers will appreciate the fact that the EOS R5 II has a full-size HMDI port (the EOS R5 doesn't) and a tally lamp to indicate when you're recording, and key info, such as waveform monitor, can be displayed on-screen.

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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

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Canon EOS R5 II mirrorless camera

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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

There are also cooling vents on the camera's underside. We don't have official information as to how much these vents alone improve the EOS R5II's ability to stay cool under heavy use. However, they do work with the optional Cooling Fan grip, and with this installed Canon says you'll get over 120 minutes of continuous video record time without overheating; and Canon will certainly want to avoid any of the overheating dramas that dogged the EOS R5.

Otherwise the EOS R5 II is standard fare for a camera at this price range. You get a typical array of controls that are well laid out, a back-illuminated top-LCD, an AF joystick on the rear, control dials for quick exposure changes, and twin card slots; there's one CFexpress Type B and one SD, and you'll need the former, which is the faster (and pricier) card type, to make the most of the EOS R5 II's high-speed features. 

Naturally, there are both mic and headphone ports, plus USB-C for charging. The battery is the existing LP-E6P unit, which delivers up to 640 shots on a full charge, although that number will be a lot higher if you're capturing lots of high-speed bursts. 

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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)
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Canon EOS R5 II mirrorless camera

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Canon EOS R5 II mirrorless camera

(Image credit: Future | Tim Coleman)

Canon EOS R5 II: features and performance

  • Improved in-body image stabilization up to 8.5EV
  • Refined 'intelligent' dual-pixel AF 
  • Up to 30fps with pre-recording
  • Proxy recording can speed up video workflow

I had the opportunity to put the EOS R5 II through its paces in various high-speed scenarios, including basketball and breakdancing, rattling off thousands of frames over a relatively short period.

If you're going to be using the EOS R5 II for action you'll want to utilize the faster CFexpress Type B memory card. I was getting fairly short 30fps sequences when using an SD card, and the camera was getting a little warm to touch under heavy use (though that didn't affect performance). CFexpress Type B, on the other hand, lets you shoot for much longer – I'll confirm the numbers in my full review. 

Pre-recording is new for the R5 line, and by half-pressing the shutter you can have up to 15 frames prepped before you fully press the shutter – that's up to half a second of additional time to react to the action and start shooting. 

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Freezing the perfect moment using the 30fps burst shooting mode

Freezing the perfect moment using the 30fps burst shooting mode. (Image credit: Future | Tim Coleman)

Following the hands-on sessions, I put Canon's Product Marketing Manager, John Maurice, on the spot by asking him what Canon thinks is the single most notable improvement in the EOS R5 II over the EOS R5, and he said it was autofocus performance. 

Put simply, Canon says the EOS R5 II's autofocus is more intelligent than the EOS R5. The 'intelligent' part of Canon's refined Dual Pixel Intelligent AF system refers to deep-learning technology, colloquially called 'AI autofocus'. There's plenty to get to grips with here: for one thing, the EOS R5 II can register people, and once that person's face is recognized they take priority, plus you have the option to quickly select from multiple registered faces for autofocus tracking using the AF joystick. 

The EOS R5 II can store up to 10 faces, ideal for prioritizing the players of one football team, while if you're a wedding photographer, being able to prioritize the bride and groom among many people would be super-handy.

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Canon EOS R5 II sample images

images in this gallery were shot on pre-production Canon beta sample model and final image quality may vary. (Image credit: Future | Tim Coleman)
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Canon EOS R5 II sample images

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Canon EOS R5 II sample images

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Canon EOS R5 II sample images

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Canon EOS R5 II sample images

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Canon EOS R5 II sample images

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Canon EOS R5 II sample images

(Image credit: Future | Tim Coleman)

There are also three Action Priority sports modes covering football, basketball and volleyball. Canon says the EOS R5 II recognizes which player has the ball and can prioritize that person, plus it knows various key sporting moves to prioritize, such as a volleyball player spiking.

Intelligent autofocus all sounds highly impressive, but is it any good? I shot basketball as a test scenario and, once I started getting to grips with the settings, was getting virtually every photo in sharp focus where I wanted it, although I can't be sure yet if that success is specifically down to choosing the 'correct' autofocus mode. Was it better with Eye Control AF? Would I get the same results using the 'incorrect' setting? I'll need to do more testing with a full production model to find out for sure. But the bottom line is that my hit ratio of sharp action photos has been staggeringly high. 

Canon EOS R5 II: image and video quality

  • Same 45MP resolution as the EOS R5, but the sensor is quicker
  • New AI-powered in-camera edits, including upscaling and noise reduction
  • 8K 60p RAW video capture and slow-motion 4K

With speed being the name of the EOS R5 II upgrade game, and the new camera having the same 45MP resolution as the EOS R5, you could be forgiven for thinking that image quality would be essentially the same, despite there being four years between the two models. That might be true for single-shot photography in good light, but the quicker processor and sensor make a difference to image quality in high-speed scenarios. For example, Canon says the stacked sensor minimizes the rolling shutter distortion that can distort movement in photos and videos by up to 40%. 

I tried the new in-camera upscaling and Neural Network noise-reduction functions, too. Upscaling works on an existing image, quadrupling its resolution, and when you're shooting 45MP stills already that means a huge 180MP image, or 16,384 x 10,928 pixels. Canon says upscaling is better than the 'high-res shot' modes found in other cameras, which effectively does the same thing but by another means, using pixel shift and rapidly shooting multiple images that are then combined into one larger image.

The problem with high-res shot modes is that images are taken sequentially, and so if there's any movement between those shots you get a ghosting effect. There are no such problems with upscaling, as you're increasing the size of a photo that you've already taken.

I used upscaling on a portrait, and for an image in which the subject only took up a small portion of the frame, with the idea of enlarging it to then crop in for a better composition. The AI upscaling does a decent job, but it's not perfect: there's a sort of processed look to upscaled photos when you're pixel peeping. The same can be said for the new Neural Network noise reduction, which can be applied to JPEG images in-camera. However, these images were shot and processed on a pre-production Canon beta sample model, so final image quality may vary; the upscaling. feature in particular has huge potential, if it can be applied effectively.

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Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

I chose this photo to upscale from the original 45MP resolution. All images were shot on pre-production Canon beta sample model, so final image quality may vary (Image credit: Future | Tim Coleman)
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Closeup crop of a portrait of blonde model taken with the Canon EOS R5 II

A close up crop of the original 45MP file (Image credit: Future | Tim Coleman)
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Canon EOS R5 II portrait

The same crop on the upscaled 180MP, demonstrating how much bigger the file is (Image credit: Future | Tim Coleman)
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Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

The closeup of the original 45MP image again (Image credit: Future | Tim Coleman)
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Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens

And the upscaled 180MP version at the same size which should appear sharper (Image credit: Future | Tim Coleman)

There's a good range of video codecs and frame rates, which makes the EOS R5 II a more versatile tool for filmmakers than the EOS R5. You get 8K 60fps raw video (onto CFexpress Type B card, not SD), 4K up to 120fps in 10-bit, and even 240fps in 2K. 

What's missing here is open gate recording, which for now remains a trump card for Panasonic and Blackmagic video cameras. With a generous 8K video resolution to play with, it seems like a missed opportunity to go up one on Sony and Nikon by offering open gate – which means recording from the full height and width of the sensor. We're instead limited to 16:9 and cropping into that frame for other aspect ratios used for social. 

We'll be sure to run further image and video quality tests in a full review.

How I tested the Canon EOS R5 II

  • A single day with the Canon EOS R5 II and Canon EOS R1 at the pre-launch event for press in Munich, Germany
  • Pre production beta sample
  • Paired with the RF 24-70mm F2.8L and RF 85mm F1.2L lenses
  • Outdoor portraits, indoor sports, photo and video using the various shooting modes

My time with the Canon EOS R5 II was brief: just a day's session, when I also had the Canon EOS R1. It was also a pre production beta sample and so final image quality and performance may vary in finalized samples.  However, I was given decent scenarios and lenses to use with both cameras to put them through their paces. 

There were two sports scenarios: basketball and breakdancing, both indoors. Another indoor setup involved a skilled cocktail maker, plus an outdoor session with models and classic German automobiles. I was armed with the RF 24-70mm F2.8L and RF 85mm F1.2L lenses. 

I had time after the shoot day to further familiarize myself with the camera and run some speed tests. Tests involved using the various burst modes and video capture to see how the EOS R5 II fared in heavy use, plus checking out the new in-camera AI-editing tools. 

First reviewed July 2024

Sony ZV-E10 II review: small but mighty
5:00 pm | July 10, 2024

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

Sony ZV-E10 II: two-minute review

The ZV-E10 II is a highly recommendable compact vlogging camera. Its diminutive size is deceptive, as it houses a number of key components and features that are shared with Sony’s pricier and more advanced APS-C cameras.

This camera is built around the proven 26MP Exmor R sensor and BIONZ XR imaging engine combo, which is capable of producing crisp 4K video from an oversampled 6K readout. One of the biggest upgrades over its predecessor is that the ZV-E10 II is capable of recording videos in XAVC HS/XAVC S 10-bit 4:2:2 color up to 4K/60p with a data rate of up to 200Mbps. To take advantage of its dynamic range and color upgrade, it also comes with S-Cinetone and Log recording, along with the ability for users to upload a maximum of 16 LUTs via the Creators’ App, which can be baked into footage for quick delivery. It’s a much less elegant approach to deploying custom looks compared to Fujifilm’s famous film simulations or Panasonic’s seamless Real Time LUT and LUMIX Lab solution, but it’s a welcome addition to Sony’s entry-level offering all the same. It can also record proxy files in XAVC HS HD or XAVC S HD with a max data rate of 16Mbps, despite only having a single UHS-II card slot. The ZV-E10 II offers a strong set of features for what is ostensibly a beginner/vlogging camera. 

However, considering that it’s built around the same sensor, processor and power platform as the A6700 and FX30, it’s a shame that Sony wasn’t able to include the 4K/120p video recording that’s available in those cameras, even if it came with a time limitation and the same 1.58x crop. It’s also disappointing to see that the mechanical shutter in the ZV-E10 has been ditched, meaning the ZV-E10 II is electronic shutter only. But with that said, the readout speed is fast, which will significantly negate the impact of rolling shutter in both video and stills. In terms of stabilization, the camera body has no sensor-shift IS, so you’re restricted to Optical Steady Shot (Standard) with compatible lenses or Active SteadyShot, which comes with a hefty crop. Alternatively, you can take advantage of Sony’s free Catalyst Browse desktop software, which uses gyroscopic metadata for the camera to stabilize your footage and reduce rolling shutter effects even further. The software works incredibly well, but it’s an extra step that some may find tedious, especially some people in the target audience for this camera.

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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)

As you might expect, the autofocusing capabilities of this camera are second to none in its price range, and much better than those of rival APS-C cameras from competitors; the upgraded 759-point PDAF system finds subjects with ease and tracks them stubbornly. Like the ZV-E10, the newer model has a maximum continuous firing rate of 11fps, but with a more advanced AF system your ‘keeper’ ratio from mode shooting is going to be higher. Product focus mode was one of the standout features in this camera’s predecessor, and it works better than ever with this new model. When activated by pressing the trash icon, the camera will intelligently detect and seamlessly pull focus to a product when it's held up, then return to the person’s face when the product is lowered. It’s a unique feature that makes this an ideal camera for social media content creators who do tutorials, product reviews or promotions.

In terms of design, the ZV-E10 II is almost identical to its predecessor – the button layout is unchanged and the form factor will be familiar to owners of the older model, and while this camera being slightly larger and heavier, you couldn’t describe it as large or heavy relative to the competition. I like that it has a decent-sized grip, despite being super compact, and it feels great to hold and shoot with. Due to its size there’s no EVF, which may turn off some beginners who are more inclined towards photography – they might want to spend a little more and pick up the A6700.

Having only the articulated screen to compose shots on isn’t a problem, but it did become a bit of a struggle on sunny days, as I didn’t find it bright enough, even on its maximum setting. I also found the default Shooting Screen UI cluttered, but you can (and really should) make adjustments to the look and feel of it in the menu. To Sony’s credit, I love the fact that the whole UI rotates when you shoot vertically, making it a little bit easier to see your settings, whatever orientation the camera is in; it’s a small touch, but a nice one. Speaking of touch, the ZV-E10 II also adds direct touch as a means for changing settings and selecting subjects for the AF to track, touch functions not available on the ZV-E10. Again, it’s not a huge feature, but it significantly improves the functionality of the camera over its predecessor.

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Sony ZV-E10 II camera on a stone surface

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II camera on a stone surface

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II camera on a stone surface

(Image credit: Future | Jon Devo)

One of the ZV-E10 II’s USPs is its built-in three-way capsule microphone, which sits along the top of the camera. The unique design helps to isolate audio when the user is speaking to camera without external audio capture, whether holding the camera up vlogger-style or speaking from behind the camera. Sony says the latest version is “intelligent”, and should do an even better job of delivering clear audio. I didn’t have the previous model at the same time that I was testing the ZV-E10 II to compare the two, but I can confirm that the audio quality that’s recorded by the ZV-E10 II’s built-in mic system is good – it will be adequate for most quick shooting scenarios in public, and should certainly suffice for more controlled situations, such as shooting in a studio, although for the best results you’ll want to stay close to the camera, as it's not designed to pick up your voice from a distance. For higher-quality sound recording you have the option of inputting third-party audio sources through the 3.5mm socket. Alternatively, the camera’s digital multi-function hot shoe supports audio data transfer, allowing you to connect a Sony hot shoe mic like the ECM-G1 or a more advanced audio solution such as the Sony ECM-W2BT wireless microphone.

Live online content creators will enjoy the fact that the ZV-E10 II makes it easy to get connected and stream via a wireless network connection or USB-C, at up to 4K/25p with a max bitrate of 38 Mbps. Full HD streaming goes up to 60fps, and it’s also possible to record to the camera while streaming, which is handy for redundancy.

The ZV-E10 II is a camera that covers a lot of bases for content creators who have begun to experience the limitations of a smartphone and need reliability and quality in equal measure, but in a package that keeps things simple. If you can go without a viewfinder and can tolerate overheating limitations when shooting 4K video, the ZV-E10 II is well worth your consideration.

Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)

Sony ZV-E10 II: release date and price

  • $1100 / £950 body only
  • Available from July 10 2024
  • Can be bought as a kit with the new Sony E PZ 16-50mm F3.5-5.6 II $1200 / £1050

The ZV-E10 II is available to pre-order from July 10th, 2024, with sales starting at the end of July 2024. It can be picked up for an RRP of $1100 / £950 body only or for $1200 / £1050 with the new Sony E PZ 16-50mm F3.5-5.6 II as part of a kit. That’s a pretty big price hike from the Sony ZV-E10. 

  • Price score: 3.5/5

Sony ZV-E10 II on reflective surface and white background

You can take off the lens to easily pack the Lumix S9 away in a small bag. (Image credit: Future | Jon Devo)

Sony ZV-E10 II: design and handling

  • Body is almost identical to previous model
  • Features higher-capacity NP-FZ100 battery
  • Vari-angle touchscreen
  • Digital multi-function hot shoe

The Sony ZV-E10 II is a very compact camera, measuring 4.5 x 2.65 x 2.1 inches / 114.8 x 67.5 x 54.2mm and weighing 13oz / 375g. It’s almost 10mm thicker, a couple of mm wider and 32g heavier than its predecessor.

Sony ZV-E10 II key specs

Sensor: 26MP Exmor R sensor APS-C sensor
AF system: 759-point phase-detect
EVF: None
ISO range: 50 to 102,400 (ISO 100-32,000 video range)
Video: 4K/60p 4:2:2 10-bit internal
LCD: 3.0-inch vari-angle touchscreen
Max burst: 11fps (continuous autofocus), 30fps burst
Connectivity: Wi-Fi 2.4GHz/5GHz, Bluetooth 5.0
Dimensions: 114.8 x 67.5 x 54.2mm
Weight: 375g (Body only with battery and card)

The increase in size is in order to accommodate the NP-FZ100 battery, the same battery used by Sony’s APS-C flagship model, the A6700, as well as most of its recent full-frame E-mount cameras. This also means the memory card slot has been shifted over to the left of the camera body, sandwiched between the microphone and USB-C port at the top and the headphone and micro-HDMI socket at the bottom. The door cover of the UHS-II card slot locks into place and is easy enough to unhinge, even if you’re wearing gloves.

Its 3-inch flip-out articulated screen swings out smoothly and slaps back into place with a reassuring clasp. However, I didn’t like the fact that when the display is flipped all the way out it doesn’t sit flat – it’s at a slight angle. This means the screen doesn’t directly face you when flipped forwards, and it makes composing straight images at extreme perspectives frustratingly inconsistent. Another slight annoyance for me is that I found that some of the buttons and the zoom toggle are too easy to activate by accident, which occasionally led to missed shooting opportunities when trying to capture unanticipated fleeting moments. I do really like the dedicated photo / video / S&Q mode switch at the top of the camera though.

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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)
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Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)

A lot of useful and commonly used settings are buried within the menus, but fortunately Sony makes it relatively easy to curate a custom page under ‘My Menu’. Another positive is the fact that many of the camera’s buttons can also be customized for both photo and video modes, which gives you a lot of flexibility, and some time spent configuring your buttons and creating your own menu should pay dividends in improving your experience of using the ZV-E10 II. A final design touch that I’m a fan of is the inclusion of a red tally lamp on the front of the camera, just above the alpha logo, which turns on automatically when you press record. There’s also a red frame indicator that can be turned on and off to reassure you that you’re recording.

  • Design score: 3.5/5

Sony ZV-E10 II: features and performance

  • Best-in-class phase-detection autofocus
  • Solid battery life
  • No sensor-shift stabilization
  • Overheats when recording 4K/60p
  • Unique 3-capsule microphone array

The Sony ZV-E10 II stands on the shoulders of one of Sony’s most popular Alpha models ever, in the original ZV-E10 – and given that its predecessor doesn’t have a lot of competition, Sony arguably didn’t have to release an update this year. However, while there are a good few meaningful improvements overall, the ZV-E10 II isn’t perfect. Let’s start with the challenges.

As a compact camera with no fan, I wouldn’t expect the ZV-E10 II to deliver unlimited recording at maximum resolution and frame rates, and it turns out that it doesn’t. I found that the camera consistently overheated and shut down while recording 4K/60p video after 24 minutes, even with the screen flipped out which can help to disperse heat. I was able to get it to start recording again by rebooting the camera, and it rolled for another five minutes before stopping for a second time, then it would cut out repeatedly after a minute or two until it was left to cool down. When the overheating issues began the camera became very hot to the touch, and it wouldn’t function normally until it had cooled down; for reference the ambient room temperature was 70F / 21C. I experienced no overheating issues when filming in Full HD resolution.

Sony ZV-E10 II on reflective surface and white background

(Image credit: Future | Jon Devo)

Now that we’ve got the drawbacks out of the way, let me say that the ZV-E10 II shines when it comes to autofocus, although that’s a given when it comes to Sony cameras. The AF is quick and reliable, which means you can focus on capturing the content you want, whether it’s stills or video, and the camera will take care of the rest. It’s also much easier to shoot remotely and share your content, thanks to improvements Sony has made to the Sony Creators’ App experience. When paired, the ZV-E10 II has the ability to transfer content between the camera and your mobile device via 2.4GHz or 5GHz Wi-Fi. The process is quick, and far less frustrating than previous iterations of Sony camera/app file transfer that I’ve used.

When shooting Raw+JPEG you can get 30 frames at 11fps with AF-C in continuous burst mode, before buffering begins to kill your joy while you wait for the camera’s single UHS-II card to write – this is a camera that will be suitable for capturing brief bursts of action, but not extended sequences. If you want an easy way to slow down longer action sequences, shifting the camera into its dedicated S & Q (slow and quick) function is as simple as flicking a switch. The S&Q mode allows you to capture and view slow-motion video in camera, without sound. However, I’m disappointed that the ZV-E10 II maxes out 4K at 60fps, while its higher-end stablemates, with the same sensor and processor, offer up to 4K/120p.

I was impressed by the staying power of the ZV-E10 II. I could comfortably get through a day's photo and video capture thanks to the inclusion of the larger FZ-NP100 battery. It’s a cell that’s rated for roughly 550 shots, which is a lot for a camera in this class. The previous ZV-E10 was already a standout performer when it came to battery life, and the new model raises the bar further still.

  • Features and performance score: 4/5

Sony ZV-E10 II: image and video quality

  • Same 26MP sensor as pricier FX30 and A6700 models
  • Much improved video codecs
  • No in-body image stabilization means shakier video footage

The ZV-E10 II’s 26MP sensor delivers beautiful JPEGs in good light, and usable images in low light, while its raw files provide a good amount of dynamic range for pushing shadows and recovering highlights when needed.

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Sony ZV-E10 II sample image buzz lightyear toy in studio at ISO 50

ISO 50 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 50 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 640 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 1600 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 6400 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 16000 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 32000 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 51200 (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings

ISO 102400 (Image credit: Future | Jon Devo)

In terms of its movie mode results, the introduction of 10-bit video, something that most of the competition offers, is a great benefit for people who have the time to grade their footage. Having greater color flexibility, including the addition of the S-Cinetone picture profile and log recording, opens up this camera for more professional uses, and I would happily use it as a B-roll camera, mixing in clips with footage from a higher-end Sony camera. At its best, 10-bit 4:2:2 4K/60p footage out of the ZV-E10 II, oversampled from its 6K readout, is reasonably gradable and looks clean when the ISO is kept below 6400. In video mode the ZV-E10 II has a maximum sensitivity range of ISO100 to 32,000, but beyond ISO6400 color shifting and noise starts to get distracting.

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Sony ZV-E10 II sample images of tree in a park

Highlights can be blown in scenes like this, which also force the camera's meter to slightly under expose (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of model wearing bright red clothes

This backlit portrait shows that the ZV-E10 II still focuses on faces well in challenging high contrast situations (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample macro images of an insect on a plant

The ZV-E10 II paired with the 16-50mm F3.5-5.6 II is a great everyday combination for subjects big and small (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of a skyscraper on overcast day

The ZV-E10 II offers a range of picture profiles that will allow you to capture your shots in whatever look you're interested in portraying (Image credit: Future | Jon Devo)
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Sony ZV-E10 II sample images of a skyscraper on a sunny day

The ZV-E10 II shines in good light, delivering punchy colors and vibrant tones (Image credit: Future | Jon Devo)

The lack of sensor-shift image stabilization is a miss here. However, when the camera is paired with an OSS Sony lens, footage is respectably stable, even if it can’t match the steadiness of a Lumix or Olympus alternative. Sony does have an ace in its hand with its Catalyst Browse desktop software though, and if you have the time and inclination you can achieve footage that’s stable enough to rival video captured with a dedicated gimbal.

  • Image quality score: 4/5

Sony ZV-E10 II: testing scorecard

Should I buy the Sony ZV-E10 II?

Buy it if...

Don't buy it if...

Sony ZV-E10 II: also consider

How I tested the Sony ZV-E10 II

  • I attended a pre-brief presentation, followed by one-week review period
  • I paired the camera with the new Sony 16-50mm PZ OSS F3.5-5.6
  • I connected the camera to the Sony Creators’ App

I had a short week with the ZV-E10 II, so my testing opportunities were slightly limited. However, I have experience with its predecessor, as well as the Sony A6700 and FX30, which share the same sensor, processor and battery as the ZV-E10 II, so I’m familiar with the capabilities and limitations of its core components.

The first thing I did when receiving the camera was conduct my endurance tests, which include battery run-downs and heat management. I set the camera up on a tripod in an ambient temperature environment of 70F / 21C, and left it filming continuously while connected to mains power and on battery power alone.

I took the camera out with me on a couple of walks and to a couple of daytime and evening events, using the Creators’ App to transfer and share images on the go. I performed sound-quality tests in a small studio environment, as well as in the street.

First reviewed July 2024

Panasonic Lumix S9 review – small, simple, powerful, flawed
7:06 pm | May 22, 2024

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

Panasonic Lumix S9: two-minute review

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. 

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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.

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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.

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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.

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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.

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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.

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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.

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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. 

Panasonic Lumix S9 camera in Dark Olive color on a rich red reflective surface

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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High contrast London street photo taken with the Panasonic Lumix S9 and custom Real Time LUTs applied

A 'Platinum Steel' Real Time LUT profile (Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

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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Screenshot of the Lumix Lab app and LUT color profile options

(Image credit: Future | Tim Coleman)
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Screenshot of the Lumix Lab app and LUT color profile options

(Image credit: Future | Tim Coleman)
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Screenshot of the Lumix Lab app and LUT color profile options

(Image credit: Future | Tim Coleman)
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Screenshot of the Lumix Lab app and LUT color profile options

(Image credit: Future | Tim Coleman)
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Screenshot of the Lumix Lab app and LUT color profile options

(Image credit: Future | Tim Coleman)

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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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)
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Sample photos taken with the Panasonic Lumix S9 of London street photography

(Image credit: Future | Tim Coleman)

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. 

First reviewed May 2024

Fujifilm GFX100S II review – worth switching from full-frame?
11:28 am | May 17, 2024

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

Fujifilm GFX100S II: two-minute review

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.

Fujifilm GFX100S II camera no lens attached

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.

Fujifilm GFX100S II camera in the hand

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. 

Fujifilm GFX100S II camera in the hand no lens attached

(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.

Fujifilm GFX100S II camera's textured grip

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.

Fujifilm GFX100S II camera in the hand

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.

Fujifilm GFX100S II camera's rear screen tilted two ways

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.

Fujifilm GFX100S II camera viewfinder

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.

Bear taken with Fujifilm GFX100S II and GF 500mm F5.6 lens

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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Bear taken with Fujifilm GFX100S II and GF 500mm F5.6 lens

Animal detection autofocus nailed sharp focus on the bear's eye (scroll for closeup) (Image credit: Future | Tim Coleman)
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Bear taken with Fujifilm GFX100S II and GF 500mm F5.6 lens

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.

Gorilla taken with Fujifilm GFX100S II and GF 500mm F5.6 lens

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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Wildlife photos taken with the Fujifilm GFX100S II

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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Wildlife photos taken with the Fujifilm GFX100S II

(Image credit: Future | Tim Coleman)
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Wildlife photos taken with the Fujifilm GFX100S II

(Image credit: Future | Tim Coleman)
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Wildlife photos taken with the Fujifilm GFX100S II

(Image credit: Future | Tim Coleman)
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Wildlife photos taken with the Fujifilm GFX100S II

(Image credit: Future | Tim Coleman)
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Wildlife photos taken with the Fujifilm GFX100S II

(Image credit: Future | Tim Coleman)
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Wildlife photos taken with the Fujifilm GFX100S II

(Image credit: Future | Tim Coleman)
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Wildlife photos taken with the Fujifilm GFX100S II

(Image credit: Future | Tim Coleman)
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Bear photo taken with the Fujifilm GFX100S II and 500mm F5.6 lens

The full picture. (Image credit: Future | Tim Coleman)
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Bear photo taken with the Fujifilm GFX100S II and 500mm F5.6 lens

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. 

Wildlife photos taken with the Fujifilm GFX100S II

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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Gorilla photo with various Fujifilm GFX100S II film simulations applied

Velvia Vivid Film Simulation (Image credit: Future | Tim Coleman)
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Gorilla photo with various Fujifilm GFX100S II film simulations applied

Reala Ace Film Simulation (Image credit: Future | Tim Coleman)
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Gorilla photo with various Fujifilm GFX100S II film simulations applied

Classic Negative Film Simulation (Image credit: Future | Tim Coleman)
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Gorilla photo with various Fujifilm GFX100S II film simulations applied

Eterna Bleach Bypass Film Simulation (Image credit: Future | Tim Coleman)
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Gorilla photo with various Fujifilm GFX100S II film simulations applied

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. 

First reviewed May 2024

Fujifilm X-T50 review: putting film simulations at your fingertips
9:00 am | May 16, 2024

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

Fujifilm X-T50: Two-minute review

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.

Fujifilm X-T50 kit on a table

(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

Fujifilm X-T50 kit sitting on a laptop keyboard

(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.

Fujifilm X-T50 camera body

(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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The Film Simulation dial on the Fujifilm X-T50

(Image credit: Sharmishta Sarkar / TechRadar)
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Branding on the top of the Fujifilm X-T50 body

(Image credit: Sharmishta Sarkar / TechRadar)
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A selected Film Simulation displayed on the rear LCD of the Fujifilm X-T50

(Image credit: Sharmishta Sarkar / TechRadar)
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The battery compartment under the Fujifilm X-T50

(Image credit: Sharmishta Sarkar / TechRadar)

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

Branding on the Fujifilm X-T50

(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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A hand holding the Fujifilm X-T50 with a Film Simulation displayed on the rear monitor

(Image credit: Sharmishta Sarkar / TechRadar)
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The tilting screen on the Fujifilm X-T50

(Image credit: Sharmishta Sarkar / TechRadar)
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The ports on the Fujifilm X-T50

(Image credit: Sharmishta Sarkar / TechRadar)
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The rear control panel and LCD display on the Fujifilm X-T50

(Image credit: Sharmishta Sarkar / TechRadar)

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.

A woman descending stairs inside an ornate building

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

The exposure and shutter speed dials on the Fujifilm X-T50

(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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A green and yellow ferry on a river

(Image credit: Sharmishta Sarkar / TechRadar)
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A deisel locomotive in an elevated train track

(Image credit: Sharmishta Sarkar / TechRadar)
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A photo of a cluster of tiny white flowers

(Image credit: Sharmishta Sarkar / TechRadar)
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A stained-glass domed roof of a building

(Image credit: Sharmishta Sarkar / TechRadar)
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People walking inside a building with arches

(Image credit: Sharmishta Sarkar / TechRadar)
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An ornate clock hanging from the roof of a building

(Image credit: Sharmishta Sarkar / TechRadar)

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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A photo of Yellow doors on blue walls

(Image credit: Sharmishta Sarkar / TechRadar)
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A black and white photo of a bridge and a jetty

(Image credit: Sharmishta Sarkar / TechRadar)
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A stained-glass window inside a building

(Image credit: Sharmishta Sarkar / TechRadar)

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

Fujifilm X-T50 kit sitting on a laptop keyboard

(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.

Read more about how we test

[First reviewed May 2024]

Leica SL3 review – the modern Leica workhorse
5:00 pm | March 7, 2024

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

Leica might be best-known for its legendary M-series rangefinders, but for the past decade it's also been building a modern full-frame mirrorless system called the SL series – and the new SL3 is its most fully-evolved model so far.

Unlike the Leica M11 and Leica Q3, which are built around a compact, tactile shooting experience, the SL3 is a modern brute that wants to be your professional workhorse. It still has classic Leica hallmarks, like minimalist menus and a design that harks back to the Leica R3 SLR, but it combines all of that with modern all-rounder specs.

The main upgrades from 2019's Leica SL2 include a 60MP full-frame CMOS BSI sensor, a Maestro IV processor, phase-detect autofocus, a tilting touchscreen, 8K video, a CFexpress Type B card slot (alongside an SD UHS II one) and a slightly smaller, lighter body.

Leica says that its 60MP sensor is the same as the one in the Leica M11 and Q3, but is engineered slightly differently – which means it has a base ISO of 50 (going up to 100,000), rather than 64. In other words, the SL3 is like the Q3's bigger brother, with its studio-friendly body giving you access to the dozens of lenses available for its L-mount.

The Leica SL3 sat on a wooden bench

(Image credit: Future)

But since the original Leica SL arrived in 2015, the full-frame mirrorless camera space has become fiercely competitive. So with incredible cameras like the Nikon Z8, Sony A7R V and Canon EOS R3 all vying for your attention, is the gravitational pull of that red dot still as strong for pro shooters in 2024?

I spent a couple of days with a Leica SL3 in Wetzlar, Germany to find out – as always, the answer depends very much on your priorities (and your bank balance)... 

Leica SL3 release date and price

  • The Leica SL3's body-only price is $6,995 / £5,920 (around AU$11,435)
  • The SL2's launch price was $5,995 / £5,300 / AU$9,900
  • It's available to buy right now at Leica stores and its online store

As always with Leica, the SL3's cost-of-entry is high. And like most cameras, it's quite a bit higher than in 2019, when the SL2 first landed.

The SL3's body-only price is $6,995 / £5,920 (around AU$11,435), which is somewhere between 12%-16% pricier than the SL2's original price, depending on where you live.

Hands holding the Leica SL3 camera

(Image credit: Future)

The SL3 is by no means the most expensive Leica camera around – the Leica M11 Monochrom, for example, costs $9,195 / £8,300 / AU$14,990 (body only) and only shoots in black and white. But this does mean that the SL3 is now much pricier than the Leica Q3 ($5,995 / £5,300 / AU$9,790). 

That's a completely different kind of camera, but the SL3 is also battling for your attention alongside full-frame Nikon Z8 ($3,999 / £3,999 / AU$6,999 body-only), which looks like a comparative bargain.

Leica SL3: design and handling

  • New 3.2-inch tilting touchscreen, but no fully-articulating display
  • Leica SL3 design tweaks make it 69g lighter than SL2
  • Still has magnesium alloy body with IP54-rated weather sealing

Leica's SL series have always felt reassuringly expensive in the hand and the SL3 is no different – it feels like could survive a run-in with a Cybertruck. 

It's a bit of a functional brute compared to stablemates like the Leica Q3, but if you need a hybrid workhorse for stills and video, the SL3 is now one of the best camera bodies around.

Leica SL3 key specs

Sensor: 60MP full-frame CMOS sensor
Image processor: Maestro IV
AF system: Hybrid with phase-detect
EVF: 5.76-million dot OLED
ISO range: 50 to 100,000
Video: 8K at 30p, C4K & UHD at 60/50/30/25/24p
LCD: 3.2-inch tilting touchscreen, 2.3m dots
Max burst: Up to 15fps
Connectivity: Wi-Fi, Bluetooth
Weight: 769g (body only)

Leica has made a few tweaks to the SL series' design in this third-generation, mostly for the better. For a start, it's shaved off some weight – the SL3 is 69g lighter than its predecessor. At 769g, it's still a pretty weighty mirrorless camera, but that puts it somewhere in between a Sony A7 IV and Nikon Z8.

The biggest departure from the SL2 is the arrival of a tilting 3.2-inch touchscreen. Leica hasn't gone as far as adding a fully-articulating display, which it said could have compromised the SL3's bomb-proof build quality.

The top of the Leica SL3 camera

(Image credit: Future)

While videographers might be disappointed about that, the tilting screen is a welcome addition for photographers, giving you the option of shooting from the hip and low angles. It's just a shame it only tilts in landscape orientation, and not when you flip the camera round for portraits.

In the hand, the SL3 is still a satisfyingly solid hunk of metal. Mirrorless cameras don't come built any better than this – the magnesium and aluminum chassis balances nicely with some of Leica's weighty glass (like the Summicron-SL 50mm f/2 I tried it with), and the tweaked grip and its rubberized indent still feel great in the hand.

The SL3 still has IP54-rated weather sealing too, which means it can handle being sprayed or splashed with water. I haven't yet taken one to Antarctica, but there really aren't any weather conditions where you'll have to worry about the SL3.

Two hands holding the Leica SL3 camera

(Image credit: Future)

Beyond its new screen and lighter weight, the only other design changes are more minor future-proofing tweaks. There's now a new CFexpress Type B slot (alongside a standard UHS-II SD slot) to support 8K video, plus an HDMI 2.1 Type A port for video shooters. 

Inside, there's also now a larger capacity battery (2,200mAh, compared to 1,860mAh one inside the SL2), but this doesn't translate to more shooting time. In fact, with a CIPA standard rating of 260 shots (compared to 370 shots on the SL2), battery life is one of the SL3's main weaknesses.

In more positive news, the SL3 retains the 5.76-million dot OLED EVF (with 0.78x magnification) from its predecessor, and that certainly hasn't dated. It's still an impressive part of the shooting experience, helping you stay connected to the scene with its clarity, color reproduction and 120fps refresh rate.

The Leica SL3 camera sat on a wooden bench

(Image credit: Future)

On the top of the SL3, there's a new dial on the left and a very handy 1.28-inch monochrome display for quickly previewing your shooting settings. Round the front of the camera there's arguably the most important design feature of all – the L-mount bayonet. This gives you access to a huge range of lenses from Leica, but also the likes of Panasonic, Sigma and Samyang – in total, there are now 84 lenses to choose from.

One other nice design touch is the new illuminated power button on the back, which replaces the traditional switch. This doesn't serve any great functional purpose other than making the SL3 feel more modern, but it's the kind of attention to detail you don't often get from other manufacturers.

Similarly, the SL3's refined menu system (complete with new icons) is an example for others to follow. It's clean and simple, with nice touches like the separate photo and video modes, and is a stark contrast to Sony's 'kitchen sink' approach to software menus.

Leica SL3: features and performance

  • 60MP CMOS BSI full-frame sensor, like the Leica Q3 and M11
  • New phase-detect AF system, alongside contrast/object detect AF
  • Can now shoot 8K video and ProRes (in 1080p)

Given the Leica SL2 was launched back in 2019, you'd hope that its successor would get a sizable imaging upgrade – and that's certainly the case. 

The SL3 has a 60MP CMOS BSI full-frame sensor, which is a tweaked version of the one inside the Leica Q3 and M11. While that resolution is handy for cropping later, you also get 36MP and 18MP modes to help boost the buffer during continuous shooting and save on memory space.

Leica says this sensor gives you an extra stop of dynamic range compared to the SL2 (15 stops, compared to 14), but a more obvious upgrade is the Maestro IV processor and its improved autofocus system.

The Leica SL3 camera sat on a wooden bench

(Image credit: Future)

The SL series has never had class-leading autofocus, partly due to Leica's close relationship with Panasonic (which, until last year's Panasonic Lumix S5 II, had refused to embrace phase-detect autofocus). But the SL3 finally offers a hybrid AF system, combining phase-detect AF (good for video and moving subjects) with contrast-detection and object detection. 

In my brief time with the SL3, its subject-detection worked well and reliably locked onto human eyes, producing a good hit-rate. But animal detection was still marked as being in 'beta' on my sample, so this will need more testing – and overall, it's fair to say that Leica is still playing catchup with the likes of Sony for autofocus, rather than surpassing it.

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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)

The other benefit of that Maestro IV processor is that it supports the camera's CFexpress Type B card and, consequently, some video upgrades. The SL2 was already Leica's best ever video camera and the SL3 steps things up with 8K video capture. 

This will be a pretty niche mode, though, as it tops out at 30fps with 4:2:0 10-bit color sampling. More useful will be the SL3's 4K/60p and 4K/120p video modes, which you can shoot with 4:2:2 10-bit color sampling for editing flexibility. Combine that with the camera's full-size HDMI port for external monitors and timecode interface, and you have a powerful, professional video camera – which hasn't been very common in Leica world, until now.

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A sample photo of a car taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a car taken on the Leica SL3 camera

(Image credit: Future)

Another bonus for shooting handheld video (and stills) is the Leica SL3's five-axis image stabilization system, which gives you five stops of compensation. That's far from the best we've seen – the Sony A7R V's system is good for a claimed eight stops – but it is still an important difference from the original SL, which had no stabilization. It's also ideal if you want to use an SL3 with Leica M glass using the M-L adapter.

In my tests, I was able to shoot handheld down to 1/4s and get usable results, so it's definitely a useful feature, particularly for shooting in low light. Another quality-of-life upgrade are the SL3's speedier wireless transfer speeds, which use a combination of Bluetooth and Wi-Fi MIMO tech to fire full-size DNGs to your phone in only two or three seconds.

That's quite a big jump up from the SL2, which took around 20 seconds to transfer a DNG file, and it worked well in my tests (as you can see above). The Leica Fotos app itself is a suitably premium experience that's a cut above the efforts from most camera manufacturers, and these transfer speeds make it a breeze to get a raw file onto your phone for a quick edit.

The SL3 isn't a sports camera – and despite having a larger buffer capacity than the SL2, its top speeds for continuous shooting have taken a slight dip compared to its predecessor. 

Its top speed is 15fps, which can manage for a few seconds before the buffer fills up, but it can naturally go for longer if you drop down to 9fps or 7fps. You can also get better results by choosing the 36MP or 18MP resolution modes, so there are options – just don't expect it to match a Canon EOS R3.

Hands holding the Leica SL3 camera

(Image credit: Future)

My biggest disappointment with the SL3 was its battery life. I'll need to do some more controlled tests, but during my brief time with the camera I was barely getting above 200 shots (plus some video) per charge. Its official CIPA rating is 260 shots per charge and Leica is rolling out new firmware (version 1.1) soon, so hopefully that might improve things. But prepare to carry around a USB-C charger or spare batteries.

One other strange anomaly is that the SL3 doesn't support Content Credentials, a new industry standard for protecting the authenticity of digital images. That's a little odd considering the older Leica M11-P debuted the feature last year, but Leica told us that "the reason is that the development of the SL3 was already advanced when this technology became mature".

Because Content Credentials requires a dedicated chipset, this also can't be added to the Leica SL3 via a firmware update. But Leica did add that for "future cameras it's our aim to integrate" the AI-combatting tech.

Leica SL3: image and video quality

I took the Leica SL3 for a spin with the Summicron-SL 50mm f/2 lens, which is a sharp, fun partner for the camera. The option of using Leica glass is clearly one of the main draws of the SL3, but whatever you pair it with, you'll get some hallmark Leica character in your images.

Like the Leica Q3, the SL3 captures tons of detail in its 60MP DNGs. I'll need to spend some more time with them to see how far they can be pushed in editing, but the early signs suggest you can recover an impressive amount of shadow detail from the SL3's raw files.

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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a saxophone player taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a dog taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a shed taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a car taken on the Leica SL3 camera

(Image credit: Future)

Those files also have bold, vibrant colors, more so than the JPEGs, although they're also a touch noisier than some full-frame rivals. In my early test shots, noise starts to appear from ISO 1600 and is particularly noticeable at ISO 6400. Still, this isn't necessarily a problem – in fact, the grain is frequently attractive (depending on your tastes) and gives the SL3's photos a filmic look.

Video quality looks similarly pin-sharp at lower ISOs, although the SL3's autofocus seemed to struggle a little more with moving subjects in this mode. I'll need to test this more on final firmware, alongside the 8K mode, before making any conclusions. But my early impressions are that the SL3's image and video quality will be comparable to the Leica Q3's, which is certainly no bad thing.

Leica SL3 early verdict

The Leica SL3 camera sat on a wooden bench

(Image credit: Future)

The full-frame mirrorless camera world has changed a lot since the original Leica SL landed in 2015 – and while the competition is now red-hot between Sony, Canon and Nikon, the Leica SL3 still manages to carve out a unique spot for itself.

While it can't match a Nikon Z8 for outright performance or value, the SL3 is a refined, professional workhorse with incredible build quality. Its simple, clean user interface puts most other cameras to shame and it's now a very competitive – if not class-leading – modern hybrid camera for shooting photos and video.

The special sauce of Leica's distinctive image rendering and lenses are added bonuses, although I hope its disappointing battery life is improved in later firmware updates. Right now, you'll need at least two batteries to last you a full day of intense shooting.

If that isn't a deal-breaker for you, then the SL3 could be the combination of modern mirrorless power and classic Leica minimalism you've been waiting for (even if your bank manager feels very differently). We'll bring you our full review very soon.

Leica SL3: how I tested

  • A day-and-a-half of shooting at Leica Park in Wetzlar, Germany
  • A mix of studio, low light and environmental shooting

I used the Leica SL3 for just over a day continuously during a visit to Leica's HQ in Wetzlar, Germany. I've taken sample photos in raw and DNG formats, although I'll need to spend a bit more time with the latter (on the SL3's final firmware) for our full review. 

I took a variety of handheld shots are different shutter speeds to test the effectiveness of its in-body image stabilization, and also took its new phase-detect autofocus and buffer for a spin during a fashion photo shoot.

My only lens during testing was the Summicron-SL 50mm f/2 lens, which was a great companion if not ideal for all shooting scenarios. I also ran the battery down to empty to test its stamina shooting a mix of photos and videos. 

Panasonic Lumix G9 II review: a promising wildlife camera
5:00 pm | September 12, 2023

Author: admin | Category: Computers Gadgets | Tags: | Comments: Off

I’m in the back of a safari truck in a wildlife reserve, Panasonic Lumix G9 II with Leica DG Elmarit 200mm F2.8 Power OIS lens in hand, wowed by the giraffes scattered across a bush-filled hillside. It's an unseasonably hot 30C in the UK (that's 86F), and for a moment I’m taken back to my days living in Kenya, where these kinds of trips are the thing you do, if you can afford it. 

On this occasion, however, the camera gear that I have in hand is a whole lot better. There’s a giraffe that's mostly obscured from view by the tree it's feeding from. I lift the G9 II’s 3.69m-dot viewfinder up to my eye and immerse myself in the closer view that the wildlife and sports lens affords me (it has an effective 400mm focal length), and despite the giraffe being mostly obscured, the camera’s animal-detection autofocus locks onto the subject.

I take a photo, not because the moment looks particularly great, but because I’m keen to see if the new tracking autofocus I see in the live view is accurate, despite the super-challenging test. It turns out that it is, and I’m not even using the giraffe-tracking autofocus (I jest; ‘AI-powered’ autofocus has broadened the subjects cameras can recognize, but we’re not quite at 'savannah creatures' just yet). The Lumix G9 II has come on leaps and bounds from its 5-year-old predecessor, the Lumix G9.

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Panasonic Lumix G9 II camera on a patterned table with pink flower background

(Image credit: Future)
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Panasonic Lumix G9 II camera in the hand with micro four thirds sensor in view

(Image credit: Future)

We’ve gone into more detail about the key G9 II improvements in our Panasonic G9 II revealed: here’s why it’s the dark horse or mirrorless cameras article, but to summarize, in real-world use the new sensor, processor and phase-detection autofocus combine to great effect, particularly for a camera that's so popular with enthusiast wildlife and sports photographers. It’s one heck of a camera (and lens) pairing in my hand, and my first impressions are that the G9 II is up there with the best mirrorless cameras available for this situation.

Panasonic Lumix G9 II: Release date and price

The body-only list price of the G9 II is $1,599 / £1,699, which is pretty reasonable considering what the camera is capable of. It's also available as a kit with the Leica Vario Elmarit 12-60mm F2.8-4 lens for $2,199 / £2,249, or with the standard Panasonic version of the 12-60mm for $1,799 / £1,899. There’s also a new DMW-BG1E vertical grip that's priced at $309 / £309.

Panasonic also announced two redesigned lenses alongside the Lumix G9 II: the Leica DG Vario-Elmar 100-400mm F4.0-6.3 II ASPH, which costs $1,499 / £1,499, and the Leica DG Vario Elmarit 35-100mm F2.8 Power O.I.S, priced at $1,099 / £1,099. Panasonic did not provide Australia pricing for any of this gear at the time of writing. 

Shipping for all new items is listed as from November 2023. 

Features and performance

  • Phase-detection autofocus with animal eye AF
  • New L2 processor engine
  • Up to 60fps with continuous AF

I’m a fan of Panasonic and OM System (formerly Olympus) Micro Four Thirds (MFT) camera systems, especially for wildlife and sports. The half-size system has some exceptionally fast flagship cameras, like the Lumix G9 II, and sharp telephoto lenses that are much smaller and cheaper than full-frame equivalents, which make long stints in the outdoors all the easier, like the 200mm F2.8 I had during a sneak peak of Panasonic’s latest photography-first MFT camera.

The Lumix G9 II has five years of advances on its predecessor, headed by a faster 25.2MP sensor, up from the 20MP in the G9. That extra detail is very welcome, and the minimum I'd expect from a serious camera in 2023. 

There’s also a faster processor – Panasonic says its 2x faster than the previous-gen engine, with less rolling shutter. We don’t have the technical detail beyond that – it’s not information that Panasonic divulges,– but the improvements are particularly welcome for a camera that will often be found in the middle of fast-moving action. 

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Giraffe in bright sunlight, shot with Lumix G9 II and 200mm F2.8 lens

(Image credit: Future)
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Giraffe in bright sunlight, shot with Lumix G9 II and 200mm F2.8 lens

(Image credit: Future)
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Wildlife in bright sunlight, shot with Lumix G9 II and 200mm F2.8 lens

(Image credit: Future)
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Baboon in bright sunlight, shot with Lumix G9 II and 200mm F2.8 lens

(Image credit: Future)
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Wildlife in bright sunlight, shot with Lumix G9 II and 200mm F2.8 lens

(Image credit: Future)
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Telephoto wildlife photo made with Lumix G9 II and 200mm F2.8 lens

(Image credit: Future)
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Expansive vista with wildlife in foreground on a bright sunny day shot with the Lumix G9 II and Leica 12-60mm F2.8-4 lens

(Image credit: Future)
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Expansive vista on a bright sunny day shot with the Lumix G9 II and Leica 12-60mm F2.8-4 lens

(Image credit: Future)

For my half-day with the Lumix G9 II, the new phase-detection autofocus and its many subject-tracking modes were my main interest. You can pair animal subject tracking, which includes eye AF, with zonal autofocus areas, customizable to horizontal and vertical coverage. It took a lot of experimentation, and setting the camera up to switch between custom setups quickly in order to respond to the changing subjects, but once you get to grips with what the G9 II is capable of, it feels like no subject or scenario is beyond its reach. That said, I only used the camera in bright daylight, and I'll be interested to see how the system performs in low-light scenarios when testing it for my in-depth review. 

Continuous shooting is up to a blistering 60fps with continuous autofocus, if you use the electronic shutter. This is the shutter type that's susceptible to the adverse effects of rolling shutter, which is especially obvious in images of fast-moving subjects or, or footage captured with extreme camera movement; however the G9 II has a faster sensor with more control over rolling shutter distortions.

I didn’t have enough time with the G9 II to gun it using the high-speed drive mode to see how effectively rolling shutter is controlled, but the mechanical shutter is immune to such distortion, and can shoot at up to an impressive 14fps, sustained for sequences longer than I’ll ever likely need to shoot for.

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Panasonic Lumix G9 II camera on a patterned table with pink flower background

(Image credit: Future)
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Panasonic Lumix G9 II camera in the hand

(Image credit: Future)
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Panasonic Lumix G9 II camera on a patterned table with pink flower background

(Image credit: Future)

Design

  • Lumix S5 II-style body
  • 8-way directional joystick
  • Faster 3.69m-dot EVF

The G9 II is a departure from the MFT Lumix G cameras, instead taking its design cues from the Lumix S5 II – a full-frame Panasonic mirrorless camera from 2023 that I've used quite a lot. It's look and form factor is a little different, with squared-off edges, while its comprehensive custom controls now also include a responsive 8-directional joystick. However, the change in feel and control layout won't be too great a leap for those thinking of upgrading from a Lumix G model.

The G9 II handgrip is particularly comfortable, and I say this having used the camera with the relatively chunky 200mm F2.8 lens, while its DSLR-style dimensions are large for a MFT camera, and the body feels particularly robust.

Viewfinder resolution remains the same as the five-year-old G9, at 3.69m dots, while the LCD touchscreen's resolution has almost doubled to 1.84m dots. For me, more important than viewfinder resolution is the viewfinder refresh rate – it can make all the difference between a laggy real-time view or a heavenly blackout-free experience, and both the viewfinder and monitor are blackout-free during burst shooting.

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Panasonic Lumix G9 II camera closeup of the ports

(Image credit: Future)
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Panasonic Lumix G9 II camera with memory card door open

(Image credit: Future)
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Panasonic Lumix G9 II camera on a patterned table with pink flower background

(Image credit: Future)

Image quality

  • 25.2MP sensor with 100MP High-res multi-shot mode
  • 5.7K / 60p and 4K / 120p video
  • New Leica Monochrome color profile

Single-shot photos in the MFT sensor format can’t quite match the resolution of larger-sensor cameras, but 25.2MP is perfectly adequate, and enough reason for a Lumix G9 user to upgrade. 

The High-res shot mode combines multiple photos into one to increase that resolution to 100MP, and Panasonic says you can now use this mode handheld (without blurring), thanks to the faster engine. I tried the mode out, and the handheld results were usually blurry, but I’m confident that further testing and experimentation with this mode will yield sharp results, with the caveat that it's for still subjects and a steady hand, or a tripod. 

Video recording has been dramatically improved from the G9, and the G9 II offers practically every shooting mode that the GH6 does, and we rate that camera as one of the best video cameras. What you don’t get in a photography-first camera like the G9 II is cooling fans, and so record times are limited by comparison.

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Interior or a stately home, shot with the Lumix G9 II and Leica 12-60mm F2.8-4 lens

(Image credit: Future)
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Architecture in high contrast light shot with the Lumix G9 II and Leica 12-60mm F2.8-4 lens

(Image credit: Future)
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Closeup of grapes on the vine

(Image credit: Future)
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Closeup of a lily pad in a pond, shot with the Lumix G9 II and Leica 12-60mm F2.8-4 lens

(Image credit: Future)

There are a bunch of new color profiles too, for both photo and video. We get a new Leica Monochrome profile, V-Log pre-installed (in the past, Panasonic charged a premium for a code to unlock V-Log), and real-time LUTs, where you can upload your own color profiles. Most people associate real-time LUTs with video recording, but this feature can be used for photography, too. For example, you can load a custom Adobe Lightroom color profile directly into the G9 II.

Panasonic Lumix G9 II camera on a patterned table with pink flower background

(Image credit: Future)

Early verdict

Just about every aspect of the G9 II has been improved over the five-year-old G9, giving G9 users plenty of reason to upgrade, while also encouraging non-users to enter the system for the first time, especially if wildlife and sports photography are their thing. Sensor resolution is improved, although it doesn't compete with flagship full-frame alternatives, whereas video recording modes are highly competitive, including 5.7K ProRes raw to an external SSD, supported by a fast processor and Panasonic's most effective phase-detection autofocus. 

I also think the G9 II's sensor format and lens selection is better suited to wildlife and sports photography than full-frame, for most people. Our in-depth review will reveal more about the G9 II in real-world use, especially how it fares in low light. But first impressions from a half-day with the G9 II are highly positive.  

Sony A6700 review: top-spec autofocus in compact packaging
5:00 pm | July 12, 2023

Author: admin | Category: Computers Gadgets | Tags: , | Comments: Off

Sony A6700: Two-minute review

By combining a 26MP APS-C sensor with AI-powered subject recognition in a body built for shooting on the move, the Sony A6700 lands as a compelling hybrid for hobbyists who value power and portability in equal parts. We gave its predecessor four stars in our full Sony A6600 review, and the A6700 is a shoo-in for a top spot in our round-up of the best travel cameras.

Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

On a spec sheet peppered with improvements, Real-time Recognition AF is worthy of note. Driven by the same Bionz XR processor seen on the Sony ZV-E1 and Sony A7R V, it’s capable of accurately recognizing and tracking a variety of targets in the real world, including humans, animals and vehicles. 

Paired with a 759-point phase detection array, plus five-axis optical image stabilization, the result is a neatly proportioned camera that can produce sharp, balanced stills in most conditions, even when shooting handheld. 

Noise does begin to creep in at higher ISOs, especially north of ISO 6400, but not enough to be an issue if you’re only sharing on social. The metering system also has a habit of underexposing scenes on overcast days, but that’s something you can manually compensate for.

Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

The A6700 is marketed as a hybrid, and I found that it broadly has the video skills to back up its stills abilities. 4K 60p footage is oversampled from 6K without pixel binning, with 10-bit depth and 4:2:2 color sampling to match its video-focused FX30 and ZV-E1 cousins. The resulting clips are as crisp as you’d expect beneath clear skies.

Less impressive is the 1.6x crop applied to 4K 120p slow-motion footage, and I also found that the in-body image stabilization didn’t eliminate wobble when recording while walking. That said, the availability of subject-recognition AF and auto-framing – which automatically crops to track you – makes it straightforward to capture sharp video.

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Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)
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Sony Alpha A6700 mirrorless camera outside on a wall

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Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

The A6700 also benefits from revised handling versus the A6600, including a deeper grip that makes it more comfortable to shoot with for extended periods. I didn’t get to test it with a telephoto lens, but the body strikes a great compromise between size and ergonomics. It feels like a camera you could trust to take a few knocks on your travels.

Direct-access control has been meaningfully improved too, with the addition of a front dial, a dedicated dial for switching between still, movie and S&Q modes, as well as several buttons, all of which can be usefully assigned with custom functions – a win for hobbyists who want the option to switch settings quickly when shooting in the street.

And it’s not just the physical setup that’s changed: Sony has revised the menu system for the A6700, with the aim of making it easier to navigate with the vari-angle touchscreen. While the main interface is generally straightforward enough to use, though, I found that there was still a fairly steep learning curve when it came to locating certain settings within the depths of the menus.

Sony A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

Sony lent me its tidy 10-20mm F4 wide angle lens for my review of the A6700, which I found a little limiting creatively. But a major benefit for consumers is that the camera uses Sony’s E Mount, an established system with a huge catalogue of compatible glass, including plenty of compact options that would team well with the camera for a travel-friendly setup.

If video is your focus, you’ll likely get better results from something like the Fujifilm X-S20. But if you want a compact APS-C hybrid with a capable sensor and the ability to automate autofocus on the fly, the A6700 is well worth considering.

Sony A6700: Price and release date

  • £1450 body-only ($ / AU$ price TBC)
  • Announced July 2023
  • Available from Sony stores and authorized retailers TBC

Sony announced the Sony A6700 on July 12, alongside a new shotgun microphone. The camera will set you back £1450 body-only, while the mic costs £349. 

That’s essentially the same as what the Sony A6600 cost when it launched in 2019. At that time, we though it was a steep asking price for what the camera offered, but you’re getting a whole lot of upgrades with the A6700, including cutting-edge autofocus and refined handling. Given current inflation, we think that price tag looks more reasonable this time around.

Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

It still hits shelves at a higher price than some of its closest rivals, though. While the Fujifilm X-S20 doesn’t have the class-leading AI skills of the Sony A6700, it has a comparable APS-C sensor and is capable of recording 6K 30p video, yet comes in a good slice cheaper than the A6700.

Slightly closer in price – but still less expensive – is the Canon EOS R7, one of the best mirrorless cameras for stills photography. It doesn’t offer 4K 120p video recording like the Sony A6700, but it does have a higher resolution sensor and dual card slots.

  • Price score: 4.5/5

Sony A6700: Specs

Sony A6700: Design

  • Refined grip is more comfortable in the hand
  • New dials and buttons improve direct-access control
  • Menu system remains confusing for beginners

Like the A6600 before it, the A6700 is a tightly packaged APS-C camera with flat sides and a viewfinder over to the left. It might not win any design awards, but the neat proportions make it a tidy camera to travel with. That’s still true even with its slightly larger dimensions: it’s deeper than the A6600, but this increase doesn’t make it feel bigger in the hand. It helps that the payoff is a deeper, more ergonomic grip, which makes the A6700 a comfortable camera to carry and use for full days of shooting. It’s also a well-built one, with a sturdy feel bolstered by weather sealing.

What further sets the A6700 apart from its predecessor is the addition of new direct-access controls. Beneath the main mode dial now resides a second dial for switching between stills, video and S&Q (for slow-motion and time-lapse shooting). On the front of the grip lives a further control wheel, which takes care of aperture by default. These are joined by a dedicated video record button on the top plate, an AF ON shortcut on the back and a C1 button on the outside of thumb rest. 

Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

Taken together, the updated control array unlocks greater customization options for hands-on hobbyists. Provided you’re prepared to dive into the menu system, each button’s function can be reassigned for swift access to your preferred settings for both stills and video. The more pronounced thumb rest does make the rightmost dial a bit trickier to reach, while the front wheel is a fairly slender thing to scroll with your forefinger. The menu button can also be a stretch to get at with your thumb. Broadly, though, the revamped controls are relatively well laid-out and enhance the camera’s usability.

Sony has also upgraded the touchscreen on the A6700. Slightly sharper at 1.04m dots, it’s now a vari-angle number with a full touchscreen interface, versus the tilt-only display that could only really be used to set AF points on the A6600. On the whole, the screen complements the user experience. Visibility is a little limited in direct sunlight, but the articulating setup offers useful flexibility when framing. 

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Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)
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Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)
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Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

The software itself is a mixed bag. You can swipe in and out at the sides of the display to show and hide shortcuts, while swiping up reveals two rows of virtual buttons that can be customized for quick access to your favorite settings. These icons are just about big enough not to feel cramped, but it’s still easy to hit the wrong one when operating in the wild. 

In what feels like a recurring gripe for Sony cameras, though, it’s the menu system that holds the A6700 back. Sony has changed the main menu to a grid layout that’s more accessible at a glance, but you have to scroll or tap across twice to reach it. The overall structure has also been revised into vertical columns, but accessing any settings not listed in the main grid can still feel like a labyrinthine task. Even headline features such as auto-framing are buried several levels deep.

This is a shame, because the A6700 is otherwise a lovely camera to handle and shoot with. Not everyone will love the off-centre position of the OLED EVF, yet it feels like the best way to both frame and review images in the field. The viewfinder has the same 2.36m-dot resolution as before, but benefits from a welcome boost in brightness.

  • Design score: 4/5

Sony A6700: Features & performance

  • AI-powered subject detection and auto-framing
  • Rapid and reliable AF across 759 phase-detection points
  • IBIS works better for handheld stills than video

What its menus might lack in clarity, the Sony Alpha A6700 makes up for with cutting-edge performance. Harnessing the same AI chipset as the Sony ZV-E1 and A7R V, it delivers best-in-class subject tracking. Pre-select a target for Real-time Recognition AF to detect, or tap on the touchscreen to select an object: either way, it will lock on with remarkably sticky precision, even as your subject moves around the frame.

In bright conditions, the system is rapid and reliable. Real-time Recognition only works if you’re framing a subject that features on its list of presets, which includes humans, animals and insects, as well as cars, trains and aircraft. In future, we will surely see cameras that can switch between these targets themselves, based on what you’re aiming at. For now, the abilities of the Sony A6700 are at the forefront of AI-driven autofocus.

It isn’t foolproof, as I found when it ignored a sheep I was photographing. Woolly subjects aside, though, it’s a system you can trust to focus for you, even when you’re shooting fast and from the hip. I found its eye-tracking skills particularly good at locking on, regardless of how much I tried to make it break focus.

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Sample image shot using the Sony Alpha A6700 of a bar in Bordeaux

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of a bar in Bordeaux

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of a bar in Bordeaux

(Image credit: Chris Rowlands)

All of this speed and accuracy is deployed across an expanded array of 759 phase-detection and 425 contrast-detection points. With both the AF-ON and shutter buttons held down, it will continue tracking subjects around the frame while firing off mechanical bursts at 11fps. The 59-raw-shot buffer fills quicker than you might think, but the A6700 at least offers UHS-II card compatibility for speedier transfer rates – although there’s only one slot.

Helping to net sharp stills is the five-axis image stabilization system. Sony claims that an enhanced algorithm provides up to five stops of stabilization for photography, and I certainly had no issues capturing crisp handheld images with the A6700. Active SteadyShot stabilization is also available for video, although I wasn’t as impressed with the results. It effectively levelled handheld clips when I was stood static, but it’s simply not as good as Sony’s Dynamic stabilization when it comes to counteracting wobble while walking. It might be because I’m heavy-footed, but I wouldn’t use it to replace a gimbal.

What the A6700 might be able to replace, though, is your film crew. Like the Sony ZV-E1, it can automatically crop in while recording to compose the scene around your subject. There are three auto-framing settings, with the most aggressive cropping in the closest. It’s an incredibly useful option for content creators shooting solo, as it effectively replicates the inputs of a real camera operator. Helpfully, the A6700 shows the auto-frame as a moving outline within the wider scene, so you know how much space you have to work with. What you can’t do is use Active SteadyShot and Auto Framing at the same time, so the former will make the most sense with a tripod.

I was also impressed by the battery life of the A6700, which continues the A6600’s legacy of strong longevity. Like the ZV-E1, it uses the same FZ-100 battery as the FX3 and A7S III. Real-world results will depend on your combination of stills and video, but a full tank proved more than enough for a full day of photography, interspersed with a few 4K clips. Helpfully, the cell charges in-camera using USB-C, so you don’t need to add another charger to your travel bag.

  • Features and performance score: 4.5/5

Sony A6700: Image and video quality

  • Crisp, balanced results in most conditions
  • Tendency to underexpose on overcast days
  • Noise can be an issue north of ISO 6400

At 26MP, the APS-C sensor inside the A6700 pretty much matches the benchmark for modern mirrorless cameras. There are rivals with higher resolutions, such as the Canon EOS R7, but most hobbyist cameras hover around the 26MP mark – and that’s plenty for the average enthusiast.

It certainly shoots sharp in use, with no shortage of detail. On the whole, the A6700 produces crisp, balanced results, with decent dynamic range and accurate color reproduction. Like many APS-C cameras, sunny days are when it thrives, delivering rich but realistic images with plenty of depth.

In overcast conditions, the A6700’s metering system does have a habit of slightly underexposing images. You can still pull detail out of the shadows in the edit if you’re using Sony’s lossless compressed RAW format, and it’s worth enabling the Dynamic Range Optimizer to help balance the light and dark parts of a scene. All the same, you’ll want to keep an eye on exposure compensation when shooting on a cloudy day.

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Sample image shot using the Sony Alpha A6700 of Bordeaux

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of Bordeaux

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of Bordeaux

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of flowers

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of tomatoes at a French market

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of a spiral staircase

(Image credit: Chris Rowlands)
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Sample image shot with the Sony Alpha A6700 of architecture in France

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of the French countryside

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of the beach in Biarritz

(Image credit: Chris Rowlands)
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Sample image shot using the Sony Alpha A6700 of Biarritz beach

(Image credit: Chris Rowlands)

Like the A6600, the A6700 is also a reliable performer after dark. Lower lit scenes come out balanced and sharp, even with multiple light sources in the picture. Improved algorithms also mean it’s more effective at focusing in dim conditions, rarely relying on the illuminator to lock on to subjects.

An expanded ISO range of 50-102400 for photography gives the A6700 useful stills versatility on paper, but crank it anywhere north of ISO 6400 and noise quickly becomes noticeable across the image. This grain will be very evident on larger prints in particular. For sharing low-light shots on social, though, it’s less of an issue. Happily, there’s still plenty of detail beneath the noise, with little of the smoothing that can so often smudge shadows on APS-C cameras.

Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

I’ve covered the limitations of Active SteadyShot stabilization for video above, but it’s not the only factor which restricts recording on the A6700. 4K 120p slow-mo is a fantastic addition, but it’s limited by a 1.6x crop that means you’ll need a wider lens to make the most of it. Super 35mm 4K isn’t completely uncropped either, although the factor is marginal at 1.04x.

Shoot longer clips and you’ll also run into the A6700’s recording limits. You can set the auto power-off temperature to ‘standard’ or ‘high’. With the latter selected, the A6700 displayed an overheating warning after 38 minutes of recording 4K 60p video indoors. For capturing short travel clips and b-roll on the fly, this time cap shouldn’t be a major issue. But without the cooling vents of the ZV-E1, this isn’t a hybrid for serious videographers or vloggers who like to record for longer.

Audio out of the camera is very usable, with more tonal depth than you’d expect from a built-in pickup. When walking and talking outdoors, it clearly captured my voice without too much interference. If you do want a more professional setup, you have the option to use the A6700’s microphone and headphone ports, or stick Sony’s new XX shotgun microphone on top of the camera.

Launched alongside the A6700, this hot-shoe-mounted accessory features eight modes for directional audio pickup, plus noise-suppression settings that effectively minimize the impact of factors like wind. It’s a lightweight, compact tool that I can see appealing to travel vloggers who want a streamlined solution for targeted audio capture.

  • Image and video quality score: 4/5 

Should you buy the Sony A6700?

Sony Alpha A6700 mirrorless camera outside on a wall

(Image credit: Chris Rowlands)

Buy it if...

Don't buy it if...

Sony A6700: Also consider

If our Sony A6700 has inspired you to think about other options, here are three more cameras to consider…

How I tested the Sony A6700

Because of its credentials as an enthusiast travel camera, I took the Sony Alpha A6700 on a trip to the south of France for testing. It travelled with me for a fortnight, during which I shot hundreds of stills in all sorts of scenarios. These included candid portraits, daylight landscapes and evening street scenes in Bordeaux. I paid particular attention to how well the A6700 detected subjects in busy urban areas, how comfortable it felt in the hand during full days of shooting, and how its battery held up in the real world.

I was also keen to check out the recording chops of the A6700. To do this, I shot tens of videos, including numerous handheld vlog-style clips to assess the effectiveness of the A6700’s image stabilization for video footage. I pushed the camera to its limits in terms of recording times, to see how well it handles heat, and also tested how effectively it works with Sony’s new XX shotgun microphone.

On the whole, the Sony Alpha A6700 performed well throughout these tests – a fact reflected by the score I’ve awarded it. It’s not a perfect camera, but I found it a fundamentally enjoyable one to shoot with.

Read more about how we test

First reviewed July 2023

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