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As we enter the second day of the CP+ trade show, we'd like to hear from you: are there any announcements that you think warrant a closer look?

Our editors Dale Baskin and Richard Butler are on location in Japan, and have already gone hands-on with Canon's new V1 vlogging compact and the Sigma BF. However, there were several other announcements made during the show, which we've been covering throughout the week. We've started a thread in our forum to see if people have questions about these announcements that could be answered if we went to see them in person – if you have any, be sure to raise them over there.

Go to the forum thread

Also, if you've seen something floating around that we've missed, be sure to let us know!

Photo: studiocasper/E+ via Getty Images

The first day of CP+ has come to a close, and while there were relatively few big announcements from major brands today, third-party lens manufacturers stepped up to fill the void. We already shared that Viltrox announced four new lenses and a Z-mount version of its AF 135mm F1.8 LAB lens. TTArtisan also revealed a retro-looking instant camera. On top of all that, though, Laowa, 7Artisans and Samyang all unveiled new lens offerings.

Details for the new Laowa, 7Artisans and Samyang lenses were essentially non-existent beyond the lens names. Laowa even went so far as to say this is just a sneak peek of what's coming. The lenses apparently are on display at CP+, so we hope to gather more information in the coming days. For now, though, here's what we know.

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According to its Instagram page, Laowa is announcing four new lenses. Those include the Ultima 12-120mm, 35mm F2.8 Tilt-Shift, 15mm F4.5 Wide Angle Macro, 8-15mm Fish Eye and Proteus Zoom. Of all those, we've only been able to find information on the first. A B&H listing for the Ultima 12-120mm T4.0 reveals that it is designed for Arri PL mount with coverage for Super35 sensors. It offers a 10x zoom range, a nine-blade iris, and cine-standard gearing. The B&H page only says Coming Soon, though, with no price or date listed.

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7Artistans will also soon offer four new lenses. Its Instagram page mentions the AF 25mm F1.8 (APS-C), AF 35mm F1.8 (APS-C), AF 50mm F1.8 (APS-C) and AF 35mm F1.8 (full-frame). However, it didn't specify mounts or any other details.

Finally, Samyang isn't left out of all the fun, either. Photos from the event show a 14-24mm F2.8 full-frame E-mount lens that bears the branding of both Schneider Kreuznach and Samyang. According to a sign detailing the lens, it's the world's first 14-24mm for E-mount that allows for front filters. The Nikkor Z 14-24mm F2.8 S accepts front filters but only via the hood. It appears that this Samyang lens features a filter thread on the lens itself. It supposedly offers a minimum focusing distance of 0.18m (7") and weighs just 445g (15.7oz).

Image: Viltrox

Viltrox decided to go big at CP+ this year, announcing four brand-new lenses and a new mount option for its AF 135mm F1.8 LAB lens. In case that wasn't enough, it also unveiled a camera battery charging case with a retro-looking design, which is the only item currently available for sale.

First up is the Viltrox AF 35mm F1.2 LAB FE, which, as the name gives away, is part of the new Viltrox Lab series of lenses. That lineup is the top tier of Viltrox lenses, meant to compete more directly with Sony's G-Master lineup. Viltrox says that this lens is "revolutionizing the 35mm category," promising precise autofocus and strong image quality. The wide aperture also makes it worthy of low-light situations. Next is the AF 85mm F1.4 Pro FE, which is part of the Pro series. Viltrox promises that it "redefines portrait photography with its sharp details and creamy bokeh." Both lenses include FE in the names, so Sony users can expect even more options shortly.

The AF 50mm F2.0 Air is promised as a lightweight, compact option ideal for street and everyday photography. Viltrox didn't specify which mounts it will be available for, but Digital Camera World says it will be coming to Sony FE and Nikon Z mounts. Viltrox also teased that it will be unveiling the AF 25mm F1.7 Air lens at some point today, providing no details beyond the name.

Image: Viltrox

Unfortunately, not much information is available about the new lenses. What we do know is the names of each and, as a result, the different Viltrox lens lineups to which these lenses belong. The company also shared images from its CP+ booth on Instagram, which include some of the new offerings.

"This is the perfect venue to showcase our commitment to innovation and dedication to providing the tools photographers need to capture stunning images," said Viltrox CEO, Daniel Dai. "We welcome attendees to visit our booth, and experience the future of photography."

In addition to the new offerings, Viltrox announced that the AF 135mm F1.8 LAB is coming to Z-mount. This lens was announced back in November for Sony cameras. As a member of the Lab lineup, it offers a premium design, smooth bokeh and sharp performance.

Viltrox didn't provide any pricing or availability information for any of the above lenses, but says it will "soon announce official release dates."

Image: TTArtisan

CP+ is barely underway, but it's already been a busy year for the International Camera and Photo Imaging Show. TTArtisan is adding to the growing list of surprises this year by announcing its first-ever camera. The brand revealed the Folding Instant Camera on its Instagram account, announcing that it is on display at CP+ in Japan.

TTArtisan is best known for its lenses, though it has also dabbled in photography accessories. This is the company's first foray into cameras, however. Its Instagram post says to "stay tuned for the official launch," so details are slim at this point, with no specifics about when that "official launch" may be, even.

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What we do know is that the Folding Instant Camera is retro in more than just looks. As the imagery shows, it uses a foldable design with bellows. It will feature a fully mechanical design with a spring-loaded shutter that doesn't require batteries. The lens uses a Cooke Triplet design, which was patented in 1893. It is made up of three air-spaced elements – two biconvex lenses surrounding a biconcave lens – which helps reduce distortion and aberration. Of course, given there is no power for the camera, it will be manual focus only.

TTArtisan promises soft bokeh and a bulb mode for long exposures. It will use Fujifilm Instax film and looks to be of the Mini variety. The images posted to its Instagram account suggest the camera will come in a range of colors, including blue, orange, pink, and black. TTArtisan didn't provide any information on exposure or metering, but a close look at the lens reveals what appears to be an aperture ring, shutter speed and DoF scale, suggesting full manual control, unlike most modern instant cameras.

The camera looks quite nice, and the idea of manual control with instant film is intriguing. Hopefully, further details aren't too far off.

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This week, our team has been in Japan for the launch of the new Sigma BF, a camera the company calls "radically simple." Distinctively designed, the BF is milled from a single block of aluminum.

Its minimal button layout and single control dial reflect Sigma CEO Kazuto Yamaki's vision, expressed in an interview with DPReview a couple of years ago: "Some customers aren't happy with existing cameras and are looking for something unique. I believe it's our mission to support these types of customers," he told us.

We've been shooting the BF all week, capturing scenes ranging from the bustling streets of Tokyo to the snowy landscapes of Sigma's hometown, Aizu. Our portfolio includes portraits and images processed with Sigma's new Rich and Calm color profiles.

Click here to view our Sigma BF sample gallery

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Photo: ZEISS

In the build-up to the announcement of Zeiss' new 50mm and 85mm F1.4 Otus ML lenses for full-frame mirrorless, we spoke to Tony Wisniewski, Senior Manager, Creative Arts,
Zeiss Cinema and Photography.

The new lenses are Zeiss' first photo-focused releases since the Otus 100mm, nearly six years ago, during which time there were rumors that the company had left the industry.

Where have you been?

Wisniewski says it was more of a pause: "Back before the pandemic, CIPA was being very dire in their projections of where DSLR and SLR cameras were going. The information being shared showed that sales were reducing significantly, and we were watching that. Then, as the pandemic occurred, Zeiss decided to kind of hit pause on photo, to wait and see what happens.

"So we've been holding back, continuing to sell and provide the lenses we currently manufacture, but we didn't take any additional action until just recently.

"The market has found its center, it's starting to increase: it's looking at a four or five percent increase through 2030 year-over-year. We think that now is the time to get back into it, so we've decided to start manufacturing some new equipment."

Who are these lenses for?

While expensive, the Otus ML lenses have been announced at significantly lower prices than their DSLR forebears. The 50mm F1.4 and 85mm F1.4 are priced at $2,500 and $3,000, respectively, rather than the $4,000 and $4,500 launch prices of the original 2013 Otus 55mm F1.4 and 85mm F1.4.

We wondered if this indicated a shift in who Zeiss was targeting with the new lenses.

"We're always interested in professionals who are looking for something different, " says Wisniewski, "something to set themselves apart in sharpness and look and really help them define their look as they build their client base.

"But really, right on down through the continuum, you get into hobbyists who are looking for something different, new and unusual, as well as people who are starting out and are moving from creating their online videos using a cell phone and a ring light, and [finding] that's just really not enough anymore. They're looking for something to stand out, something that sets them apart.

Photographers shouldn't take this statement, or the ability to de-click the aperture ring as a sign that Zeiss is giving too much emphasis to video, though. "This is a photography-first lens," says Wisniewski. "No question about that."

Photo: ZEISS

Another reason for the reduced cost is the move to mirrorless, Wisniewski explains: “We’ve been able to modify the design and update it for a [shorter, wider] mount. This allows us to use less material, essentially, so we can continue to have the same exact quality in a less expensive and much smaller lens.” But, he says, this hasn’t been achieved by adopting digital geometric correction. “Everything that we've done is in the lens.”

Competition

The lens environment has changed a lot since 2013, and we pointed out that the performance level of camera makers' own lenses is constantly rising. "For Zeiss, it's always about the technical quality and the exacting design that we offer," Wisniewski says. "But you're right, there's certainly a lot of competition out there.

"The community is leaning towards lenses. They're choosing [a lens] because of the way it looks and feels on their camera. I think that that's a key right now. It's not just about having the newest, biggest, best lens or camera, but it's really about 'what feels good to me?,' 'what pleases my eye?' and as long as as the price is within a specific range that I can attain, I'm going to get that lens.

"That's really what Zeiss is doing: starting to pivot the way that we present our equipment, not on the technical side, as we've done for years, but really talk about the 'look' and the reason someone would want to shoot with a camera lens rather than a cell phone. And talk about the artistry behind that and the ability that gives you to really, truly think and create."

Manual focus in the mirrorless age

We asked whether they'd had any concerns about the appeal of manual focus lenses, given that the manual focus shooting experience in mirrorless cameras is very different from that on the DSLRs the previous generation of lenses was designed for.

"We wanted to move towards mirrorless because the entire world is moving towards mirrorless; DSLR is just not selling now. We have been working with the manufacturers to secure licenses for the three mounts, so we have the ability to transfer metadata from the lens to the camera... and it does [prompt the camera to] go into focus assist mode.

"There's always going to be people who prefer autofocus, and we've heard a little bit of that. But our philosophy on using the manual focus is that we really want to get back to creating, and back to providing the artist with a toolset that allows them maximum control over what they're trying to capture. The manual [focus] does that; the reality is, and this is mostly my own position, that cameras do everything for you now. Really, a lot of the control you have is over aperture setting for depth of field and where you choose to focus. So we've really provided that back to the creator so that they have full exacting control over those attributes."

What's next?

Despite the announcement of two lenses, we couldn't resist asking what Wisniewski thought the future might hold and whether it might only include manual focus lenses.

"The fundamental position is that we've never left the photography industry," he said. "And we're continuing to look at lenses that can be developed.

"That's within the autofocus arena, maybe? Developing autofocus lenses to continue that familiarity that the Batis [series] provides. Some of our older glass is certainly being looked at, to bring that up to a new standard and offer some of those designs as we move forward. Certainly, nothing's off the table.

"We're starting to talk about providing a 'look and feel,' rather than just tossing lenses out. That's really what's driving us. 'What's the next one in this family?' What is the next look that we want to offer the photographic community?"

Is this announcement, then, only the beginning? "I just want to clear the air," confirms Wisniewski. "We're here. We understand our position in the industry. We understand that we're a niche player, but we know that people are looking for the type of size, quality, and Zeiss look that they've come to know and love."

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Photo: Mitchell Clark

This week, Zeiss announced that it was returning to making lenses after having not released any stills-focused models since 2019. It kicked off its new mirrorless-focused Otus ML line with two manual focus F1.4 models: a 50mm and an 85mm.

We were able to spend some time with the 50mm F1.4 and take a collection of sample images with it, which you can see below. After you've taken a look, be sure to check out our interview with the Senior Manager of Creative Arts at Zeiss Cinema and Photography, where we discuss the new lenses and the company's plans for the future.

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

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The Canon PowerShot V1 is the company's second vlogging compact, following 2023's diminutive V10. It has more in common with the company's G1X series of enthusiast compacts, using a large sensor with technology borrowed from its APS-C cameras.

With vlogging in mind, it has a 16-50mm equivalent F2.8-4.5 lens, meaning it can maintain a wide-angle 22mm equivalent field of view, even when cropped-in 1.4x for its 4K/60 mode.

We raced over to the Canon booth the moment the CP+ show in Yokohama opened, so we could be the first to get our hands on the new camera.

Handling

It feels quite comfortable in the hand: it's quite deep, because of the space needed for the fan and ducting used to keep the camera cool for extended periods of recording, but there's enough of a grip to make it feel secure in the hand.

The body is coated with a soft, grippy rubber coating, adding to a sense of security, as well as giving a bit of a premium feel.

Controls

The controls on the camera are pretty small, with a small zoom rocker around the shutter button and a miniaturized exposure dial towards the back of the top plate.

There's a small [Rec] button and two mics on the top plate, along with the power button. The power button risks being somewhat obscured when you mount the supplied 'dead cat' wind screen over the mics.

Just behind the mode dial is a stills/video switch because, while it's been designed primarily as a vlogging camera, it should be pretty capable for stills, too.

Back of the camera

The back of the camera closely resembles the G1 X Mark III and most other Canon compacts, with a little control dial encircling its four-way controller, along with buttons for playback, delete and so forth.

Control dial

The V1 has a control dial around its lens but, rather disappointingly, this is free-rotating. This is great for smooth manual focus or seamless aperture changes in video mode, but it's not ideal for selecting discrete, stepped variables such as exposure compensation, ISO or aperture value in photography and means you don't get any tactile feedback.

By default the function of the dial changes with exposure mode, but you can override this and assign it to control: ISO, Exposure Comp, Focus or stepped zoom.

Ports and flash

For video the V1 has both mic and headphone sockets and can accept a selection of Canon microphones via the connections at the front of its Multi-function hot-shoe.

This shoe can also be used to attach external flashguns because, while it's primarily designed for vlogging, the V1 has an in-lens shutter that should allow it to sync with flash all the way up to its 1/2000 sec max mechanical shutter speed (and it can maintain 1/2000 even at its widest aperture setting).

Raw shooting

The other key feature from a photography point of view is that the V1 can capture full Raw files. As we've got used to seeing on recent Canons, you have a choice of Raw, lossy-compressed C-Raw or the Dual Pixel Raw.

Dual Pixel Raw saves the information from both halves of the camera's split pixels, used to give it depth-aware phase detection from its whole sensor area. In practice we've rarely found the Dual Pixel Raw are worth the extra storage space, and it's a feature that's been dropped from the likes of the EOS R5 II and R6 II, so we're surprised to see it reappear here.

If you don't want to shoot Raw, the camera gives a choice of JPEG or HDR photos for playback on high-dynamic-range displays as 10-bit HEIFs.

Lens and rolling shutter

That 16-50mm equiv F2.8-4.5 lens has an equivalent aperture range of F4.0-8.8 in full-frame terms, if you want to get some idea of the image quality, low-light performance and depth of field it will give. This gives it a distinct edge over the Sony ZV-1 Mark II, the most directly comparable wide-angle vlogging compact on the market: the Sony's lens doesn't go as wide, reaching a maximum of 18mm equiv, and its F1.8-4 aperture is equivalent to F4.9-10.9 in full-frame terms. So the Canon should be able to offer better image quality in both good light and poor.

The Sony's Stacked sensor has faster readout than the V1, so it'll exhibit less rolling shutter. We haven't been able to measure the speed of the Canon yet, but its close relationship to the EOS R7 sensor suggests it won't be super-fast.

Availability

Sadly we haven't been able to get any details of when it might be available in the US or Europe. But we get the impression its announcement for the Asian market was brought forward so that it could be put on display here in Yokohama.

The PowerShot V1 won't be available anywhere until late April, so there's still plenty of time for a rest-of-world release announcement before the camera hits the shelves. We hope to hear more, including when we can get a shootable example, soon, so please stay tuned.

If there are any other details we can check on, while we're here at the show, please let us know in the comments and we'll head back to the Canon booth to check, if we can.

We pretty much broke down the doors of the CP+ Expo in Yokohama, Japan, where we were the first media outlet to get our hands on the new Canon Powershot V1. See our first impressions in this short video.

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Image: DxO

Software company DxO has announced PureRaw 5, the latest version of its Raw processing software. The new iteration promises even better noise reduction, more control over adjustments, new tools for X-Trans sensors and a cleaner interface.

PureRaw 5 includes the new DeepPrime 3. The third generation of its "neural-network-powered RAW processing engine for Bayer and X-Trans sensors" takes advantage of DxO Modules – one of the features it's best known for – to get more out of Raw files. DxO has been working on these modules using custom-made equipment in its Paris lab for the past 20 years, creating a "mathematical model that describes the characteristics of a lens paired with a specific sensor." They allow the software to "enhance the performance of a lens/camera combination and push it beyond the laws of physics."

The previous DeepPrime engine used AI to denoise and demosaic images, while the new version adds a third step. It promises to automatically fix chromatic aberration with the help of the DxO Modules. The company has officially created more than 100,000 Modules at the time of this announcement, providing wide coverage across many lens and camera combinations.

With PureRaw 5, DxO is introducing beta support for X-Trans sensors in DeepPrime XD, its noise reduction software. DxO introduced the DeepPrime XD engine, which refers to "eXtra Detail" in PureRaw 3. It says the engine is capable of producing "incredible results" even for images taken at ISO levels that would typically result in unusable images.

In addition to adjustments across an entire image, PureRaw 5 allows local adjustments for greater control. It will enable fine-tuned denoising and sharpening levels on specific parts of an image using masks.

Finally, DxO focused on improving the app's usability with what it describes as an overhauled, "cleaner, more refined experience." It also introduced custom presets to allow for faster editing based on variables such as camera, lens, ISO or subject.

DxO PureRaw 5 will be available on April 15. Those who pre-order before launch will immediately receive complimentary access to DxO PureRaw 4. You can purchase a new perpetual license for $120 or an upgraded license from PureRaw 3 or 4 for $80.

Press release:

New DxO PureRAW 5, the ultimate solution for RAW image quality, introduces local adjustments, expanded performance for Bayer and X-Trans sensors, and much more

The software that supercharges your cameras and lenses guarantees unprecedented image quality alongside powerful workflow boosts and a brand-new interface.

Paris (France): DxO, the leader in RAW image processing for more than two decades,
announces DxO PureRAW 5, the software that delivers sharper, cleaner, more detailed images, and gives photographers unparalleled freedom. Version 5 introduces powerful local adjustments, allowing photographers to fine-tune noise reduction and lens sharpness
optimization on the most complex and demanding images with absolute precision. In
addition, DxO unveils the third generation of its renowned DeepPRIME technology, a brand-new interface, custom presets for an accelerated workflow, and fresh features for Fujifilm X-Trans photographers.

“The new version pushes noise reduction and detail extraction further than even we thought possible,” explains Jean-Marc Alexia, VP of Product Strategy. “Plus, we have a beautiful new interface that’s quick and easy to use thanks to the ability to create presets to match different cameras or scenarios. And Fujifilm fans will be delighted to see what’s included. X-Trans images have never looked this good.”

New Local Adjustments: Fine-tune with unmatched precision

For images that require detailed fine-tuning, photographers now have the option to focus
the levels of denoising and detail extraction on specific parts of the image, and tailor levels of sharpening exactly as required. PureRAW’s automated processing is unmatched, but when an image needs a precision-focused approach, Local Adjustments provide the perfect solution.

Users can draw multiple masks and adjust the Force Details and Luminance sliders to dial
exactly what they need. In addition, it’s possible to target sharpening more precisely,
focusing on specific parts of the image.

Introducing DeepPRIME 3

DxO PureRAW 5 includes the third generation of DxO’s original neural-network-powered RAW processing engine for Bayer and X-Trans sensors. Four years ago, DxO pioneered the use of machine learning to perform denoising and demosaicing simultaneously, unlocking the potential of AI and far exceeding man-made algorithms. Today, DeepPRIME 3 incorporates a third process: residual chromatic shifts at a pixel level. Thanks to the data it draws from DxO’s exclusive DxO Modules, DeepPRIME 3 resolves chromatic aberration as part of the RAW conversion process.

In addition, users get a significant boost in image quality while also saving time. DeepPRIME 3 is faster than ever.

A brand-new interface

The appearance of DxO PureRAW has been completely overhauled in version 5, giving users a cleaner, more refined experience when using the software. The update makes for a smoother, more streamlined workflow, reducing friction and enhancing usability. Users can spend less time in the software and more time enjoying its spectacular results.

Workflow upgrades: Custom presets for faster editing

Version 5 introduces the ability to create custom presets, allowing users to dial in frequently used settings in a single click. This facilitates the easy application of different configurations according to different variables, such as camera, lens, ISO, or subject matter. Combined with the existing batch processing and batch renaming features, photographers avoid repetitive actions, saving time while maintaining consistency across their workflow.

Introducing DeepPRIME XD3 X-Trans Beta

As an extension of DeepPRIME, DxO’s DeepPRIME XD — ‘eXtra Detail’ — engine was
introduced in DxO PureRAW 3 to offer the most intense processing of the most demanding
files. Since then, it has progressed, promising incredible results for images captured at ISO
levels that had previously been considered unusable.

For owners of Fujifilm cameras, DxO is proud to introduce DeepPRIME XD3 X-Trans Beta,
giving X-Trans photographers early access to the next generation of noise reduction and detail extraction.

DxO Modules give PureRAW 5 the power to push your gear further

Last month, DxO passed a milestone: its exclusive laboratory in Paris has now produced more than 100,000 DxO Modules.

Pioneered by DxO more than 20 years ago, a DxO Module is a mathematical model that
describes the characteristics of a lens paired with a specific sensor. This model is then used by DxO software to enhance the performance of a lens/camera combination and push it beyond the laws of physics.

The quality of the results relies on the precision that DxO’s team of highly experienced
technicians deploys, conducting tests in controlled environments, and using custom-made
equipment and meticulous processes that have been developed over the last two decades.
The DxO Modules in PureRAW 5 ensure that photographers get the absolute best possible
quality from their equipment.

Price and availability

DxO PureRAW 5 will be available on April 15, 2025. Customers who pre-order before the launch will immediately receive a complimentary copy of DxO PureRAW 4. A perpetual license for macOS and Windows machines can be purchased from the DxO website at the following prices:

New license 119.99 € / $ - 109,99 £

Upgrade from DxO PureRAW 3 or 4 79.99 € / $ - 69,99 £

DxO PureRAW 5 comes with unlimited access and no subscription is required. A full, 14-day
trial of DxO PureRAW 4 is available now from the DxO website, and a trial of DxO PureRAW 5 will become available on April 15. Visit https://www.dxo.com/en/dxo-pureraw/download/.

Image: Sigma

Sigma recently made a long list of announcements ahead of CP+. These included the drastically different BF mirrorless camera, ultra-telephoto 300-600mm F4 DG OS Sports lens, versatile 16-300mm F3.5-6.7 DC OS lens, nine reworked I-series primes for L-mount and some new branding. In case that wasn't enough, though, according to Amateur Photographer, the company also revealed it will focus entirely on mirrorless lenses moving forward.

You may have noticed that all of Sigma's newly released lenses lack the "DN" label typically found on the company's mirrorless lens lineup. That label, which stands for Digital Neo, was used to indicate that the lens was designed for mirrorless cameras rather than DSLRs. It seems that Sigma no longer thinks the label is necessary, as all its new lenses will be for mirrorless cameras only.

Amateur Photographer claims that the company specifically said it has stopped development of new DSLR lenses, though Sigma has not issued a statement itself. Even without a statement, though, it's easy to make assumptions to that effect. After all, Sigma hasn't released a new lens for DSLRs since late 2018, so it seems like a safe assumption.

This news isn't overly surprising, given the decline in DSLR camera production. Pentax is the lone holdout, as it is reportedly working on a new full-frame DSLR and released the Pentax K-3 Mark III Monochrome in 2023. However, outside of Pentax, the last new DSLR models on the scene were from Nikon and Canon in 2020.

Still, while new DLSRs aren't coming out, the use of DSLRs – and DSLR lenses – appears to be going strong. A quick look at photo competition results reveals many of the winning images were taken with DSLRs. On a smaller scale, students in the college class I teach largely use DLSRs, either borrowed from parents or purchased because they were cheaper than their mirrorless counterparts.

Additionally, camera and lens rental house LensRentals revealed DSLR lenses are anything but dead in its annual report released in December. That report compared 2023's and 2024's most popular photo and video gear, and interestingly, Canon EF-mount lenses and cameras increased in popularity and claimed quite a few top spots. In fact, the Canon EF 24-70mm F2.8L II was number one, while the Canon EOS 5D Mark IV took the tenth spot.

Even still, given the dwindling support for and production of DSLR cameras from major brands (including Sigma), it only makes sense that the production of DSLR lenses would also start to wind down. Sigma's move to end development of new DSLR lenses seems in line with that. Plus, the company has likely made all of the DSLR lenses it needs to, given the current status of the DSLR camera market.

Does this officially mean that DSLRs are dead? Likely not, given that there are still plenty of used and new DSLR camera and lens models available for purchase and rent. That includes Sigma DSLR lenses, which are still for sale, just as you can still buy Canon and Nikon DSLR lenses. But, it does perhaps put more of an expiration date on the technology.

Photo: Dale Baskin

DPReview editors Dale Baskin and Richard Butler are currently in Japan covering the launch of the Sigma BF and the upcoming CP+ trade show. As part of the trip, they toured Sigma's factory in Aizu, Japan, where they discovered something special: a museum full of the company's products from the past several decades.

We've posted a mini museum tour on Instagram, which you can see below. It includes a look at some interesting pieces of photography history, including the Mark 1, Sigma's first SLR, produced in 1976, the SD9, the company's first digital camera and a showcase for the then-new Foveon X3 sensor and the first lens in Sigma's now-renowned Art lineup.

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Nikon has quietly released new firmware for its Z8 and Z6III cameras. These updates bring features previously introduced to the Z9 in December to two more of Nikon's mirrorless bodies. The focus is clearly on video, as all of the firmware changes in version 1.10 for the Z6III and version 2.10 for the Z8 are video-related. They address a range of custom settings and fix a problem with N-Log that has plagued the Z6III since launch.

The standout update for the Z6III is a change for N-Log. Nikon says it has "reduced noise in dark areas of N-Log videos." This should be a welcome change, as some users have reported seeing frustratingly high noise and flickering in the shadows when shooting N-Log. Most have mentioned this issue only crops up when shooting in low-light situations, though some have said it's more widespread. Either way, this firmware update should hopefully solve the situation.

The other most notable change is that both cameras will now have the option to set a shutter angle instead of a shutter speed. Shutter angles are useful for professional videographers who frequently change recording framerates since shutter angles remain consistent, unlike shutter speeds. Like the Z9, the Z6III and Z8 will support 15 steps of shutter angles from 5.6° to 360°.

Outside of shutter angles, the firmware updates include various custom controls and settings. They introduce custom zebra pattern colors, with the option to choose black, gray, red, green, or blue. You can adjust the transparency, size and position of the histogram and wave-form monitor. Hi-Res Zoom is now available when the image area is set to DX.

Nikon also introduced a set of features specific to its 28-135mm f/4 PZ lens, including custom controls, the ability to use power zoom and Hi-Res zoom at once and the ability to load and save zoom position. Plus, users can customize the direction of rotation of the zoom ring and how far it needs to be rotated to go from wide to telephoto. The Z8 also gets the benefit of configurable photo and video modes.

You can download firmware v1.10 for the Z6III and v2.10 for the Z8 as of today.

When you use DPReview links to buy products, the site may earn a commission. Image: Sony

Sony has announced the FE 16mm F1.8 G, a new ultra-wide, fast prime for full-frame E-mount cameras. The company's lineup hasn't exactly been short of wide-angle options, but Sony is pitching this as a happy medium between its existing 14mm and 20mm F1.8 options for those interested in videography, landscapes and more.

The 16mm F1.8 is comprised of 15 elements in 12 groups, with 2 aspherical lenses and 3 ED elements. Its aperture has 11 blades, which Sony says should provide smooth, circular bokeh. It can focus on subjects at as close as 0.15m (5.9") away.

The 16mm F1.8 packs several features into a relatively compact body

At 304g, it's relatively lightweight, and it packs several features into a relatively compact body. The lens is 75mm long and has an aperture ring that can be locked and set to either clicked or clickless mode, as well as a customizable focus hold button. It accepts 67mm filters. The body is weather-sealed, and the front element has a fluorine coating to repel dirt, oils and water. Autofocus duties are handled by a pair of linear motors, and the lens is compatible with the a9 III's 120fps mode.

Image: Sony

Sony says its new lens will be more practical than the wider 14mm GM model, as it's much more affordable, weighs 156g (5.5oz) less and doesn't have a bulbous front element that prevents you from using screw-on filters. While the 16mm is similar in price to the 20mm model, its field of view gives you a bit more room when shooting large or close-up subjects or vlogging. Sony also says the 16mm will be much better than the 20mm when it comes to focus breathing, which could be a selling point for videographers.

The FE 16mm F1.8 G will cost $800 and will be available starting in April.

Buy now:

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We were able to spend some time with a pre-production copy of the lens and put together a sample gallery, which you can see below.

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Press Release:

Sony Electronics Launches the Ultra-Wide 16mm F1.8 G Full-Frame Prime Lens

Compact and Lightweight Design Meets Exceptional Optical Performance

SAN DIEGO, Feb. 26, 2025 - Sony Electronics introduces the 16mm F1.8 G (SEL16F18G), a full-frame E-Mount lens that combines an ultra-wide 16mm focal length with a compact, lightweight build. Delivering high-resolution image quality, smooth bokeh, precise autofocus, and a bright F1.8 aperture, this lens is ideal in a variety of photo and video scenarios including landscapes, architecture, astrophotography, and more.

"At Sony, we are committed to providing creators of all levels with a diverse range of lens options to meet their artistic and technical needs,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The 16mm F1.8 G is now the widest prime lens in our G lens lineup and pairs seamlessly with all our latest full-frame Alpha series cameras, as well as the FX3 and FX30 cinema cameras. With 79 E-Mount lenses now available, we are continuing our mission to ensure photographers, filmmakers, and creators have a breadth of high-performing lens options to bring their visions to life."

Ultra-Wide Performance with Stunning Bokeh

The 16mm F1.8 G is engineered for breathtaking, dynamic perspectives with an ultra-wide 16mm focal length. Its advanced optical construction includes two AA (Advanced Aspherical) elements to ensure razor-sharp resolution across all apertures. A combination of one Super ED (Extra-low Dispersion) glass element and three ED elements effectively suppresses chromatic aberration, delivering edge-to-edge clarity. Additionally, Sony’s optimized coating minimizes flare and ghosting, resulting in stunning image quality even in challenging lighting conditions.

With a bright F1.8 maximum aperture and an 11-blade circular diaphragm, the 16mm F1.8 G produces beautiful, creamy bokeh that enhances subject separation. Its impressive close-up performance allows for a minimum focus distance of just 0.5 ft (0.15 m) with autofocus and a maximum magnification of 0.25x. When using manual focus, these values improve up to 0.43 ft (0.13 m) and 0.30x, enabling unique wide-angle compositions with extraordinary depth.

Powerful Performance in a Compact Form

Through advanced optical engineering, including Sony’s high-precision AA lens elements, the 16mm F1.8 G maintains ultra-wide capabilities in an impressively compact and portable form factor. Measuring just 3 x 3 in (73.8 x 75 mm) and weighing approximately 10.8 oz (304 g), it offers exceptional mobility without compromising image quality. Designed for professionals on the go, this lens excels in capturing expansive landscapes and intricate architectural compositions with precision and clarity.

Fast and Accurate Autofocus

Equipped with two XD (Extreme Dynamic) linear motors, the 16mm F1.8 G delivers rapid, precise autofocus with remarkable tracking performance. A newly developed control algorithm enhances responsiveness while reducing delay and vibration, ensuring smooth, near-silent operation. This makes it an exceptional choice for both stills and video, especially when capturing fast-moving subjects.

Optimized for Stable Video

Designed with videographers in mind, the 16mm F1.8 G minimizes focus breathing for seamless focus transitions. It fully supports the breathing compensation function1 available in compatible Sony Alpha camera bodies and pairs effortlessly with in-body Active Mode2 image stabilization to ensure steady footage, even while shooting handheld or on the move. The lens also features a standard 67mm front filter thread, making it easy to integrate with a wide range of filter accessories. The compact design3 is ideal for gimbal use.

Intuitive Controls and Reliable Build

The 16mm F1.8 G offers comprehensive manual controls, including a responsive focus ring, customizable focus hold button, focus mode switch, aperture ring, and iris lock switch. The aperture ring allows for tactile exposure adjustments, while the click ON/OFF switch enhances flexibility for both photography and video applications. Built to ensure durability and reliability in challenging environments, the 16mm F1.8 G features a dust- and moisture-resistant design and a fluorine-coated front element.

Pricing and Availability

The 16mm F1.8 G will be available in April 2025 for approximately $799.99 USD and $1099.99 CAD. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

A product video on the new 16mm F1.8 G can be viewed here: https://youtu.be/04fkjfK1tbQ

For detailed product information about the 16mm F1.8 G please visit: https://electronics.sony.com/imaging/lenses/full-frame-e-mount/p/sel16f18g

1 Camera compatibility info at: https://www.sony.net/dics/breathing/

Not available when shooting stills. Angle of view and image quality may change slightly when this function is [ON]. Effective compensation may not be achieved in all situations.

2 Compatible models only

3 Not guaranteed to be 100% dust and moisture proof

Sony FE 16mm F1.8 G Specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length16 mmImage stabilizationNoLens mountSony E, Sony FEApertureMaximum apertureF1.8Minimum apertureF22Number of diaphragm blades11OpticsElements15Groups12Special elements / coatings2 asph, 3 ED, flourine coatingFocusMinimum focus0.13 m (5.12″)Maximum magnification0.3×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight304 g (0.67 lb)Diameter74 mm (2.91″)Length75 mm (2.95″)SealingYesColourBlackFilter thread67 mmHood suppliedYesTripod collarNo

When you use DPReview links to buy products, the site may earn a commission. Image:Sony

Sony has announced the FE 400-800mm F6.3-8 G, the company's new furthest-reaching super-telephoto zoom for full-frame cameras.

It's made of 27 elements in 19 groups, with 6 ED elements, and has an 11-blade aperture. At 400mm, its minimum focusing distance is 1.7m (5' 7"), which goes up to 3.5m (11' 6") at 800mm. It's also compatible with Sony's 1.4x and 2x optical teleconverters, which can give you up to 1600mm of reach at the cost of 2EV of light.

The lens weighs 2475g (4.66lb) and accepts 105mm filters. It's weather-sealed and has a fluorine coating on the front element. It has three customizable buttons as well as a variety of switches to control focus mode, its focus limiter and optical image stabilization. Its zoom mechanism is internal, and Sony says its weight distribution puts the center of gravity over the integrated tripod foot.

The 400-800mm is compatible with the 120fps burst mode on Sony's a9 III, and its autofocus is handled by two linear motors.

Sony says the lens is meant for wildlife and sports shooters who need a bit more reach than its 200-600mm F5.6-6.3 or 600mm F4 lenses can provide. It will be available in March, at a retail price of $2900.

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Press Release:

Sony Electronics Unveils Specialty 400-800mm F6.3-8 G OSS Super Telephoto Zoom G Lens: The Furthest Reaching Sony Lens To Date

Full-Frame E-Mount Lens Designed for Birding, Wildlife, and Sports Professionals

SAN DIEGO, Feb. 26, 2025 - Sony Electronics introduces the 400-800mm F6.3-8 G OSS (SEL400800G), its longest-range full-frame E-Mount lens to date1, setting a new benchmark in focal length reach for the Sony mirrorless system. The Sony E-Mount lens lineup previously peaked at 600mm, but the 400-800mm F6.3-8 G OSS extends the focal length to an incredible 800mm for specialty shooting. The additional reach is especially beneficial for birding, wildlife, aerial, and sports photographers seeking long-range lens capabilities.

The 400-800mm F6.3-8 G OSS is designed to provide exceptional image quality and lens control across the entire ultra telephoto zoom range. Its internal zoom mechanism ensures stable handling, while its advanced optical design delivers creamy bokeh and sharp, detailed images. With a fast and accurate autofocus system combined with a durable, versatile build, this lens is a powerful tool ideal for both photographers and videographers documenting far away subjects.

"At Sony, we are dedicated to equipping photographers and videographers with the tools they need to push creative boundaries. The 400-800mm F6.3-8 G OSS is a testament to this commitment, delivering unparalleled reach and reliability as a super telephoto within the G Series lens line-up,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “By continually expanding our lens offerings, we ensure that Sony mirrorless users have the specialized gear to capture stunning imagery in even the most challenging environments."

Extended Reach, Bokeh, and Autofocus

As the newest addition to our G lens lineup, the 400-800mm F6.3-8 G OSS is designed for exceptional performance and consistency, even while extended to the furthest focal length. It is the first Alpha lens to offer a super-telephoto range of 400mm to 800mm, delivering unparalleled reach for the Sony Alpha full-frame system. For applications such as birding photography, the 400mm to 800mm zoom range allows photographers to locate subjects at the wide 400mm end before zooming in up to 800mm for tight, detailed shots. For those who need even more reach, the 400-800mm F6.3-8 G OSS is compatible with the 1.4x and 2x teleconverters2, extending its range up to a staggering 1600mm.

An internal zoom mechanism maintains a balanced length and weight distribution while adjusting focal lengths—enhancing stability and handling. A smooth, responsive zoom ring allows for precise adjustments, while a carefully designed structure helps prevent accidental focal length shifts. In addition, this lens’ zoom ring features a short rotation throw which enables quick zoom adjustments essential for tracking fast-moving subjects in birding, wildlife, and sports photography.

The 400-800mm F6.3-8 G OSS is designed for exceptional optical performance, featuring an 11-blade circular aperture that produces beautifully smooth, creamy backgrounds with stunning bokeh when shooting at a narrow depth of field. Six ED (Extra-low Dispersion) glass elements effectively minimize chromatic aberration, while advanced coatings suppress flare and ghosting, ensuring crisp, high-contrast images even in backlit conditions.

For fast, precise focusing, the lens is equipped with two precision linear motors, enabling seamless tracking that keeps up with the Alpha 9 III’s 120 fps3 maximum burst speed and up to 240 fps in video4. Its quiet operation, focus range switch, and suppressed focus breathing allow for enhanced control and make this lens an excellent choice for both photo and video use.

Enhanced Stability, Control, and Durability

The 400-800mm F6.3-8 G OSS delivers solid support for both handheld and tripod-mounted shooting. Its built-in Optical SteadyShot™ (OSS) image stabilization minimizes shake-induced blur, and when paired with an Alpha camera body featuring in-body stabilization, stability is further enhanced. Durable construction, optimized balance, and a non-removable foot maximize reliability and performance. For tripod use, the tripod mount foot allows quick rotation between horizontal and vertical orientations, offering versatility for various shooting scenarios.

Designed for high-level control and reliability, the lens features three customizable focus hold buttons positioned at 90° increments for easy access in any orientation. Full-time Direct Manual Focus (DMF) automatically engages manual focus when the focus ring is adjusted, allowing for seamless fine-tuning. The redesigned lens hood includes a lock button and filter opening, ensuring effortless operation in any environment.

Additionally, the dust- and moisture-resistant5 design enhances durability, while a fluorine-coated front element repels contaminants for easier cleaning.

Pricing and Availability

The 400-800mm F6.3-8 G OSS will be available in March 2025 for approximately $2,899.99 USD and $4,099.99 CAD. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

A product video on the new 400-800mm F6.3-8 G OSS can be viewed here: https://youtu.be/P7om9s8E6Fk

For detailed product information about the 400-800mm F6.3-8 G OSS please visit: https://electronics.sony.com/imaging/lenses/full-frame-e-mount/p/sel400800g

Exclusive stories and exciting new content shot with the new 400-800mm F6.3-8 G OSS and Sony's other imaging products can be found at www.alphauniverse.com, a site created to inform, educate, and inspire content creators.

1 As of the February 2025 product announcement

2 Sony FE 1.4x Teleconverter SEL14TC Lens and 2x Teleconverter SEL20TC Lens

3 Sony test conditions. Maximum continuous shooting speed may be lower in some conditions. Continuous shooting speed may vary in the AF-C focus mode.

4 Functional compatibility may vary depending on the camera used.

5 Not guaranteed to be 100% dust and moisture proof

Sony FE 400-800m F6.3-8 G Specifications:

Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length400–800 mmLens mountSony E, Sony FEApertureMaximum apertureF6.3–8Aperture ringYesNumber of diaphragm blades11OpticsElements27Groups19Special elements / coatings6 ED, flourine coatingFocusMinimum focus1.70 m (66.93″)Maximum magnification0.23×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter10m - near, Infinity - 8mPhysicalWeight2475 g (5.46 lb)Diameter120 mm (4.72″)Length346 mm (13.62″)MaterialsPlasticSealingYesColourWhiteZoom methodRotary (internal)Power zoomNoHood suppliedYesTripod collarYes

Image: CP+

CP+ – the International Camera and Photo Imaging Show – in Yokohama, Japan, is nearly upon us, running from February 27 to March 2. Some of the DPReview team is onsite in Japan and will get a chance to see things in person and chat with brands. If you're curious about our past coverage, you can check out what the team did last year.

This year's show is already gearing up to be quite an event for new releases and announcements in the camera and lens worlds. Even though things haven't officially kicked off yet, we've seen some pre-show surprises, like the Sigma BF, many Sigma lenses and the Panasonic S1RII mirrorless cameras.

What do you think will come next? Visit our forum thread about the show and let us know what you think will get announced this week!

When you use DPReview links to buy products, the site may earn a commission. Photo: Sigma

On Monday, Sigma kicked off what looks to be a very busy week in camera news by announcing a new full-frame mirrorless camera called the BF. The company says it's an exercise in "radical simplicity," and the camera features only five buttons and a single dial, integrated storage and a menu system designed to put all your exposure settings at your fingertips.

Given how much of a departure this camera is from the mainstream, it's unsurprising that it's generated a fair bit of conversation among the camera enthusiasts in our forums and in the comments. We thought it'd be interesting to highlight a few to give you an idea of how the community has reacted to this bold new camera.

Read our launch coverage of the Sigma BF

One important caveat: these opinions are entirely the commenters' own and don't necessarily reflect those of DPReview. Once we've had time to review the BF, our thoughts will be in our official review.

"Intriguing"

There are some launches where people see the camera and immediately decide they want it without further questions. That hasn't necessarily been the case with the BF, though the design and interface do seem to make people interested in at least trying one out.

"I'd love to handle one for a day, it looks super interesting," said MJ_Photo38. "Paying $2000 for one though? Hmm. Not sure about that."

Image: Sigma

SigmaChrome was also unsure about actually buying one – early in the thread, they showed some trepidation. "I'm sure it's a beautifully made piece of engineering but it doesn't seem to have been designed for human photographers. Sharp edges, no grip, not enough controls, no removable storage, only one port, no viewfinder.... This is not a versatile camera. Not for me I'm afraid."

After a bit more time to think about it, though, SigmaChrome seemed a bit more open to the idea. "I'd sure like to have a play with one too. The menu system seems to be nice and simple; Sigma is good at menu design. Maybe shooting with it for a day or two might make me change my mind. You never know... I might fall in love, or a least become infatuated."

ArchiMark, who owns a Sigma fp-L, says the BF "Looks very intriguing.....," and that it "will be interesting to see how it compares, especially in stills" to the company's compact, high-resolution camera.

Too minimal?

Sigma says the BF "cuts out everything that distracts, limits or stifles creativity." As a result, it lacks many of the things you'll find on most other $2000 cameras: there's no mechanical shutter, stabilized sensor, wireless connectivity, hot shoe, viewfinder, memory card slot or tilting screen, and there's only a single 10Gbps USB-C port for I/O.

A fair number of commenters aren't fans of the radical minimalism, with both SigmaChrome and SandyF saying that the camera isn't very versatile. "I see few positive selling points. It's more like what it does not have, rather than positive features," said the latter.

MJ_Photo38 agreed. "To me the BH only makes sense for the few people that want to have a extremely high end build quality, super modern design and UI, etc. This doesn't look like a pragmatic camera decision." Some people, like Jeffry7, were even harsher: "By ruthlessly stripping down the concept of a camera, Sigma has made a far less capable, and far less versatile a device."

The BF isn't exactly bursting with controls, and you'll have to compose using the fixed display. However, the company says the UI will provide a "distraction-free view."

Image: Sigma

The lack of a viewfinder seems to be the biggest sticking point, with Tom Schum lamenting: "why oh why did they not put an EVF in the BF? Can we have a BF2, a little bit bigger and with an EVF?" SnowBeard expanded on that thought in a separate thread: "Again, they left off a decent viewfinder - no EVF. The hype about this and some other cameras is 'we strip it down to its simple form so you can focus on the subject and what you want to say'. Maybe so but you still have to view the subject, no viewfinder makes that frustratingly hard. Viewing a 3 inch LCD from 10-12inches away is more like aiming a shotgun. Viewing the scene through an enlarged viewfinder is like being in the scene."

That's not to say that everyone agreed. Some of our members praised the design, with SigmaTog saying "Fantastic idea, wish I was younger, I would take it up immediately," and SandiWay saying that "It is 'beautiful' for sure."

"Beyond Foveon"

The BF's sensor is a conventional full-frame, 24MP BSI model that we suspect we've seen in several other cameras.

Image: Sigma

The other elephant in the room for the BF is its choice of color filter. Like the vast majority of cameras on the market, it uses a Bayer pattern to capture color. Normally, that wouldn't be notable, except that Sigma has been the flagbearer for Foveon technology, which works completely differently, capturing full-color data across the entire sensor rather than relying on interpolation. The company has said it's working on making a full-frame Foveon sensor – its previous efforts have maxed out with a 476mm² APS-H sensor – but that's not what's in the BF.

Unsurprisingly, this comes as a disappointment for those who have been waiting years for a new Foveon camera. Responding to a joke about "BF" standing for "Beyond Foveon" (we're told it actually stands for "beautiful foolishness"), Heritage Cameras hopes it actually means "Before Foveon."

Roger also bemoaned the choice, saying "I was hoping to see something with a Foveon sensor, but maybe those days are gone." In another thread, Manzur Fahim and Tirpitz666 both cited the lack of Foveon as their reasons for not buying the camera, with the latter stating "No Foveon No Party, will happily continue to use my Merrills and Quattros."

Like a Leica The BF's design reminded several people of the Leica TL2.

Several users said the BF reminded them of something you'd see from Leica, specifically models like the TL, which was also machined out of aluminum, featured a photo-focused interface and did away with things like an electronic viewfinder.

"The entire design reminds me of the Leica TL & TL2," said bs1946. "A handful of simple controls and milled from a solid block of aluminum, even though Sigma claims the BF's milled aluminum block is a first." SaltyDogStudios agreed, saying that "Sigma seems to be taking a lot of cues from Leica on this camera," especially when it came to a focus on design. "I remember reading a blog post about the Leica TL and how it was a real conversation piece of a camera. [..]. That’s clearly what this camera is intended to be."

Photo: Sigma

DavidMillier made a similar connection, commenting: "Interesting, Sigma goes Leica/Hassie! Not for me, though. Whilst I love minimalist industrial design, there are certain things I demand of any camera: a built in viewfinder, a hand grip, minimum of two command wheels (I prefer 3 or even 4)." Roger had a similar take. "The camera reminds me of the Leica TL series which I wouldn't buy either."

Heritage Cameras, meanwhile, said the design "seems to make little sense logically, but (as with the Leica T) I want one anyway. I suspect I'm not alone."

Leica wasn't the only reference point people jumped to, with several commenters saying the design reminded them of something produced by Apple or Teenage Engineering. Another common point of comparison: the Panasonic Lumix S9.

Not the last word...

We've had the chance to get some hands-on time with the BF and plan on writing an article detailing our experiences and answering some of the most frequent questions we've seen about it. However, we want to get one out of the way right now: yes, it does have a tripod thread.

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Product photos: Mitchell Clark

The Panasonic Lumix DC-S1RII is the company's latest high-resolution full-frame mirrorless camera, now beefed-up with 8K video capabilities and improved autofocus.

Key features

• Full-frame 44MP dual gain CMOS sensor
• 8.1K/8K video at up to 30p
• 5.76M dot viewfinder
• Flip-out and tilt rear screen
• ProRes 422 and ProRes RAW capture
• Capture to CFExpress Type B, UHS II SD or external SSD
• Multi-shot high res mode up to 177MP
• 32-bit float audio via optional XLR 2 adapter

The S1RII will be available from late March with a recommended retail price of $3300.

Index:

• What's new
• What's new for video
• How it compares
• Body and handling
• Initial impressions
• Sample gallery

What's new New sensor

Rather than the 47MP used in the original S1R, or the 61MP chip used in Leica's SL3, Panasonic has opted for a slightly lower resolution but faster sensor for the S1RII.

It features dual conversion gain on which, as usual on Panasonic cameras, you can manually select which of its two readout modes it uses. Panasonic doesn't always disclose when it's using BSI technology, but in this instance it has confirmed it.

Autofocus

The S1RII represents the second generation of Panasonic cameras to feature phase detection autofocus, with the inherent depth awareness that this brings. The company says it's significantly improved both its subject recognition and its tracking algorithms in the new camera, to bring its performance closer into line with the best of its peers.

The S1RII has algorithms trained to recognize the following subjects:

• Human
• Animal (Dog, Cat, Bird)
• Car
• Motorcycle / Bike
• Train
• Airplane

We're told it should be quicker at finding a subject and better at continuing to track it, even if, for instance, the subject turns away from the camera or is partially obscured. As before, you can choose whether the camera homes-in on specific details, such as the helmet of a motorbike rider, the nose of a plane or the eyes of an animal. Selecting the more precise focus position can lower the system's responsiveness to smaller, faster-moving subjects.

Cinelike A2 color mode

The S1RII gains a new 'Cinelike A2' color mode, in both stills and video modes. It offers a very gentle response, somewhere between the flat, DR-prioritizing Cinelike D2 and the punchy, ready-to-go Cinelike V2 profile.

Panasonic says the A2 mode's color response stems from work they've been doing in recent months. And it's perhaps worth considering which partners Panasonic has been working with, recently, to guess at the significance of the letter 'A' in the name. Unlike the camera's Leica Monochrome mode, any connection isn't made explicit.

Real time LUT

The S1RII gains the Real Time LUT function we've seen on recent Panasonic cameras, letting you create and upload color and tone-modifying profiles in format with a workflow that's already widely supported across the industry. The S1RII allows you to load up to 39 LUTs onto the camera, with the option to combine two LUTs with varying intensity, if you wish.

Additional LUTs can be created or downloaded via Panasonic's Lumix Lab app.

False color

The S1RII becomes one of the first stills/video cameras to include a false color display option. This is a feature common in the video world, giving a mono preview with certain brightness levels highlighted in different colors, to help you recognize which bits of the image are clipped or near clipping and which areas are exposed as mid tones or at a level appropriate for light skin tones. This display can be used in boths stills and video modes.

Capture One tethering

The S1RII becomes the first Panasonic camera that can be shot, tethered, from Capture One, the popular studio software. We're told any decisions about whether to expand support to other models will depend on customer demand.

What's new for video

The 44MP sensor means the S1RII has slightly more horizontal pixels than necessary to deliver UHD 8K (7680 x 4320) footage and a fraction short of what's needed to capture the DCI 8K's 8192 x 4320 resolution. Instead it offers what Panasonic called 8.1K (8128 x 4288), which conforms to the same 1.89:1 aspect ratio as DCI footage.

The degree to which the sensor resolution is suited to 8K capture is unlikely to be coincidental, and the S1RII offers the kind of extensive video feature set that you might expect from the company that brought us the GH series, rather than the pared-back list of options the original S1R brought.

It also includes everything you'd expect from Panasonic: the option to set exposure in terms of shutter angle, waveforms, vectorscopes, filtering or custom lists of video modes, four-channel audio and 32-bit Float audio via the optional XLR2 accessory, support for anamorphic lenses and a tally lamp to let you know you're rolling. The attention to detail goes beyond the addition of a big red button on the front.

Video options: Output
dimensions Frame
Rates Crop MOV ProRes 1.89:1 modes 8.1K 8128 x 4288 30, 25, 24 1.0 4:2:0 – 5.8K 5760 x 4030 30, 25, 24 1.0 422/HQ 30, 25, 24 1.31 – RAW/HQ 60, 50, 48 1.04 4:2:0 – DCI 4K 4096 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.04 60, 50, 30, 25, 24 1.52 120, 100 1.10 4:2:2 – 16:9 Modes 8.0K 7680 x 4320 30, 25, 24 1.0 4:2:0 – 5.9K 5888 x 3312 30, 25, 24 1.0 – 60, 50, 48 1.11 – UHD 4K 3840 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.11 60, 50, 30, 25, 24 1.52 120, 100 1.17 4:2:2 – 3:2 Modes 6.2K open gate* 6432 x 4228 30, 25, 24 1.0 4:2:0 – 4:3 Modes 4.7K 4736 x 3552 60, 50, 48, 30, 25, 24 1.65 4:2:0 422/HQ** - Boxes marked green off All-I compression options.
- Red boxes have a ProRes option.
* 8.1K and 7.1K open gate capture promised in future firmware
** ProRes 422/HQ only available up to 30p

The S1RII can also shoot Full HD (1920 x 1080) footage at any of the frame-rates and crops offered in UHD 4K mode, with the additional ability to capture 120 and 100p footage from the APS-C region.

Dynamic Range Expansion

The S1RII gains a DR Expansion mode, letting you capture an additional stop of highlight information in high-contrast situations. This can be activated in any of the movie modes at frame rates up to 30p, and can only be applied when shooting V-Log footage (where the response curve can easily accommodate different levels of DR capture).

Base ISO 2nd gain step Standard color mode ISO 80 ISO 400 Cinelike D2, V2, A2 ISO 160 ISO 800 HLG ISO 320 ISO 1600 V-Log ISO 200 ISO 1000 V-Log + DR Expansion ISO 400 ISO 2000

This is not the same system as the dual readout DR Boost function in the company's 25MP Micro Four Thirds camera. Instead it moves to a higher bit-depth readout, meaning there's a rolling shutter cost to engaging it. It also boosts the minimum available ISO, to prompt the use of a lower exposure, to capture that additional stop of highlights.

Open gate shooting

At launch the S1RII will be able to capture 6.4K footage from the entire 3:2 region of its sensor, downscaled from full-resolution capture.

Open gate shooting lets you choose and adjust your crop during post production. It also makes it possible to frame wide and then take both landscape and portrait video crops if you're trying to deliver to multiple different output platforms.

5.XK at up to 60p, 4K at up to 120p

Like the S5II models, the S1RII gives you the choice of 1.89:1 DCI 4K capture or 16:9 UHD 4K, or 5.9K or 5.8K versions taken from the same capture regions. All four are available as 10-bit footage, with 4K encoded with 4:2:2 chroma precision and the 5.XK modes in 4:2:0.

Footage up to 30p is taken from the full width of the sensor using the full capture resolution, with a slight crop in to give 60p. 4K (in both flavors) is available at up to 120p with the addition of a further slight crop. Line skipping is used to deliver these 100p and 120p modes.

DCI and UHD 4K can also be captured at up to 60p from an APS-C region of the sensor.

UHD DCI Crop Rolling shutter Crop Rolling shutter 8K, 5.xK*, 4K
30/25/24 1.00 24.9ms 1.00 22.4ms 5.xK*, 4K
50/60 1.11 15.4ms 1.04 15.3ms 4K
100/120 1.17 7.3ms 1.10 7.3ms 4K/30 DRExp* 1.00 31.7ms 1.00 29.8ms *8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD

Tellingly the rolling shutter rate in DR Expansion mode is consistent with the rate of 14-bit stills, which suggests it's based on 14-bit capture, explaining Panasonic's claims of greater dynamic range.

In turn, the 60p output's rolling shutter is consistent with the 12-bit stills readout rate. This stongly implies that the standard 24, 25 and 30p modes, which are slower than this but quicker than 14-bit mode are taken from 13-bit capture.

In addition to the conventional MOV compressed footage, the S1RII also lets you capture various resolutions in either ProRes 422 or ProRes RAW formats, both of which can either be recorded to the camera's internal CFExpress type B card or to an external SSD. ProRes RAW (with a choice of HQ or standard compression levels) is taken from a 1.31x crop of the sensor, whereas the ProRes 422 (again HQ or Std) is derived from the full-width 8.1K capture.

Forthcoming attractions

As usual for Panasonic cameras, the company has already given some details of features that are still being worked-on for the camera, and which it has promised will come in later firmware updates.

At launch the S1RII can capture open gate video footage at 6.4K resolution, but we're told 7.1K and 8.1K (native resolution) will be enabled in a later firmware update.

Similarly, the S1RII can currently output footage at up to 8K over HDMI but will gain the option to output a Raw data stream in 8.1K or 7.2K resolutions, at a later date.

How it compares

The new, more compact S1RII arrives in a market where you can choose between the high resolution Sony a7RV or pay more for the likes of Nikon's Z8 and Canon's EOS R5 II that are both high resolution and fast. The Panasonic occupies something of a middle ground: offering some of the speed of the faster cameras (a higher peak frame rate but with more rolling shutter), but at a lower cost than Canon and Nikon's Stacked CMOS cameras.

We've opted to include the Canon EOS R5 II in this table, but the Nikon Z8 ends up looking very similar in terms of areas of strength, if you were to substitute that in. We've also chosen the DSLR-shaped a7R V from Sony, rather than the smaller, less expensive a7C R, because the larger model more closely resembles the Panasonic in terms of form factor, viewfinder quality, shutter options and screen articulation. But if size and price are your biggest concerns, the a7C R is in the running.

Panasonic Lumix DC-S1RII Canon EOS R5 II Sony a7R V Panasonic Lumix DC-S1R MSRP $3300 $4300 $3900 $3700 Pixel count 44MP 45MP 61MP 47MP Sensor type BSI CMOS Stacked CMOS BSI CMOS FSI CMOS Stabilization
(IBIS / Synced) 8.0 EV /
7.0 EV – /
8.5 EV 8.0EV /
– 6.0 EV /
7.0 EV Max burst rate (Mech / E-shutter) 10 fps / 40 fps 12 fps / 30fps 10 fps / 9 fps / Viewfinder res / mag 5.76M dot OLED / 0.78x 5.76M dot OLED / 0.76x 9.44M dot
OLED 0.9x 5.76x dot OLED / 0.78x Rear screen 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot Fully Artic. 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot two-way tilt Max video resolution

8.1K [1.89:1] / 30p
UHD 8K / 30p
Full-width 5.9K 60p

DCI 8K / 60p
UHD 8K / 60p

UHD 8K / 24p

5K [3:2] / 30p
UHD 4K / 60p

Output options MOV H.264
MOV H.265
ProRes 422
ProRes RAW

MP4 H.264
MP4 H.265
Canon Raw (/Light)

MOV H.264
MOV H.265 MOV H.265
MP4 H.264 Storage formats 1x UHS-II SD
1x CFe B
External SSD 1x UHS-II SD
1x CFe B 2x UHS-II SD / CFe A 1x UHS-II SD
1x CFe B / XQD Flash sync speed 1/250 sec 1/250 sec
1/160 sec 1/250 sec 1/320 sec HDR output options (Stills / Video) - / HLG video HDR PQ HEIF / HDR PQ video HLG HEIF
/ HLG video HLG Photo / HLG video USB USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.1 Gen 1
(5 Gbps) Battery life
LCD / EVF 350 / 300 540 / 250 530 / 440 380 / 360 Dimensions 134 x 102 x 92mm 139 x 101 x 94mm 131 x 97 x 82mm 149 x 110 x 97mm Weight 795g 746g 723g 1,020g

Despite being comfortably less expensive than its immediate peers, the S1RII's specs are competitive across the board. And while its video exhibits a fair bit more rolling shutter than the Stacked-sensor Nikon and Canon models, it significantly out-performs the Sony.

The a7R V's rolling shutter rate of 38ms means it can't deliver 8K/30, whereas the Panasonic can shoot 8K 30 and do so as fast as 24ms. This is respectable but not as impressive as the ∼13 and 14ms that the EOS R5 II and Z8 provide, respectively, from their much more expensive sensors.

Much of whether it's actually competitive, for both stills and video, will come down to whether the autofocus improvements are as significant as Panasonic promises.

Body and handling

The S1RII uses a body based on the smaller S5II series, rather than the more substantial design of the first-gen S1 series cameras. This leaves it both smaller and lighter than its predecessor.

It has the internal fan from the S5II, with two small exhaust ports on either side of its viewfinder hump. This doesn't give quite 'GH series' recording reliability, but still allows the S1RII to record for extended periods.

However, while the body itself is similar in size to the S5II, it has a deeper hand grip, making it more comfortable to use with larger lenses. It maintains a row of three buttons along its top plate, immediately behind the shutter button, but omits the top plate display that the Mark 1 had.

Other losses in the move to the smaller body see the S1RII offer only a single function button between the mount and the hand grip, and the replacement of the two-position switch at the lower corner of the front panel by a large red [REC] button (whose function can be customized).

The S1RII also goes without a flash sync socket, but gains a dedicated Stills/Movie/Slow&Quick switch. Moving the exposure modes to the right of the camera allows the drive mode to be promoted to the top of the left-side dial, making room for shooting mode to occupy the switch underneath. Both mode dials have toggle lock buttons.

The removal of movie mode from the exposure mode dial in turn provides room for five custom positions on the exposure dial, each of which can be customized separately for stills and video custom settings. Position 5 on the dial can be used to access custom banks 5-10, if you wish, giving you a total of up to ten photo and ten video custom setting sets. Thankfully the camera's settings can be saved to a memory card and duplicated across cameras.

Rear screen

On the back of the camera, Panasonic has adopted a similar screen layout to the Sony a7R V: a fully articulated rear screen mounted on a cradle that tilts up and down. This means that stills shooters can use the tilt mechanism if they want to keep the screen on-axis (and can flip the screen to face inwards for protection, when stowing the camera), but video shooters can extend the screen out and tilt it away from the mic, headphone and HDMI sockets while shooting.

Battery

The S1RII uses the same 15.8Wh DMW-BLK22 battery as the S5II, a significant reduction compared with the original S1R. Despite this, it achieves a CIPA battery rating of 350 shots per charge if you use the rear screen and 300 via the viewfinder. The usual caveats apply to this number: most people get many, many more shots out of a camera than the CIPA rating (between two and three times the rated figure isn't unusual). To put it in context, 350 is a respectable figure and shouldn't leave you caught out during a busy day's shooting, but it doesn't have the confidence-inspiring duration that Sony's a7R V offers.

A new DMW-BG2 battery grip is also available to fit the S1RII. It adds a second battery in the grip, and is designed to allow hot-swapping of batteries: the external battery is used until the battery door is opened, at which point the camera switches to using the internal battery until a new battery is inserted in the grip. The grip also allows the camera to use both batteries simultaneously, for high power-consumption combinations such as capturing high bit-rate video to an external SSD.

Initial impressions

The S1RII is an interesting proposition: replacing a camera we get the impression didn't exactly fly off the shelves. Panasonic has done a lot to broaden its appeal, making it smaller, faster, more video capable and, notably, less expensive.

The easiest to spot changes are on the video side of things: Panasonic pitched the S1R as a photographer's camera, so the decision to make the S1RII more of a hybrid sees even more of an expansion in video capabilities than we've become used to over the past few years.

The S1RII's sensor seems genuinely capable of delivering video, despite its high pixel count and the lack of Stacked architecture often used to speed up readout. Despite its much higher pixel count, the S1RII's main 8K, 5.XK and 4K modes exhibit comparable rolling shutter to the widely-used 24MP full-frame sensor, and with a promise of better detail and dynamic range capture. This means it can also deliver 4K/60 with a minimal crop and without the need for line-skipping.

Wedded to this underlying capability are all of Panasonic's usual video features, developed for the GH series of cameras, so it has the feature set and well-polished usability that's not always present when video gets added. For instance, if you decide you want to shoot 5.9K ProRes 422 / 24 for the bulk of your project but want to shoot some 4K/60 or 4K/120 for some slow-mo cutaways, you can add these two modes to "(My List)" to quickly swap between them, rather than having to switch from ProRes to MOV capture and then find the modes in the 18 pages of quality options those two codecs cumulatively give.

You can then set the camera to report Shutter Angle, so that you maintain an appropriate shutter speed as you switch frame rates, without the risk of forgetting to reset it when you switch back. It's not quite a full-frame GH7, but it's closer than you'd normally expect from a high-resolution body.

The S1RII is smaller than its predecessor but still finds room for a good level of control points without them becoming too small or too cramped. There's a customizable 'Lock' switch on the left of the camera to prevent accidental changes of settings.

Even more than usual, this risks overshadowing the improvements made on the stills side of the camera, because the S1R already had a very solid stills feature set, so there's less room for dramatic improvement. We weren't overly impressed by the sensor of the S1R, so we hope to get the S1RII into our studio in the next few weeks to check for improvements in that regard. The smaller, lighter body is likely to be of benefit to some photographers, whether they're landscape shooters lugging the camera to a picturesque nowhere or a wedding shooter using it for hours on end.

But, whether you shoot stills or video, it's the promised autofocus improvements on which the S1RII is likely to stand or fall. The previous camera used Panasonic's depth-from-defocus system that could deliver good results but was often disconcerting and distracting to shoot with. The new camera promises an improved version of the phase-detection system introduced with the S5II. If it really is faster and more dependable, the S1RII starts to look very interesting indeed. Our initial impressions are mixed: when it locks on it seems really tenacious, but there are other occasions on which it fails to focus on anything, to a degree we're not used to seeing in modern cameras. We're really hoping this can be addressed in firmware.

On paper, the S1RII promises to be an affordable option for someone looking to capture high res photos and high-quality video. We're already out using the camera and will report back on its real-world performance as soon as we can.

Sample gallery

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Product photos: Mitchell Clark

The Panasonic Lumix DC-S1RII is the company's latest high-resolution full-frame mirrorless camera, now beefed-up with 8K video capabilities and improved autofocus.

Key features

• Full-frame 44MP dual gain CMOS sensor
• 8.1K/8K video at up to 30p
• 5.76M dot viewfinder
• Flip-out and tilt rear screen
• ProRes 422 and ProRes RAW capture
• Capture to CFExpress Type B, UHS II SD or external SSD
• Multi-shot high res mode up to 177MP
• 32-bit float audio via optional XLR 2 adapter

The S1RII will be available from late March with a recommended retail price of $3300.

Index:

• What's new
• What's new for video
• How it compares
• Body and handling
• Initial impressions
• Sample gallery

What's new New sensor

Rather than the 47MP used in the original S1R, or the 61MP chip used in Leica's SL3, Panasonic has opted for a slightly lower resolution but faster sensor for the S1RII.

It features dual conversion gain on which, as usual on Panasonic cameras, you can manually select which of its two readout modes it uses. Panasonic doesn't always disclose when it's using BSI technology, but in this instance it has confirmed it.

Autofocus

The S1RII represents the second generation of Panasonic cameras to feature phase detection autofocus, with the inherent depth awareness that this brings. The company says it's significantly improved both its subject recognition and its tracking algorithms in the new camera, to bring its performance closer into line with the best of its peers.

The S1RII has algorithms trained to recognize the following subjects:

• Human
• Animal (Dog, Cat, Bird)
• Car
• Motorcycle / Bike
• Train
• Airplane

We're told it should be quicker at finding a subject and better at continuing to track it, even if, for instance, the subject turns away from the camera or is partially obscured. As before, you can choose whether the camera homes-in on specific details, such as the helmet of a motorbike rider, the nose of a plane or the eyes of an animal. Selecting the more precise focus position can lower the system's responsiveness to smaller, faster-moving subjects.

Cinelike A2 color mode

The S1RII gains a new 'Cinelike A2' color mode, in both stills and video modes. It offers a very gentle response, somewhere between the flat, DR-prioritizing Cinelike D2 and the punchy, ready-to-go Cinelike V2 profile.

Panasonic says the A2 mode's color response stems from work they've been doing in recent months. And it's perhaps worth considering which partners Panasonic has been working with, recently, to guess at the significance of the letter 'A' in the name. Unlike the camera's Leica Monochrome mode, any connection isn't made explicit.

Real time LUT

The S1RII gains the Real Time LUT function we've seen on recent Panasonic cameras, letting you create and upload color and tone-modifying profiles in format with a workflow that's already widely supported across the industry. The S1RII allows you to load up to 39 LUTs onto the camera, with the option to combine two LUTs with varying intensity, if you wish.

Additional LUTs can be created or downloaded via Panasonic's Lumic Lab app.

False color

The S1RII becomes one of the first stills/video cameras to include a false color display option. This is a feature common in the video world, giving a mono preview with certain brightness levels highlighted in different colors, to help you recognize which bits of the image are clipped or near clipping and which areas are exposed as mid tones or at a level appropriate for light skin tones. This display can be used in boths stills and video modes.

Capture One tethering

The S1RII becomes the first Panasonic camera that can be shot, tethered, from Capture One, the popular studio software. We're told any decisions about whether to expand support to other models will depend on customer demand.

What's new for video

The 44MP sensor means the S1RII has slightly more horizontal pixels than necessary to deliver UHD 8K (7680 x 4320) footage and a fraction short of what's needed to capture the DCI 8K's 8192 x 4320 resolution. Instead it offers what Panasonic called 8.1K (8128 x 4288), which conforms to the same 1.89:1 aspect ratio as DCI footage.

The degree to which the sensor resolution is suited to 8K capture is unlikely to be coincidental, and the S1RII offers the kind of extensive video feature set that you might expect from the company that brought us the GH series, rather than the pared-back list of options the original S1R brought.

It also includes everything you'd expect from Panasonic: the option to set exposure in terms of shutter angle, waveforms, vectorscopes, filtering or custom lists of video modes, four-channel audio and 32-bit Float audio via the optional XLR2 accessory, support for anamorphic lenses and a tally lamp to let you know you're rolling. The attention to detail goes beyond the addition of a big red button on the front.

Video options: Output
dimensions Frame
Rates Crop MOV ProRes 1.89:1 modes 8.1K 8128 x 4288 30, 25, 24 1.0 4:2:0 – 5.8K 5760 x 4030 30, 25, 24 1.0 422/HQ 30, 25, 24 1.31 – RAW/HQ 60, 50, 48 1.04 4:2:0 – DCI 4K 4096 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.04 60, 50, 30, 25, 24 1.52 120, 100 1.10 4:2:2 – 16:9 Modes 8.0K 7680 x 4320 30, 25, 24 1.0 4:2:0 – 5.9K 5888 x 3312 30, 25, 24 1.0 – 60, 50, 48 1.11 – UHD 4K 3840 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.11 60, 50, 30, 25, 24 1.52 120, 100 1.17 4:2:2 – 3:2 Modes 6.2K open gate* 6432 x 4228 30, 25, 24 1.0 4:2:0 – 4:3 Modes 4.7K 4736 x 3552 60, 50, 48, 30, 25, 24 1.65 4:2:0 422/HQ** - Boxes marked green off All-I compression options.
- Red boxes have a ProRes option.
* 8.1K and 7.1K open gate capture promised in future firmware
** ProRes 422/HQ only available up to 30p

The S1RII can also shoot Full HD (1920 x 1080) footage at any of the frame-rates and crops offered in UHD 4K mode, with the additional ability to capture 120 and 100p footage from the APS-C region.

Dynamic Range Expansion

The S1RII gains a DR Expansion mode, letting you capture an additional stop of highlight information in high-contrast situations. This can be activated in any of the movie modes at frame rates up to 30p, and can only be applied when shooting V-Log footage (where the response curve can easily accommodate different levels of DR capture).

Base ISO 2nd gain step Standard color mode ISO 80 ISO 400 Cinelike D2, V2, A2 ISO 160 ISO 800 HLG ISO 320 ISO 1600 V-Log ISO 200 ISO 1000 V-Log + DR Expansion ISO 400 ISO 2000

This is not the same system as the dual readout DR Boost function in the company's 25MP Micro Four Thirds camera. Instead it moves to a higher bit-depth readout, meaning there's a rolling shutter cost to engaging it. It also boosts the minimum available ISO, to prompt the use of a lower exposure, to capture that additional stop of highlights.

Open gate shooting

At launch the S1RII will be able to capture 6.4K footage from the entire 3:2 region of its sensor, downscaled from full-resolution capture.

Open gate shooting lets you choose and adjust your crop during post production. It also makes it possible to frame wide and then take both landscape and portrait video crops if you're trying to deliver to multiple different output platforms.

5.XK at up to 60p, 4K at up to 120p

Like the S5II models, the S1RII gives you the choice of 1.89:1 DCI 4K capture or 16:9 UHD 4K, or 5.9K or 5.8K versions taken from the same capture regions. All four are available as 10-bit footage, with 4K encoded with 4:2:2 chroma precision and the 5.XK modes in 4:2:0.

Footage up to 30p is taken from the full width of the sensor using the full capture resolution, with a slight crop in to give 60p. 4K (in both flavors) is available at up to 120p with the addition of a further slight crop. Line skipping is used to deliver these 100p and 120p modes.

DCI and UHD 4K can also be captured at up to 60p from an APS-C region of the sensor.

UHD DCI Crop Rolling shutter Crop Rolling shutter 8K, 5.xK*, 4K
30/25/24 1.00 24.9ms 1.00 22.4ms 5.xK*, 4K
50/60 1.11 15.4ms 1.04 15.3ms 4K
100/120 1.17 7.3ms 1.10 7.3ms 4K/30 DRExp* 1.00 31.7ms 1.00 29.8ms *8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD

Tellingly the rolling shutter rate in DR Expansion mode is consistent with the rate of 14-bit stills, which suggests it's based on 14-bit capture, explaining Panasonic's claims of greater dynamic range.

In turn, the 60p output's rolling shutter is consistent with the 12-bit stills readout rate. This stongly implies that the standard 24, 25 and 30p modes, which are slower than this but quicker than 14-bit mode are taken from 13-bit capture.

In addition to the conventional MOV compressed footage, the S1RII also lets you capture various resolutions in either ProRes 422 or ProRes RAW formats, both of which can either be recorded to the camera's internal CFExpress type B card or to an external SSD. ProRes RAW (with a choice of HQ or standard compression levels) is taken from a 1.31x crop of the sensor, whereas the ProRes 422 (again HQ or Std) is derived from the full-width 8.1K capture.

Forthcoming attractions

As usual for Panasonic cameras, the company has already given some details of features that are still being worked-on for the camera, and which it has promised will come in later firmware updates.

At launch the S1RII can capture open gate video footage at 6.4K resolution, but we're told 7.1K and 8.1K (native resolution) will be enabled in a later firmware update.

Similarly, the S1RII can currently output footage at up to 8K over HDMI but will gain the option to output a Raw data stream in 8.1K or 7.2K resolutions, at a later date.

How it compares

The new, more compact S1RII arrives in a market where you can choose between the high resolution Sony a7RV or pay more for the likes of Nikon's Z8 and Canon's EOS R5 II that are both high resolution and fast. The Panasonic occupies something of a middle ground: offering some of the speed of the faster cameras (a higher peak frame rate but with more rolling shutter), but at a lower cost than Canon and Nikon's Stacked CMOS cameras.

We've opted to include the Canon EOS R5 II in this table, but the Nikon Z8 ends up looking very similar in terms of areas of strength, if you were to substitute that in. We've also chosen the DSLR-shaped a7R V from Sony, rather than the smaller, less expensive a7C R, because the larger model more closely resembles the Panasonic in terms of form factor, viewfinder quality, shutter options and screen articulation. But if size and price are your biggest concerns, the a7C R is in the running.

Panasonic Lumix DC-S1RII Canon EOS R5 II Sony a7R V Panasonic Lumix DC-S1R MSRP $3300 $4300 $3900 $3700 Pixel count 44MP 45MP 61MP 47MP Sensor type BSI CMOS Stacked CMOS BSI CMOS FSI CMOS Stabilization
(IBIS / Synced) 8.0 EV /
7.0 EV – /
8.5 EV 8.0EV /
– 6.0 EV /
7.0 EV Max burst rate (Mech / E-shutter) 10 fps / 40 fps 12 fps / 30fps 10 fps / 9 fps / Viewfinder res / mag 5.76M dot OLED / 0.78x 5.76M dot OLED / 0.76x 9.44M dot
OLED 0.9x 5.76x dot OLED / 0.78x Rear screen 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot Fully Artic. 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot two-way tilt Max video resolution

8.1K [1.89:1] / 30p
UHD 8K / 30p
Full-width 5.9K 60p

DCI 8K / 60p
UHD 8K / 60p

UHD 8K / 24p

5K [3:2] / 30p
UHD 4K / 60p

Output options MOV H.264
MOV H.265
ProRes 422
ProRes RAW

MP4 H.264
MP4 H.265
Canon Raw (/Light)

MOV H.264
MOV H.265 MOV H.265
MP4 H.264 Storage formats 1x UHS-II SD
1x CFe B
External SSD 1x UHS-II SD
1x CFe B 2x UHS-II SD / CFe A 1x UHS-II SD
1x CFe B / XQD Flash sync speed 1/250 sec 1/250 sec
1/160 sec 1/250 sec 1/320 sec HDR output options (Stills / Video) - / HLG video HDR PQ HEIF / HDR PQ video HLG HEIF
/ HLG video HLG Photo / HLG video USB USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.1 Gen 1
(5 Gbps) Battery life
LCD / EVF 350 / 300 540 / 250 530 / 440 380 / 360 Dimensions 134 x 102 x 92mm 139 x 101 x 94mm 131 x 97 x 82mm 149 x 110 x 97mm Weight 795g 746g 723g 1,020g

Despite being comfortably less expensive than its immediate peers, the S1RII's specs are competitive across the board. And while its video exhibits a fair bit more rolling shutter than the Stacked-sensor Nikon and Canon models, it significantly out-performs the Sony.

The a7R V's rolling shutter rate of 38ms means it can't deliver 8K/30, whereas the Panasonic can shoot 8K 30 and do so as fast as 24ms. This is respectable but not as impressive as the ∼13 and 14ms that the EOS R5 II and Z8 provide, respectively, from their much more expensive sensors.

Much of whether it's actually competitive, for both stills and video, will come down to whether the autofocus improvements are as significant as Panasonic promises.

Body and handling

The S1RII uses a body based on the smaller S5II series, rather than the more substantial design of the first-gen S1 series cameras. This leaves it both smaller and lighter than its predecessor.

It has the internal fan from the S5II, with two small exhaust ports on either side of its viewfinder hump. This doesn't give quite 'GH series' recording reliability, but still allows the S1RII to record for extended periods.

However, while the body itself is similar in size to the S5II, it has a deeper hand grip, making it more comfortable to use with larger lenses. It maintains a row of three buttons along its top plate, immediately behind the shutter button, but omits the top plate display that the Mark 1 had.

Other losses in the move to the smaller body see the S1RII offer only a single function button between the mount and the hand grip, and the replacement of the two-position switch at the lower corner of the front panel by a large red [REC] button (whose function can be customized).

The S1RII also goes without a flash sync socket, but gains a dedicated Stills/Movie/Slow&Quick switch. Moving the exposure modes to the right of the camera allows the drive mode to be promoted to the top of the left-side dial, making room for shooting mode to occupy the switch underneath. Both mode dials have toggle lock buttons.

The removal of movie mode from the exposure mode dial in turn provides room for five custom positions on the exposure dial, each of which can be customized separately for stills and video custom settings. Position 5 on the dial can be used to access custom banks 5-10, if you wish, giving you a total of up to ten photo and ten video custom setting sets. Thankfully the camera's settings can be saved to a memory card and duplicated across cameras.

Rear screen

On the back of the camera, Panasonic has adopted a similar screen layout to the Sony a7R V: a fully articulated rear screen mounted on a cradle that tilts up and down. This means that stills shooters can use the tilt mechanism if they want to keep the screen on-axis (and can flip the screen to face inwards for protection, when stowing the camera), but video shooters can extend the screen out and tilt it away from the mic, headphone and HDMI sockets while shooting.

Battery

The S1RII uses the same 15.8Wh DMW-BLK22 battery as the S5II, a significant reduction compared with the original S1R. Despite this, it achieves a CIPA battery rating of 350 shots per charge if you use the rear screen and 300 via the viewfinder. The usual caveats apply to this number: most people get many, many more shots out of a camera than the CIPA rating (between two and three times the rated figure isn't unusual). To put it in context, 350 is a respectable figure and shouldn't leave you caught out during a busy day's shooting, but it doesn't have the confidence-inspiring duration that Sony's a7R V offers.

A new DMW-BG2 battery grip is also available to fit the S1RII. It adds a second battery in the grip, and is designed to allow hot-swapping of batteries: the external battery is used until the battery door is opened, at which point the camera switches to using the internal battery until a new battery is inserted in the grip. The grip also allows the camera to use both batteries simultaneously, for high power-consumption combinations such as capturing high bit-rate video to an external SSD.

Initial impressions

The S1RII is an interesting proposition: replacing a camera we get the impression didn't exactly fly off the shelves. Panasonic has done a lot to broaden its appeal, making it smaller, faster, more video capable and, notably, less expensive.

The easiest to spot changes are on the video side of things: Panasonic pitched the S1R as a photographer's camera, so the decision to make the S1RII more of a hybrid sees even more of an expansion in video capabilities than we've become used to over the past few years.

The S1RII's sensor seems genuinely capable of delivering video, despite its high pixel count and the lack of Stacked architecture often used to speed up readout. Despite its much higher pixel count, the S1RII's main 8K, 5.XK and 4K modes exhibit comparable rolling shutter to the widely-used 24MP full-frame sensor, and with a promise of better detail and dynamic range capture. This means it can also deliver 4K/60 with a minimal crop and without the need for line-skipping.

Wedded to this underlying capability are all of Panasonic's usual video features, developed for the GH series of cameras, so it has the feature set and well-polished usability that's not always present when video gets added. For instance, if you decide you want to shoot 5.9K ProRes 422 / 24 for the bulk of your project but want to shoot some 4K/60 or 4K/120 for some slow-mo cutaways, you can add these two modes to "(My List)" to quickly swap between them, rather than having to switch from ProRes to MOV capture and then find the modes in the 18 pages of quality options those two codecs cumulatively give.

You can then set the camera to report Shutter Angle, so that you maintain an appropriate shutter speed as you switch frame rates, without the risk of forgetting to reset it when you switch back. It's not quite a full-frame GH7, but it's closer than you'd normally expect from a high-resolution body.

The S1RII is smaller than its predecessor but still finds room for a good level of control points without them becoming too small or too cramped. There's a customizable 'Lock' switch on the left of the camera to prevent accidental changes of settings.

Even more than usual, this risks overshadowing the improvements made on the stills side of the camera, because the S1R already had a very solid stills feature set, so there's less room for dramatic improvement. We weren't overly impressed by the sensor of the S1R, so we hope to get the S1RII into our studio in the next few weeks to check for improvements in that regard. The smaller, lighter body is likely to be of benefit to some photographers, whether they're landscape shooters lugging the camera to a picturesque nowhere or a wedding shooter using it for hours on end.

But, whether you shoot stills or video, it's the promised autofocus improvements on which the S1RII is likely to stand or fall. The previous camera used Panasonic's depth-from-defocus system that could deliver good results but was often disconcerting and distracting to shoot with. The new camera promises an improved version of the phase-detection system introduced with the S5II. If it really is faster and more dependable, the S1RII starts to look very interesting indeed. Our initial impressions are mixed: when it locks on it seems really tenacious, but there are other occasions on which it fails to focus on anything, to a degree we're not used to seeing in modern cameras. We're really hoping this can be addressed in firmware.

On paper, the S1RII promises to be an affordable option for someone looking to capture high res photos and high-quality video. We're already out using the camera and will report back on its real-world performance as soon as we can.

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Image: Adobe

Adobe has announced it is expanding its popular photo editing program, bringing Adobe Photoshop to smartphones. Until now, users could only access Adobe Photoshop Express on phones, but that app lacks many of the critical tools that make Photoshop so useful. That changes with the company's latest app, however, with the aim of "bringing the ultimate image editing and design app to a new generation of creators."

Adobe understands that many people exclusively use their phones for editing images or creating artwork. The new Photoshop mobile app brings "Photoshop's iconic image editing and design capabilities" to your phone, offering greater functionality than the Photoshop Express app. It will enable Photoshop's "tools for precise selections, targeted adjustments, advanced color corrections, expanded access to commercially safe AI with Firefly-powered generative AI tools, full format support for opening and editing any Photoshop document and more."

Image: Adobe

To accommodate a robust set of tools, Adobe designed the new app from the ground up with an "accessible and intuitive interface" made specifically for phones. This interface, by necessity, looks very different from the desktop version, as phones have far less screen real estate (not to mention usually a different aspect ratio). There is no toolbar on the side of the app like the desktop version. Instead, Adobe concentrated things on the bottom of the screen with a simplified workflow, highlighting the most commonly used tools. There's also a small layer stack on the right side of the app.

The new app will provide access to unlimited layers, plus masking and blending modes.

Image: Adobe

One of Photoshop's most important features is the ability to edit non-destructively in layers. Layers were notably missing from the Photoshop Express app, so seeing those coming to the new mobile app is certainly nice. Users can access the standard Photoshop layer types, including adjustment layers, and create unlimited layers. Adobe also added masking and layer blending tools, with plenty of flexibility in how you select and edit individual items. Plus, those layers will remain even when you close the app, so you can keep changing things without starting the process over.

One new tool coming to the Photoshop mobile app is Tap Select. This tool will automatically select all the obvious subjects and objects in an image, providing a list of components you can edit selectively. Should Tap Select not get the objects you want, you can add to that list with the Lasso tool or use the Magic Wand.

With an expanded web platform and new mobile app, users can seamlessly switch between interfaces.

Image: Adobe

Adobe also expanded the web experience to help those who want more flexibility with where and when they edit. It promises a complementary user interface across web and mobile, making it easy to bounce between the two platforms. Adobe says that with "seamless integration between the mobile and web experiences, the new offering empowers creators to work on the same project across devices." To accomplish this, Adobe made changes to the user interface of Photoshop on the web and expanded availability across Safari, Chrome, Firefox and Edge browsers. It also added Access to Firefly-powered features like Generative Fill, Generate Similar, Reference Image and updated selection models.

The new Photoshop on mobile app is available for iPhones as of today, with an Android version coming later this year. It's free to download and use, but premium features are locked behind a paywall. Additionally, while free plans will have access to a range of fonts and Adobe Stick assets, a subscription will unlock even more options. For those who want full access, you can opt for the new Photoshop Mobile and Web plan for $7.99/month or $69.99 annually. Adobe says that all current Photoshop paid plans that provide access to Photoshop on iPad and Photoshop on the web will also provide access to Photoshop on mobile.