Photo News

Image: The Last Camera Project

Photography can feel like an isolating activity, so it's exciting when opportunities come around to feel like part of a bigger community. Such is the case with The Last Camera Project (TLCP), a community art project. TLCP was conceived by Lucas Buick and Ryan Dorshorst, the founders of the original retro camera app, Hipstamatic. The project invites people to create a single image, culminating in a show at Art Basil Miami and a book.

TLCP puts a digital spin on the concept of sending around a single disposable film camera, with each person taking one frame. "The idea is simple," says Buick. "If I handed you a disposable camera and said, 'Take One Photo. Then Pass it along to someone else,' what would happen?" Of course, sending a physical camera around wouldn't work very well for many reasons. So Buick and Dorshorst created a camera app that allows participation anywhere in the world.

Screenshots: The Last Camera Project

The app has some guardrails that help recreate the disposable film camera experience. It's styled to look like a disposable camera (minus the simulated display, of course). Like a film camera, participants can't review or edit their photo before submitting it. You get one chance to "Take one photo that represents you, your moment, your story." Your photo will save metadata, including location, timestamp, frame number and personal details that you add.

When you download the app, you can enter an invite code or join the waitlist.

Screenshot: Dale Baskin

The project is invite-only, but you can download the app (if you have an iPhone, as it's iOS only) and join the waitlist if you don't have an invite. Once you take your photo, you can invite up to six people to join the project.

Buick says there are currently 4K people on the waitlist, 10K people inside the project and 1200 photos contributed so far from over 50 different countries. The app displays a timeline with the people whose numbers have been activated and whether they've taken a photo, so you can keep tabs on the progress.

All of the images taken will remain a secret until the big reveal at Art Basel Miami in December 2025. The photographs will also be compiled in a book of the project.

You can download the app and sign up for the waitlist via the App Store, or check out more details about the project at the TLCP website and on Instagram.

Camera image: Canon

It's Friday, so it's time to round up recent firmware updates. This week brings an update from Nikon for the Z8, small improvements for some Panasonic cameras and a healthy list of changes from Canon. In fact, nearly every camera in its lineup has at least a small update, including the R5, R6 II, R8, R3 and R50. The upgrades range from minor (improved network security) to more significant (exposure simulation for flash shooting).

Below, you'll find some of the standout features included in the updates for each camera. There are additional smaller fixes for all, so for full details, be sure to head to the relevant page for each firmware version. Without further ado, let's get into it.

Nikon Image: Nikon Nikon Z8 Firmware Ver 3.01

Nikon's Ver 3.00 update for the Z8 was a dramatic one, unlocking a long list of new features. But it also caused two distinct issues for third-party lens users, rendering some lenses inoperable or limited in functionality. This update addresses at least part of that, though details are scant. The changelog simply states, "Fixed an issue that prevented the camera from operating properly with some lenses."

Nikon still has a warning at the top of the firmware download page that cautions against updating firmware with third-party lenses or mount adapters. Thus, it may not fix issues related to upgrading firmware on the Z8 with anything other than Nikon lenses. If you're updating to Ver 3.01, remove those third-party lenses to be safe.

See details and download the Z8 Ver 3.01 firmware here.

Canon Image: Canon

Canon released firmware for a long list of cameras, but it has since pulled back updates for the EOS R1 and R5 II. However, there are still plenty of other upgrades for other devices in the company's lineup.

Canon EOS R5 Ver 2.2.0

While the R5 II may not have an update ready yet, the R5 does. It's now compatible with CFexpress cards up to 8TB, which is ideal for videographers who need lots of space. It introduces an auto-protect feature when you rate images, a useful tool for those who cull in camera. The update also allows users to check for and download firmware updates when the camera is connected to the internet. That should make keeping cameras up-to-date much easier and faster (no more excuses).

See details and download the EOS R5 Ver 2.2.0 firmware here.

Canon EOS R6 II Ver 1.6.0

The R6 II Ver 1.6.0 update shares some of the items introduced on the R5, including internet-based firmware downloads, auto-protection for rated images and improved security features. It also promises improved AF tracking performance while zooming in still photo shooting with thee RF24-105mm F2.8 L IS USM Z , RF70-200mm F2.8 L IS USM Z and RF100-300mm F2.8 L IS USM. Additionally, Ver 1.6.0 allows users to enable exposure simulates when using flash, so that they can get an accurate preview of lighting.

Additionally, Canon has expanded its Cropping Guide firmware to the R6 II. However, if you want this feature, you'll need to send your camera to a Canon Service Center and it isn't a free standard firmware update. You can also buy the camera with it preloaded now.

See details and download the EOS R6 II Ver 1.6.0 firmware here.

Canon EOS R8 Ver 1.5.0

The Canon EOS R8 Ver 1.5.0 added improved security features and internet-based firmware updates. Plus, the R8 will now allow for exposure simulation while using flash, like the R6 II.

Outside of the standard update, he R8 also now has access to the Cropping Guide feature. Again, you'll either need to pay to send in your camera so that it can be added, or buy a new model with it preloaded.

See details and download the EOS R8 Ver 1.5.0 firmware here.

Canon EOS R3 Ver 1.9.0

Canon EOS R3 Ver 1.9.0 adds improved security features, internet-based firmware updates and auto-protection for rated images. It also makes the R3 compatible with up to 8TB cards and enables exposure simulation with flash. Canon improved AF tracking with the same three lenses as the R6 II.

The one unique update for the R3 is related to transferring images with voice memos via FTP, something sports photographers and journalists may want to be aware of. Now, the voice memo will be sent first, followed by the image.

See details and download the EOS R3 Ver 1.9.0 firmware here.

Canon EOS R50 Ver 1.4.0

Ver 1.4.0 for the EOS R50 is a more subtle update that mostly fixes small issues. However, it does add VR lens support, including the RF-S3.9mm F3.5 STM Dual Fisheye and RF-S7.8mm F4 STM Dual lens. It also fains the convenience of internet firmware updates.

See details and download the EOS R50 Ver 1.4.0 firmware here.

Panasonic Image: Panasonic S9, S5II, S5IIX, G100D, G97 and ZS99

Finally, Panasonic has released small updates for a number of its cameras. The S9, S5II, S5IIX, G100D, G97 and ZS99 (known as the TZ99 in Europe). Panasonic promises improved operational stability for all models and enhanced security for all except the G97.

See details and download the S9 Ver 1.5 here.

See details and download the S5II Ver 3.3 here.

See details and download the S5IIX Ver 3.3 here.

See details and download the G100D Ver 1.3 here.

See details and download the G97 Ver 1.2 here.

See details and download the ZS99/TZ99 Ver 1.2 here.

When you use DPReview links to buy products, the site may earn a commission.What you need to know

Product photos: Sony

As you may have seen, Sony has just refreshed its full-frame compact, the RX1R, with the mark III coming almost a decade after the last. The new version is packed with Sony's latest technologies but also hews so closely to the original concept that a lot risks looking dated, too.

We've already looked at how the RX1R III stacks up against the cheaper, stabilized a7CR, but that doesn't tell the whole story. Sometimes compactness and the focusedness of purpose of a fixed-lens camera is enough to justify a premium over an interchangeable lens camera. But a list price of €4900, £4200 and, in particular, $5100, is quite a premium.

We take a closer look at what the RX1R III is, what it offers and where it sits relative to its predecessors and rivals.

Basic specs

At its core, the RX1R III is exactly the update you'd expect, if you were familiar with Sony's latest internals. It's built around the excellent 60.2MP sensor that, coincidentally, also underpins the more expensive Leica Q3 and Q3 43 models.

It uses the same 35mm F2 Zeiss-branded lens as all the other RX1 models, with the same stepper-motor-driven focus system.

Like Mark II it has a built-in electronic viewfinder but now fixed into the corner of the body, rather than a pop-up design. The need to keep the camera small has limited Sony to a 2.36M dot (1024 x 768px) EVF panel, which is a jarring spec on a camera this expensive.

Like previous RX1 cameras (and the first five iterations of Fujifilm's X100 series), there's no stabilization system. The body has been redesigned, with a sleeker front panel and dials recessed into the top plate, but the fundamentals of the camera are broadly unchanged.

Updated autofocus

Sony's AF system has been massively improved in the decade since the RX1R II's launch, in terms of both performance and operability, and we've become used to reliable subject recognition and very tenacious tracking. Like Sony's other high-end models, the RX1R III includes a dedicated processor for crunching the added complexity of these machine-learning-derived algorithms.

However, the RX1's focus group isn't the fastest mover, which risks blunting the camera's top-end performance. We'll update this article in the coming days, once we have got a sense for how much of its potential it's able to deliver.

It's something of a shock to realize the RX1R II's clunky "Center Lock-on AF" system was as recent as ten years ago, given the huge advances we've seen since.

Price and positioning The original RX1
Photo: DPReview

The price tag on the RX1R III is somewhat eye-watering, if you compare it to anything other than Leica's Q3 twins, but this series has always been a halo product.

The original RX1 felt like Sony was making the statement "we understand photography" as much as putting out a product that was expected to shift units or make a profit. Even back at a much lower price point, we pondered whether it was trying to be a modern Leica (this is before the Q series showed us how much a real Leica full-frame compact would cost).

The first RX1 pre-dated the company's full-frame ILCs, and cost appreciably more than the higher resolution a7R when it was launched a year later. The RX1R II was priced much closer to the cost of the contemporary a7R II model, but they've always been priced at a premium.

That said, if you compare the RX1's UK launch prices to those of the Fujifilm X100 version available at the time, you'll see the first two RX1 models were 2.3x more expensive than the contemporary X100s, and the RX1R II and III are around 2.6x more expensive. Which, given you get a sensor around 2.4x larger, suggests they're not out-of-keeping with the rest of the market.

Price: US and beyond

The price in the US, though, is punchy, for reasons you may have heard about, in the news. Looking at the launch prices of previous Sony models over the past ten years, we found the UK launch price (incl. VAT) is around 20% higher than the US launch price, if you use the then prevailing exchange rate. This is, in part, because prices soften more readily in the UK market: the apparent premium is essentially an early-adopter tax that fades away after a few months.

However, that same calculation would lead you to expect a US launch price of around $4700, if you simply subtract 20% from the UK price and use the current exchange rate. This, and the 3.2x premium over the X100VI (vs 2.6x for the RX1R II over the X100T), helps explain why the US price in particular looks so high.

Higher-res sensor

Sony has made some critical changes, compared with previous models. The biggest of these is the move from a 42MP sensor to a 60.2MP one. It may be a chip that we've seen before, but it remains one of the best sensors, in terms of image quality, that we've ever encountered.

The first RX1R model was a variant of the RX1 with no low-pass (anti-aliasing) filter. The RX1R II had an innovative design that placed an LCD panel in the middle of the low-pass filter. AA filters work by refracting light differently, depending on its orientation. Engaging the LCD layer would polarize the light and determine whether the second layer of filter doubled or cancelled the effect of the first layer.

The RX1R III has no such cleverness, so you lose the ability to engage an AA filtering effect as you could on the Mark II. However, the higher resolution of the RX1R III's sensor means aliasing will only occur with higher frequency patterns, at frequencies even more likely to be inhibited by the lens, anyway.

Larger battery

The new camera also gains a larger battery, the 7.3Wh NP-FW50 battery, compared to its predecessor. This helps address one of the most sustained criticisms of the series, which was known for offering relatively short shooting durations from its compact 4.5Wh NP-BX1 battery.

The new battery is around twice the depth of the one used in previous models (18.5mm, rather than 9.2mm). Despite this, the new camera isn't appreciably deeper than the existing one, with the body itself measuring just 2.5mm more than its predecessor.

The new camera also has a USB-C socket and is compatible with the USB Power Delivery protocol, allowing it to both charge or be powered over the USB socket if you have a sufficiently powerful external charger or battery pack.

Vs Leica Q3

The most obvious direct competitor to the Sony RX1R III are Leica's Q3 cameras, the original Q3 with its 28mm F1.7 lens and the Q3 43 with its 43mm F2 lens. They let you choose whether you want a wider-angle lens or a normal perspective, rather than the RX1R III's 35mm that splits the difference. They also offer stabilization, which the Sony lacks.

Both cameras are based around the same sensor as the Sony but both have larger format 5.98M dot OLED viewfinders (with greater, 0.79x magnification) and tilting rear screens, where the RX1R III's is fixed. They're also both appreciably larger cameras than the Sony, as the diagram above shows. They are also substantially heavier, with the Q3 tipping the scales at 743g, with a battery and memory card: 49% heavier than the RX1R III.

In addition, they're also both more expensive cameras. If you want to see what premium pricing in this type of camera looks like, then feast your eyes and lock up your wallet when you see the $6735 and $7380 price tags dangling from the Leicas.

A rather more pragmatic alternative might be the a7CR and a suitable prime lens. That's a comparison we looked at in more depth, the other day.

EVF and screen

Two of the greatest points of contention, beyond its pricing, are the specifications of its viewfinder and its rear screen. Both have been dictated by Sony's focus on keeping the size of the camera down.

With the body already a fraction deeper, as a result of the adoption of a larger battery, the company has clearly decided that the additional bulk of an articulated screen would compromise its compactness. There have been several successful fixed-lens cameras with fixed screens (not least the first four X100 cameras), but there are times, particularly for waist-level shooting, when a tilting screen comes in handy. If that's the way you prefer to shoot, you'll need to opt for a larger camera.

Leaf shutter and hotshoe

The other factor worth remembering is that, like most fixed lens cameras, the RX1R III features an in-lens 'leaf' shutter. This gives essentially a global shutter effect, allowing flash sync across the whole shutter speed range, but with the disadvantage that its maximum shutter speed drops as you approach the camera's widest aperture setting. A 1/4000 sec maximum at F5.6 drops to 1/3200 sec by F4 and 1/2000 at F2. There's an e-shutter mode that allows shooting at up to 1/8000 at any aperture, but the 100ms (1/10 sec) readout rate means it's better for static subjects.

The camera has a hotshoe, useful both for mounting a flash but also featuring the multi-interface pins that let you connect mics and channel digital audio into the camera. Like the a7CR, the small body of the RX1R III sees video limited to 4K/30 (the sensor can deliver 8K resolution, though with a lot of rolling shutter). It has all the latest Sony video goodies including uploadable LUTs, S-Cinetone and 10-bit Log capture. The RX1R II, by comparison, topped-out at 8-bit 1080.

Summary

The Sony DSC-RX1R III is the update we weren't sure we'd ever see, and it's a pleasant surprise in many respects. The fixed-position viewfinder is more readily accessible than the pop-up unit in the Mark II, the 60.2MP BSI CMOS sensor has proven itself to be excellent and the new model addresses one of our biggest criticisms of the previous models: battery life. The adoption of a host of Sony's latest features and functions is promising, too.

However, the move to a fixed screen feels like a retrograde step and we're disappointed they couldn't find room for an AF joystick, given the complete redesign of the body.

The RX1 series has always been a halo product that commanded a premium for reasons of prestige as well as miniaturization, but its current pricing, particularly in the US, is brought into stark relief by the existence of the still-quite-small a7CR, elsewhere in Sony's own lineup.

If you like a fixed-lens camera and the compactness is a major benefit to you, then it's hard to think of a camera that promises so much image quality from such a small package. But there's a price, both metaphorical and financial, to be paid for that totability.

Image: Harman

Harmon has released a truly new film stock in an era when many other companies are repackaging existing formulations. The latest offering from the company, which is best known for its black-and-white film products, builds on its Phoenix 200 color film.

Harman released Phoenix 200 in December 2023. It was Harman's first color film made entirely from scratch at its Mobberley, UK site. The film was considered an experimental stock with colors noticeably different from most color negative films. Phoenix 200 II is a brand-new formulation, and while it shares a name with the original, the sample images coming out look like a completely new stock.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Image samples provided by Harman.

Harman says that Phoenix 200 II is improved over the original Phoenix 200 in almost every way. "Each layer and component has been redesigned and reengineered: new dyes, couplers and layer construction," Harman said. "The result is noticeably finer grain, better color reproduction, controlled contrast, increased sharpness and a wider dynamic range."

Because of all the improvements, Harman says the film will be easier to shoot, saying that it's "less bold and unpredictable than the original." The original was known to be quite challenging to work with, in part because of its limited dynamic range and high contrast, so this is a welcome change. Harman also says it will be easier to scan, which will be beneficial for home developers and large labs alike.

Harman Phoenix II is available in 35mm (36 exposures) and 120 formats for $14 and $12, respectively.

Buy now: 35mm format 120 format Images: Harman

That's not the only film Harman has announced this summer, either. In June, the company also released a 120 format version of its Red 125 film. It initially unveiled the redscale color negative film in February for 35mm, so while not a new film stock, it was a new format for those who like the red and orange tones of Harman's Red 125.

Buy now: Harman Red 125 (120 roll film)

Images: Canon

Canon has introduced the Speedlite EL-1 V2, though the changes are extremely subtle. The latest flash shares nearly all specs with the original EL-1, with only two minor differences in flash power and battery life.

The EL-1 V2 offers a slightly lower guide number than the EL-1. The original model's guide number is 14.1m (46.3') at ISO 100 for the 14mm position, while the EL-1 V2 is 14m (45.9') with the same settings. At the 200mm position, the EL-1 offers a guide number of 60m (196.9') at ISO 100, while the EL-1 V2 is 2m (6.6") less.

The new model also offers a small increase in battery life. Canon promises 340 full-power flashes per charge with the EL-1 V2, 5 more than the original EL-1. Given that there's slightly less power, that slight bump in battery life makes sense.

Other than those two things, the EL-1 and EL-1 V2 are identical and looks, size and other specs. Both are designed for professional users and offer 24-200mm coverage, a 0.9 second recycle time, an active cooling system, three flash modes and the same wireless radio control technology. Like the original, the EL-1 V2 is also weather-sealed, making it possible to use the flash in poor weather conditions.

Images: Canon

Hopefully, availability will be the most significant change here, though. Canon's EL-1 has had stock issues for a long time. PetaPixel reported last year that some users had been waiting a year for the flash. Even since then, it's consistently been out of stock at B&H and Canon's website, as is the case at the time of writing. Perhaps Canon addressed some of its production process that will enable it to keep the new model in stock.

The EL-1 V2 also comes with a steeper price tag for US customers. It costs $1349, whereas the EL-1 launched at $1099 in 2021 and currently sells for $1199. That's up 12.5% from the current price of the EL-1, which is roughly in line with Canon's pricing increases related to the US tariffs. It does appear that the cost of the EL-1 V2 outside of the US may be consistent with the current price of the EL-1, coming in at £1229.

You can preorder the Canon Speedlite EL-1 V2 as of today through B&H and Canon. Canon has an estimated arrival date of September 25, though, so you'll still have to wait a bit to get your unit.

Buy now: Preorder at Canon Preorder at B&H

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

The RX1R III is Sony's latest full-frame, prime lens compact. It's a 61MP update of a series that dates back to the original RX1 in 2012 and that hasn't seen a refresh since 2015's RX1R II.

But a lot has changed in that time. The original RX1 arrived a year before Sony introduced its first full-frame photo-focused mirrorless camera, the a7. Since then we've seen four generations of a7, five of the high resolution a7R series and, more recently the introduction of the more compact a7C models. It's these, and the high-resolution a7CR in particular, that draw the RX1R III's specs into sharp relief.

Especially given the a7CR was launched for $3200/€3700/£3200, whereas the RX1R III has a list price of $5100/€4200/£4200.

Does the cheaper, more flexible camera obviate the need for an updated RX1, or is there more to the story? We dig a little deeper.

Buy now:

Buy at AdoramaBuy at B&H Photo Commonality

It's entirely fair that people would look at the RX1R III and wonder whether Sony's budget high-res a7CR model can't do more, for (a lot) less, mainly because of the high degree of commonality between the two cameras' spec sheets.

Both cameras have the same 61MP full-frame BSI sensor at their heart, and combine this with Sony's latest Bionz XR processors and "AI processing unit," meaning the two cameras should provide comparable image quality, speed and AF capabilities. The co-processor is dedicated to running the complex algorithms developed by machine learning to recognize and track a range of subjects.

They also share the same viewfinder: a 2.36M dot unit with optics that deliver 0.7x magnification. That resolution is relatively low by modern standards, but is one of the highest available in the 0.39 Type (∼8 x 6mm display) panel format. Most higher resolution displays are 0.5 Type (10.1 x 7.6mm), which take up more space with a larger panel, surrounding case and optics. In both these models, the EVF panels have been chosen to minimize the amount of camera taken up by the viewfinder.

Size

The key difference between the two cameras is probably size. The a7CR is very small for a full-frame ILC, but that's quite a significant qualifier. The RX1R III's body is significantly smaller, in practice, than the a7CR's.

Add in a lens and the difference becomes even greater. The RX1R III's lens pushes back almost to the point of touching the sensor, whereas the a7CR has to leave room for a mechanical shutter and lens mount between the sensor and the rear element.

For some users, the difference isn't going to be meaningful: once a camera isn't pocketable, the degree to which it's not pocketable isn't as important. But as a carry-everywhere camera or a camera you want to be relatively unobtrusive, the difference may well be critical to some.

In terms of weight, at 498g, the RX1R III is 3% lighter than the a7CR even before you add a lens. Attach the Sigma 35mm F2.0 we used in the graphic above and the ILC comes out as 70% heavier.

Stabilization

Other than the ability to switch lenses, perhaps the most obvious difference between the a7CR and the RX1R III is that the CR has image stabilization.

There's certainly an argument to be made that a bright 35mm lens doesn't need stabilization (hence so few primes historically having the feature), and that the a7CR's stabilization is more valuable when you mount longer lenses on it.

But, even though, in principle, more moving elements risk denting absolute image quality, in practice the extra stability a good IS system brings means more shots that deliver the full capability of the 61MP sensor.

The RX1R III uses the same Zeiss-branded lens as the 2012 version and, in the name of size, illuminates the sensor and very little beyond it: it would need to project a larger image circle to allow sensor-shift IS (making both the lens and body bigger), or would need a complete redesign to have optical stabilization incorporated into the lens itself.

Shutters

As alluded to in the previous slide, the a7CR has a physical shutter in front of its sensor. In this case it only has a series of shutter blades to end the exposure: an electronic first curtain shutter approach. In most respects this works as well as a full mechanical exposure plane shutter with the only risk being misshapen bokeh when used with wide apertures and very short exposures. The a7CR's flash sync is limited to 1/160 sec.

By contrast, the RX1R III has an in-lens, 'leaf' shutter, which closes in from several directions, rapidly creating an ever smaller aperture as it does so. This affects the light level to the entire sensor as it closes and opens, meaning it has a whole-sensor, 'global' shutter action. This allows the RX1R III to sync with flashes up to its maximum shutter speed.

However, it's worth noting that the camera's maximum shutter speed varies with aperture, because the shutter has more distance to cover when the aperture diameter is large. Like the previous model, the RX1R III can shoot at up to 1/2000 sec when wide open, 1/3200 sec at F4 and narrower, and 1/4000 sec when stopped down to F5.6 or beyond.

Batteries

The larger body of the a7CR has enough room for Sony's largest NP-FZ100 battery, a honking-great 16.4Wh unit that powers the a7CR to a CIPA battery rating of 530 shots per charge using the rear screen and 470 through the viewfinder.

The RX1R III makes do with the smaller NP-FW50 battery, which has a capacity of 7.3Wh. This helps give the smaller camera ratings of 300 and 270 shots per charge, respectively. Which aren't as impressive but also aren't terrible. This is big improvement over the 4.5Wh BX1 battery used in the previous RX1 models which, despite ratings of 220/200 shots per charge, were limiting enough that the RX1R II invited jokes about giving such a film-like experience that it felt like you were limited to 36 shots at a time.

Screens

The knock-on effect of the move to the larger battery - the NP-FW50 is twice as deep as the one used in the previous model: taking up 18.5mm of a body that's only around 31mm, front to back - is that Sony has decided a moving rear monitor would add too much additional depth. It features a 2.36M dot (1024 x 768px) panel, but one that can't be moved away from the camera for waist-level shooting.

By comparison, the a7CR has a 1.04M dot (720 x 480px) display but one that's mounted on a fully-articulating hinge, making it more useful for waist-level work, video, selfies and tripod-based photos. On which note, the a7CR also has a multi-shot high res mode (arguably best suited to landscape work), which the RX1R III lacks.

It should, perhaps, be noted that the first four generations of X100 sold quite happily with a fixed rear screen, as did the first two generations of Leica Q and all Ricoh GRs to date. However, there is certainly a part of the audience for fixed-lens compacts that finds it useful as both Fujifilm and Leica have adopted tilting screens in their more recent models.

Summary

Perhaps ironically, several of the decisions that have been most criticized: the small, hence low-resolution, EVF and the fixed rear screen of the RX1R II, were made to keep the body as small as possible, and maximize the size difference between the RX1R III and the a7CR. And yet its these same compromises that will, to many photographers, make the a7CR look more attractive.

Buy now:

Buy at AdoramaBuy at B&H Photo

We believe a fixed-lens camera is thing unto itself: it isn't just an interchangeable lens camera with restrictions. And, much as we love them, we recognize that the greater flexibility of an ILC will often win out over the size and focus of a fixed-lens camera for the majority of people.

We suspect the respective pricing of the RX1R III and the a7CR will reduce the compact camera's appeal still further. But until we've shot with it more, we're not going to just assume that the more flexible camera is inherently better.

A.I. Appreciation Day Image: Mininyx Doodle / iStock / Getty Images Plus via Getty Images

Today, July 16th, is A.I. Appreciation Day. Well, at least it is according to A.I. Heart LLC, the company that invented this "holiday" in 2021. It's intended to be a day to acknowledge the positive impact A.I. has on society, as well as promote discussion about ethics and the responsible development of A.I.

While we recognize A.I.'s potential to revolutionize fields from healthcare to scientific research, we're also more than a little uneasy about the flood of A.I.-generated imagery, much of which is based on training using photographs taken by actual human beings, usually without their permission.

While we're not going to get that particular genie back in the bottle, we've decided to celebrate A.I. Appreciation Day by doing something really appreciative: showcasing real photos by real photographers in the DPReview community. These photos highlight some of our favorite images from our Editors' photo challenge series in 2025. We hope you enjoy them as much as we have.

Oh, and we would be remiss if we failed to mention that July 16th is also Corn Fritters Day, National Personal Chef Day and National Hot Dog Day. Just in case you need an excuse to celebrate.

Girl with llama

Challenge theme: Red, Green and Blue

Photographer: JeffryzPhoto

Description: High up in the Andes Mountains of Peru near the Sacred Valley a girl walks with her pet llama. Even the llama is wearing red, green, blue, and white.

Equipment: Fujifilm X-T4 + Fujifilm XF 16-55mm F2.8 R LM WR

Mesmerized

Challenge theme: B&W Street

Photographer: Daneland

Description: A young girl watches soap bubbles with a mesmerized expression on Southbank, London. If you look carefully, you can see reflections of the Tate Gallery in the individual bubbles.

Equipment: Leica Q2 + 28mm Summilux

Window frost

Challenge theme: Water

Photographer: Bram Floria

Description: Waiting for the defroster to kick in, Spokane, WA, on January 26, 2025. On a bright, cold morning following a night of ice storms, the water came out to play as leaves of crystal.

Equipment: Google Pixel 6a

Pretty big jump

Challenge theme: Human-Powered Travel

Photographer: Gbeeston

Description: Built this jump with my friend over a week, turned out a little larger than we had imagined. The day we tried hitting it was a little muddy, so getting up to speed was a challenge. After a few run ups, he pulled the trigger. Neither of us were expecting to get that much height of the lip!

Equipment: Canon EOS R8 + Canon EF 50mm F1.8 STM

The secret oasis

Challenge theme: Chasing Summer

Photographer: Giampier

Description: It was one of those July afternoons when the air is still and heavy, and the sun burns your skin. The city seemed to be slumbering under the oppressive heat. For three young friends, boredom was about to take over, until their parents brought them to a park that held a secret. At first, it was just a path like any other, lined by a wooden fence and topped by a pergola of climbing plants. But then, as if by magic, a thick, cool cloud began to descend from the pergola. It was a tunnel of mist. This photo captures the exact moment when shyness turned into pure joy. After a brief moment of hesitation, one of them darted off, and the others followed without a second thought. They are running not just to find relief from the heat, but to cross a portal into another world.

Equipment: Pentax KP + Sigma 17-70mm F2.8-4 DC Macro OS HSM | C

Take off

Challenge theme: Winter Games

Photographer: mmkarb

Description: Heliskiing was a bucket item I thought I'd never get a chance to experience, but I got an opportunity in 2019 and couldn't pass it up. It allowed the group to experience amazing skiing and breathtaking views. One of my favorite views came together with the helicopter dropping us off at the top of the mountain and being able to take in the entire view.

Equipment: GoPro Hero5 Black

Fighting the flow

Challenge theme: Human-Powered Travel

Photographer: Nilesh Trivedi

Description: A kayaker faces up to the ultimate challenge: riding the Grade 5 rapids at the Zambezi River, Victoria Falls, Zimbabwe. These are some of the most intense rapids known to Man.

Equipment: Canon EOS 70D + Sigma 18-250mm F3.5-6.3 DC OS HSM

Good afternoon, Mr. Station Master

Challenge theme: Red, Green and Blue

Photographer: Cambrian Coast

Description: Carrog Station is located on the Llangollen to Corwen heritage railway. Here we see the Station Master Platt saying good afternoon to the resident of the station house.

Equipment: Sony a7R IV + Sony Vario-Tessar T* FE 16-35mm F4 ZA OSS

One more time?

Challenge theme: Chasing Summer

Photographer: Martella Media

Description: My daughter was deathly afraid of the "swing swinger" at first. Then, after one ride, she kept asking, "One more time?" We bought an unlimited ride bracelet after that.

Equipment: Canon AE-1 Program + Canon FD 50mm F1.8

Kings of the street

Challenge theme: B&W Street

Photographer: SFStreets

Description: Every year, the San Francisco Low Rider Council holds the "King of the Streets" event, where lowriders cruise along Mission Street. This year I caught a skateboarder come riding by one of the entrants, between 17th and 18th Streets. We all survived the encounter.

Equipment: Sony Cyber-shot DSC-RX100 II

Harris Hill, VT

Challenge theme: Winter Games

Photographer: jshepka

Description: With its 100th anniversary, Harris Hill in Brattleboro, Vermont, is one of the oldest ski jump hills in the US. It is a FIS-approved 90-meter hill that has been around since 1922. This image is a view of a jumper passing in front of the judge's tower on the way down!

Equipment: Canon EOS 70D + Canon EF 16-35mm F4L IS USM

Under

Challenge theme: Water

Photographer: Cliff Connell

Description: On one of the last hot days in autumn 2011, just before our southern Australian Easter swell kicked in, I had just finished a long session of surfing some pretty big, clean waves when I decided to get back in to capture some in-water shots of the rest of the crew. Most of the shots I got that morning were pretty average, except for this one of a young guy duck diving under the closed-out section of a 5-6 foot wave. It made my day!

Equipment: Canon EOS 20D + Tamron SP AF 17-50mm F/2.8 XR Di II VC LD

While rainy weather is often seen as a negative, it can allow for stunning photographic moments. However, such conditions also result in a dilemma for photographers. Is it worth getting your camera and lens soaked to get some photos, or should you play it safe and stay inside?

Rain and snow don't have to mean the end or cancellation of a session or outing. With some precautions and the right equipment, you can use your camera in wet conditions. Whether you're caught in an unexpected shower or purposefully getting out there in wet weather, here's what you need to know to keep your gear safe.

Know your gear

In the camera and lens world, you'll come across mentions of weather-sealing or weather-resistance. Put simply, weather-sealing refers to gaskets and rubber rings around buttons, dials, switches, seams and ports to keep moisture out. Unfortunately, companies don't use those terms consistently, and they can mean vastly different things even within one brand. As a result, it can be difficult to decipher what weather-sealing actually means.

High-end cameras and lenses typically offer fairly robust weather-sealing, whereas budget cameras often lack much weather-sealing. OM System and Leica are the only two companies offering a specific IP rating, and only for some of their cameras.

Some companies may share diagrams highlighting where the seals are on their cameras and lenses, though that's not very common. If you can find specific information about your gear's weather-sealing, that may help you make decisions about how much rain it can handle. Some will be fine with longer stays in fairly heavy downpours, whereas others are best kept to short stints in rain.

How to use your camera in the rain Photo: ugis bralens / iStock / Getty Images Plus via Getty Images

Broadly speaking, even cameras with minimal weather-sealing are okay in rain and snow without special gear. You don't need to panic if you get caught in a shower, and it isn't necessary to avoid purposefully going out in inclement conditions.

No matter how much rain you're in, a lens hood will be helpful. It will reduce the number of raindrops landing on your lens, keeping it clearer for your photos. Of course, if there's heavy wind blowing rain around, it won't help much, but it's better than nothing. Keeping your hot shoe cover on (unlike the photo above) in damp conditions is also smart. Water could ruin the electrical contacts there, damaging your hot shoe.

If you want to stay out for longer periods in rainy weather or need to withstand epic downpours, there are additional steps you may want to take. Having at least some cover for your camera could give you better peace of mind, but that doesn't mean you need to buy anything. Things in your environment can block rain, such as dense overhead vegetation, an overhanging cliff or an awning on a building. If you don't like being tied to one spot, an umbrella is a shelter you can take anywhere. Or, if you're wearing a jacket, you can tuck your camera inside, only removing it when you want to take photos.

Rain covers are ideal for especially wet conditions, or for giving you more peace of mind.

Photo: ThinkTank

If you want to be cautious or are in particularly wet conditions, you could pick up a rain cover for your camera. A plastic bag will work in a pinch, but camera-specific covers will offer more protection and make it easier to use your camera. These can be lightweight rain sleeves that are essentially camera- and lens-shaped plastic bags or ones that are more like rain jackets for cameras.

Rain sleeves are ideal to keep on hand in case the weather turns unexpectedly, since they are lightweight and compact. They are also highly affordable, but they aren't all that durable. The more heavy-duty covers are meant for repeated use, which is likely the better option if you know you'll be in wet locations frequently.

Finally, it's smart to have some clean, dry microfiber cloths on hand to wipe raindrops off your lens as they appear.

Don't forget aftercare

What you do after the rainstorm is perhaps more important than preventing your camera from getting wet in the first place. The general "never store anything wet" phrase also applies to camera gear. If your camera gets wet, dry it off as much as possible before packing it in your bag. Otherwise, it will sit in moisture, which isn't great for electronics.

Once you are out of the wet environment, take the camera out of your bag, fully dry off the camera and leave the bag open so both can dry out. You can also use silica gel packets to help dry things out.

Don't let rain hold you back

Shooting in the rain can allow you to create some truly dramatic and amazing images. In fact, some of my favorite photos were taken in the rain or snow. While you shouldn't let rain stop you from getting out there, you still need to know your gear's limits and take care of your camera afterward. With those things in mind, you'll be able to stay creative even in wet weather while keeping your camera safe.

The GR World smartphone app logo.

Graphic: Ricoh Imaging

Ricoh Imaging has announced a new app for its GR series cameras. The GR World app will provide features beyond what's available with the company's existing Image Sync app, unlocking more capabilities for GR users.

Like most companion apps, the GR World app allows users to view and transfer photographs from their GR camera to their smartphone. Once the photos are synced, you can create and organize albums to help keep photos sorted. There's also widget function to display those albums as widgets on the home screen. Additionally, the app can pull a phone's location and record location information from the smartphone directly to images, provided it's connected via Bluetooth.

The left two screenshots show the image import process, while the right shows filter options.

Screenshots: Ricoh

Outside of file storage and organization, users can register and name their GR cameras, which will make connecting to the app faster after the initial connection. With the camera paired, you can check the Bluetooth connection status, whether location information is being recorded, battery level and the remaining number of shots on your memory card.

The app allows users to register and name their cameras and view basic information, such as battery level and memory card space.

Screenshots: Ricoh

The app also unlocks remote shooting, though its functionality is quite limited and is only compatible with GR III series cameras. You can use the app to operate the shutter release or set a basic self-timer, and that's all. There are no controls over exposure settings or anything else, which many other brands offer in their companion apps.

GR World is compatible with all Ricoh GR III cameras, including the GR III, GR III HDF, GR IIIx and GR IIIx HDF. It's also compatible with the GR II. The app is free and available for both Android and iOS. It will be available for download on July 23.

Press release:

RICOH GR series dedicated application “GR WORLD” now available

TOKYO, July 15, 2025 －RICOH IMAGING COMPANY, LTD. is pleased to announce that it will begin offering “GR WORLD,” an application that enables users to transfer images taken with compatible models of the RICOH GR series of high-end compact digital cameras and configure various settings on connected smart devices, from July 23.

Main Features of the “GR WORLD”

• Camera registration function that allows you to register and name the connected camera
• Image import function that allows you to display images stored in the camera on your smart device and transfer them via wireless LAN
• Remote shooting function that allows you to operate the camera’s shutter release and self-timer from an application when connected via Bluetooth
• Location information transmission function that sends the smartphone’s location information to the camera while connected via Bluetooth®* and records the location information on the captured image
• Album and widget compatible functions that allow you to organize imported images into albums and display them as widgets on the home screen of your smart device

App Name: “GR WORLD”

Release date: July 23, 2025

Price: Free

Compatible models： RICOH GR III / GR III HDF: V2.00 or later

RICOH GR IIIx / GR IIIx HDF: V1.50 or later

RICOH GR II: V1.10 or later

Download: Install from Google Play or App Store

Compatible OS: iOS 16-18, Android OS 13-15 * Operation is not guaranteed on all devices..

◇ Please refer to the product page for details of each function.

* Only models equipped with Bluetooth®

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

Sony has just announced the RX1R III enthusiast compact, now with a 61MP BSI CMOS sensor behind the same 35mm F2 lens as previous models.

In addition to the updated sensor, the camera's body has been redesigned, mounting the viewfinder into the top shoulder of the camera, rather than the pop-up unit used by the previous version. It uses the same 2.36M dot (1024 x 768px) panel but the internal finder is smaller, with magnification dropping to 0.7x (from 0.74x)

And, despite the visual similarities, the body has been completely redesigned, with the control dials and hotshoe now recessed into the top plate, so they sit flush with the top of the camera. The rear screen is now fixed, rather than tilting.

The viefinder is now integrated into the top corner of the camera and the rear screen is now fixed, rather than tilting.

Image: Sony

The Mark III includes the company's latest subject recognition AF modes, though the performance is still likely to be hindered by the lens design that has to move relatively large glass elements to focus. These are powered by the company's latest processor and dedicated "AI processing unit."

It has the same leaf shutter as previous RX1 modes, which tops out at 1/4000 at F5.6, is limited to 1/3200 at F4 and 1/2000 at F2, and it can flash up to these speeds. There's an e-shutter mode that extends to 1/8000 available at any aperture.

The camera also gains two additional "film looks" from the FX2, in its Creative Looks menu. It tops out at 4K/30 video but includes the S-Cinetone profile as will as option to upload LUTs. It doesn't have a dedicated record button anymore, though, if you never want to think about video. You'll need to screw in an ND filter if you do want to shoot video, though, as there's no internal option.

It uses the NP-FW50 battery, which is larger than the ones in the previous model. Sony says gives the camera a CIPA rating of 300 shots per charge, up from a rating of 220 on the previous model. It can also power and charge over the camera's USB-C socket.

The RX1R III will be available this month at a recommended price of $5099.99, a 54% increase over the RX1R II, when it launched in 2015. In Europe it'll retail for €4900 or £4200 in the UK.

Various accessories, including a grip, a case and a lens hood will be available separately.

Sony Electronics Introduces The RX1R III: The Flagship Full-Frame Premium Compact Camera With A Fixed Lens

SAN DIEGO, July 15, 2025 – Sony Electronics Inc. announces the RX1R III, the eagerly anticipated third generation of its RX1R series, featuring a 61-megapixel1 35 mm full-frame Exmor R™ CMOS image sensor, the latest BIONZ XR™ image processing engine, and a ZEISS® Sonnar T* 35 mm F2 lens.

"The RX1R III combines Sony’s design savvy with the latest innovations in imaging technology to produce a new flagship in our RX1R camera series that offers uncompromising full-frame quality in a premium compact camera body," said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The RX1R series has resonated greatly among discerning photographers, and we’re proud to now deliver the next generation of this popular camera model.”

A Focus On High-Quality Photography

The combination of the 61-megapixel1 full-frame Exmor R™ back-illuminated CMOS image sensor and the BIONZ XR™ image processing engine delivers high resolution and sensitivity, with low noise and a wide dynamic range. The sensor surface features AR (Anti-Reflection) coating and omits the optical low-pass filter to achieve superior image quality.

The integrated lens offers excellent image quality. By optimizing the position of the lens and the imaging surface one by one at the micron level, RX1R III achieves high optical performance in a compact form factor.

Dedicated To Creative Freedom

To ensure you always get your shot accurately and without effort, RX1R III is equipped with the latest AI-processing unit, a valued feature of top-of-the-line professional Sony AlphaTM cameras. The AI-processing unit can accurately recognize the shape and movement of subjects, human bodies, heads, and the position of eyes, tracking subjects even when their faces are not visible, and is available for both still images and videos2. Up to 693 densely arranged3 phase-detection AF (Auto-Focus) points cover approximately 78% (for still image shooting) of the image capture’s area.

While the camera has a fixed lens, users can tap into the versatility of three prime lenses thanks to the Step Crop Shooting4 function, which allows users to switch between focal lengths equivalent to 35 mm, 50 mm, and 70 mm5 via assigned buttons or dials. When shooting in RAW format, users can reselect the focal length during post-production. The lens’s macro ring enables instant switching to macro mode, allowing users to get as close as 20 cm (maximum magnification: 0.26x).

For creators who enjoy unique and personalized visuals, RX1R III offers twelve built-in Creative Looks. Adjustments to hue, saturation, brightness, contrast, and sharpness can be applied not only to still images but also to videos. Most notable among the Creative Looks6, FL2 allows the capturing of a nostalgic expression with subdued colors, and FL3 allows for a more vibrant image.

Streamlined Design & Reliable Hardware

Made of lightweight yet highly rigid magnesium alloy, the RX1R III design balances aesthetics and functionality. While maintaining excellent operability, the dials and Multi-Interface (MI) Shoe are embedded into the camera body and the top surface of the body features a flat design. The grip design and surface texture provide a secure and comfortable hold.

RX1R III is equipped with an electronic viewfinder featuring an approximately 2.36 million-dot XGA OLED with high resolution and high contrast, offering a magnification of approximately 0.70x.

RX1R III uses the rechargeable battery pack NP-FW50, allowing the capture of up to 300 still images7. It features a USB Type-C® port that allows rapid charging when connected to USB Power Delivery8 -compatible devices, or the addition of external power sources, such as mobile batteries, for extended shooting sessions.

Social Responsibility

Aligned with Sony's ambitious 'Road to Zero' initiative, this product supports the company's vision for achieving a zero environmental footprint by 2050. The Sony Group’s manufacturing facilities for imaging products, including the RX1R III, are operating at 100% renewable energy. The RX1R III packaging uses Sony's proprietary environmentally friendly Original Blended Material9 instead of plastic10.

The camera system incorporates comprehensive accessibility options, including a Screen Reader function11 and Display Magnification, to support visually impaired users across an expanded range of menu items.

Optional Accessories

TG-2 is a dedicated thumb grip that attaches to the Multi Interface (MI) Shoe to provide stable holding and operability, including when operated with one hand. When attached to the body, the metal material and high-quality paint finish provide exceptional design unity.

LCS-RXL is a compact body case dedicated to this camera model intended to protect the camera from scratches and dirt and enhance its elegance with its refined texture material. The body case allows access to all ports—USB, HDMI, battery, memory card, and tripod attachment—without removal. The grip design improves the holding experience.

LHP-1 is a lens hood made specifically for this camera. It features a robust construction using lightweight and high-strength aluminum material, protecting the lens from impact and dirt. The bayonet mount allows for quick and secure attachment.
Pricing & Availability

The RX1R III will be available in July 2025 for approximately $5,099.99 USD and $6,299.99 CAD. The TG-2 for approximately $299.99 USD and $349.99 CAD, the LCS-RXL for approximately $249.99 USD and $224.99 CAD, and the LHP-1 for approximately $199.99 USD and $249.99 CAD, in August 2025. They will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

1Approximate effective
2Available subject settings are: Auto, Human, Animal, Bird, Insect, Car/Train, and Airplane. Subject types other than the type specified may be erroneously recognized in some cases.
3It is number of AF measurement points during still image shooting. The number of points varies depending on the shooting mode.
4Not available for movies.
5When shooting JPEG images with a 3:2 aspect ratio, the resolution is as follows: At 35 mm: L size (60 megapixels), at 50 mm: M size (29 megapixels), at 70 mm: S size (15 megapixels)
6ST (Standard), PT (Portrait), NT (Neutral), VV (Vivid), VV2 (Vivid 2), FL (Film), FL2 (Film 2), FL3 (Film 3), IN (Instant), SH (Soft Highkey), BW (Black & White) and SE (Sepia).
7When using the viewfinder: 270 shots.
818W (9V/2A) USB PD power source is recommended.
9Paper material made from bamboo, sugarcane fibers, and post-consumer recycled paper.
10Excluding materials used in coatings and adhesives.
11Supported languages differ according to country and region.

Sony DSC-RX1R III specifications PriceMSRP$5100, €4900, £4200Body typeBody typeLarge sensor compactBody materialMagnesium alloySensorMax resolution9504 x 6336Image ratio w:h1:1, 4:3, 3:2, 16:9Effective pixels60 megapixelsSensor photo detectors63 megapixelsSensor sizeFull frame (35.7 x 23.8 mm)Sensor typeBSI-CMOSProcessorBionz XRColor spacesRGB, Adobe RGB, BT.2020Color filter arrayPrimary color filterImageISOAuto, ISO 100-32000 (expands to 50-102400)Boosted ISO (minimum)50Boosted ISO (maximum)102800White balance presets9Custom white balanceYesImage stabilizationNoUncompressed formatRAWJPEG quality levelsExtra fine, fine, standard, lightFile format

• JPEG (Exif v2.31)
• HEIF (MPEG-A)
• Raw (Sony ARW v2.3)

Optics & FocusAutofocus

• Contrast Detect (sensor)
• Phase Detect
• Multi-area
• Center
• Selective single-point
• Tracking
• Single
• Continuous
• Touch
• Face Detection
• Live View

Autofocus assist lampYesDigital zoomYes (2x - 4x)Manual focusYesNumber of focus points693Lens mountSony EFocal length multiplier1×Screen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots2,359,296Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeElectronicViewfinder coverage100%Viewfinder magnification0.7×Viewfinder resolution2,359,296Photography featuresMinimum shutter speed30 secMaximum shutter speed1/4000 secMaximum shutter speed (electronic)1/8000 secExposure modes

• Program
• Aperture priority
• Shutter priority
• Manual

Built-in flashNoExternal flashYes (Multi-interface shoe / Sync socket)Flash modesFlash off, Autoflash, Fill-flash, Slow Sync., Rear Sync., Red-eye reduction, Wireless, Hi-speed sync.Flash X sync speed1/4000 secDrive modes

• Single
• Continuous (Hi+/Hi/Mid/Lo)
• Self-timer
• Bracketing (Exposure, Focus, WB, DRO)

Continuous drive5.0 fpsSelf-timerYesMetering modes

• Multi
• Center-weighted
• Highlight-weighted
• Average
• Spot

Exposure compensation±5 (at 1/3 EV, 1/2 EV steps)AE Bracketing±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)WB BracketingYesVideography featuresFormatMPEG-4, XAVC S, XAVC HS, XAVC S-I, H.264, H.265Modes

• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 23.98p, H.264
• 3840 x 2160 @ 23.98p, H.265
• 3840 x 2160 @ 23.98p, H.265
• 3840 x 2160 @ 23.98p, H.265
• 3840 x 2160 @ 23.98p, H.264
• 3840 x 2160 @ 23.98p, H.264
• 1920 x 1080 @ 60p, H.264
• 1920 x 1080 @ 30p, H.264
• 1920 x 1080 @ 24p, H.264
• 1920 x 1080 @ 120p, H.264
• 1920 x 1080 @ 120p, H.264
• 1920 x 1080 @ 60p, H.264
• 1920 x 1080 @ 60p, H.264
• 1920 x 1080 @ 60i, H.264
• 1920 x 1080 @ 30p, H.264
• 1920 x 1080 @ 30p, H.264
• 1920 x 1080 @ 25p, H.264
• 1920 x 1080 @ 24p, H.264

MicrophoneStereoSpeakerMonoStorageStorage typesUHS-II SDConnectivityUSB USB 3.2 Gen 1 (5 GBit/sec)USB chargingYes (USB PD supported)HDMIYes (Full-size HDMI)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notes802.11ac 2x2 MIMO + Bluetooth 5.0Remote controlYes (via smartphone)PhysicalEnvironmentally sealedYesBatteryBattery PackBattery descriptionNP-FW50 lithium-ion battery & chargerBattery Life (CIPA)300Weight (inc. batteries)498 g (1.10 lb / 17.57 oz)Dimensions113 x 68 x 88 mm (4.45 x 2.68 x 3.46″)Other featuresOrientation sensorYesTimelapse recordingYesGPSNone

The X half is joyously silly. But it was critical to assess it for what it is, rather than trying to review it as a photographers' compact.

We published our full review of the Fujifilm X half yesterday, and it was perhaps the hardest-to-write review I've ever worked on. There were a number of factors that made it uniquely difficult.

The first is that it's not trying to be a serious camera and it's not designed for existing photographers or their needs, particularly. So how do you assess a camera that isn't particularly aiming to be a technically great camera? Harder still, how should DPReview, a publication often known for testing and technical analysis, review a camera whose specs and performance are tangential to its appeal?

Not being serious doesn't make it immune to criticism, by any means, but it means having to focus on where it fails at what it's trying to be, not at what it isn't.

The other big issue is the price. We'd been using the camera for a while before we were told the final price, so we had a blissful period of time when we could enjoy the experience without ever having to wonder whether we'd enjoyed it enough to justify the pricetag.

But, especially in the US, where the final figure was significantly higher than many of the numbers swirling around prior to launch, you can't ignore the price. In fact, it's so jarring as to make it difficult to make sense of the X half at all.

So nearly, yet not at all

Pricing at anything near the price of an enthusiast compact muddies the waters completely. It invites comparisons that seem to make sense if you look at the sensor size and X100-like aesthetic, and squint, but that absolutely don't, once you've try using a camera.

It's been so long since anyone other than Leica launched an enthusiast compact, it's hard to know what a contemporary launch figure would be. But pitching the X half $100 higher than 2019's Stacked-sensor G7X III understandably invites comparison.

The feeds into the pent-up frustration felt by many keen photographers that no one seems to be addressing the enthusiast compact market. But no amount of wishful thinking will make the X half into that camera.

Which is why I haven't listed the lack of Raw capability as a 'Con' in the review. For my own use, I quite like the idea of an X half that could shoot Raw. Not because I think I'd get great results adding masks and adjustments, trying to optimize the output from Adobe Camera Raw, but because it would be nice to be able to switch the film simulation I'd used, after the fact.

But just because I'd like it doesn't mean I think Fujifilm should change the X half. Adding Raw wouldn't make the X half a better camera, it would just mean some enthusiast photographers would find out the hard (cash) way that the X half wasn't designed for them.

If you're already a keen photographer, how often are you really going to use the film advance lever? And if you're shooting Raw, does it matter which film sim you shoot with? Trying to use the X half as an enthusiast compact risks ignoring what makes it good and putting undue scrutiny on what it does badly.

Judged by the standards of enthusiast cameras, the X half is dreadful. It has a slow, not-wholly reliable 9-point AF system. It doesn't have the DR modes or Color Chrome effect options to create 'recipes,' it's really fiddly to tap and swipe to change most settings or adjust the shutter speed. And a 'serious' approach risks both the film advance lever and film simulation window touchscreen that define the camera being rendered vestigial.

Adding Raw wouldn't do anything to fix this, it would just send even more hopelessly mixed messages and would inevitably see the camera get an absolute kicking from people (quite reasonably) judging it for what it wasn't originally designed to be.

On its own terms

Even on its own terms, the X half is a decidedly imperfect camera. Its touchscreens aren't as responsive as they should be. The LED flash means you can't even get the 'retro' bleached-out indoor flash aesthetic that some of its users will want. The autofocus isn't as fast or reliable as you might like to think a modern camera would offer. And, again, it's really quite expensive.

But if you see its competition as the over-priced second-hand CoolPixs, PowerShots, CyberShots and Optios being dredged up on eBay, then the Fujifilm is vastly better. It's cute, to a degree that it attracts comments everywhere it goes, it's silly, gimmicky and joyous in equal measure; doubly so in Film Camera mode. And it's also meaningfully better than the other 'fun'/'retro' cameras with their smartphone sensors (but lacking the smarts) that have sprung up to cater to that audience.

Overall, the X half is a lot of fun: we came very close to giving it a Silver award

Overall, the X half is a lot of fun, and we came very close to giving it a Silver award. But the degree to which it can struggle to take photos of people (even when they're holding a pose for the camera) is a significant flaw in a camera trying to be carefree and fun. Particularly for an audience that isn't necessarily au fait with having to half-press and wait, then try to check whether the focus is on the right thing. And on a camera where, through the viewfinder, you're just having to rely on faith as to what it's focused on.

Like many of our readers, I'd love an updated enthusiast compact: a refreshed, more rugged G7 X, an RX100-like camera with better controls. But it wouldn't have been fair to review the X half on those terms, because that's not what it is. It's a camera whose 'film counter' has to wind back to zero before you can leave Film Camera mode. And I tried to review it on that basis.

Changing lenses outside can feel like a risky endeavor. After all, during the swap, your camera's interior will be exposed to the elements, potentially allowing dust, dirt or moisture to land on your sensor. Those resulting spots can be a pain to edit out, extending your editing time. It may also require a sensor cleaning session. While it may be tempting to avoid it altogether, sometimes you need a different lens, and there's no getting around the swap.

Sensor spots are unavoidable, but some simple habits can help keep your sensor as clean as possible when changing lenses. Whether you’re photographing on a rainy trail, a dusty park or a city street, the key is preparation and quick, careful action. Below, you'll find tips on changing your lenses safely, even in the great outdoors.

How to change lenses outside Keeping the lens mount pointed down will help prevent debris from getting into your camera.

First and foremost, no matter where you are changing lenses, ensure your camera is off before starting. When active, the sensor can have an electric charge, which can attract dust. Plus, some mirrorless cameras have a shutter that protects the sensor when it's turned off; you won't be taking advantage of that feature with the camera on. DSLRs offer some protection by default with the mirror, but it's still a good idea to have the camera off. Then, it's time for some preparation so the swap can be as fast as possible.

Start by preparing the lens you want to put on. Loosen the rear lens cap, but leave it covering the lens. You don't want to expose the rear element to dust or moisture, as it can transfer inside your camera and onto your sensor. Keep it easily accessible so you aren't fumbling for it when it's time to make the change. It could be sitting upright in your open camera bag, on a picnic table or a sidewalk, just so long as it's in a safe location.

Get the lens you are switching to ready by loosening the rear lens cap and having it easily accessible.

With the spare lens ready, turn the camera so the lens mount and sensor are pointing down. That way, you are using gravity to your advantage and preventing anything from falling onto the sensor. Release the lens currently on your camera and attach the other lens as quickly as possible. Finally, put the rear lens cap on the lens you removed to keep it clean.

Other considerations when changing lenses outside

While the general process of changing lenses isn't different if you're outside or inside, there are some additional considerations when outside. If it's windy out, you'll want to find a place that's somewhat protected from the wind. You could try to find a building to stand against, or even a large tree or rock. If nothing else, put your back to the wind and use your body as a shield.

The same technique applies if it's raining, though the risks are significantly higher. Only change lenses in wet environments if there's no dry place you can get to and it's absolutely unavoidable. An umbrella, poncho or rain jacket can help keep things dry while you swap lenses, but only when you have no other option.

Certain locations and environments are riskier than others, of course. Sand is extremely harsh on cameras, so it's best to limit lens changes at the beach or in other sandy locations. In such places, try to choose a versatile lens so that you don't need to swap. That's not to say you can't change lenses there; you'll just need to be extra careful, and it's best to avoid it when possible.

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All product photos: Richard Butler

The Fujifilm X half is a JPEG-only compact camera with a fixed focal length and a vertically orientated sensor, designed to mimic the experience of shooting with a half-frame film camera. It prioritizes fun over technical excellence.

Key features

• Vertical 18MP, 8.8 x 11.7mm CMOS sensor
• 32mm equiv F2.8 lens
• JPEG-only output
• 2-in-1 mode combining sequential shots into a 3:2 image
• Tunnel-style optical viewfinder
• Film Camera mode simulates the film camera experience
• 10 Film Simulations, 18 Filters
• Twin touchscreen interface
• Date stamp option
• 880 shot per charge rating when using OVF
• 'Film advance' lever
• Direct printing to Instax printers
• UHS-I SD card slot

The obvious reference point will, no doubt, be Fujifilm's own X100 series cameras, and we doubt Fujifilm will dislike the comparison, given their popularity. But, whereas the X100 cameras look a lot like miniature Leicas, the cute, boxy X half looks more like a Rollei 35.

The X half has a recommended price of $849 and is available in black, charcoal or silver. There's no obvious precedent for a camera like this and the uncertainty around the cost of importing items from China into the US makes it a little hard to make sense of, but it seems like a lot for a camera that's putting more effort into being fun than functional.

Index:

• What is it?
• Body and handling
• Image quality
• Smartphone app and connectivity
• Conclusion
• Sample gallery
• Specifications
• Press release

Buy now:

$849 at Amazon.comBuy at AdoramaBuy at B&H Photo

• May 22: Initial review published
• Jul 14: Film camera mode section amended, image quality, smartphone section and conclusion added. Sample gallery expanded.

What is it?

The Fujifilm X half is a fixed-lens camera built around an 8.8 x 11.3mm sensor. Those dimensions may not sound familiar but it's essentially a 4:3 crop from a 20MP 3:2 Type 1 sensor, turned on its side.

So, when Fujifilm talks in terms of half frame, it's talking about the 3:4 shooting experience you get from shooting half a frame of 135 film, not about mimicking the same capture area that would give.

It has a 10.8mm F2.8 prime lens, and that sensor's 2.94x crop factor means this gives a 32mm equivalent field of view and an F8.2-equiv maximum aperture.

Flicking the film advance lever just after you've taken a shot (or when you're reviewing an image in playback mode) lets you combine that shot with the next one you take.

Left image: Provia film sim | F2.8 | 1/800 sec | ISO 200
Right image: Provia film sim | F2.8 | 1/1600 sec | ISO 200
Photos: Richard Butler

You can shoot individual 3:4 vertical images, swiping on the Film Simulation window on the back of the camera to change your virtual film stock. Alternatively, if you flick the film advance lever after taking a shot, you can combine your previous and next images to create a side-by-side diptych. Both individual images are saved to the memory card, in addition to the combined version.

Film Camera mode

The X half is best understood through its Film Camera mode. Engage the mode and you'll be asked how many exposures you want on your virtual film: 36, 54 or 72. If those second two numbers look unfamiliar, remember that this is styling itself as a half-frame camera, so you can fit 72 shots on a '36 exposure' film.

"Once you start shooting, you'll have to use the film advance lever after each shot: the camera won't take another photo until you do"

When in film camera mode, you lose the live view on the back of the camera and have to compose via the optical viewfinder. You also lose the ability to swipe to change Film Simulation or filter: you're using a single roll of 'film,' after all.

And, once you start shooting, you'll have to remember to use the film advance lever after each shot: the camera won't take another photo until you do. Annoyingly there's a distinct lag after each shot before the film advance lever becomes active, so there's no point trying to develop a fast winding shooting style: the camera will ignore your input then wait for you to wind the roll on again.

The film camera mode interface is simplified, with a four-step zone focus option, if you select manual focus. Sadly the film advance lever, while feeling pretty solid, doesn't give any sense of mechancal feedback and it won't recognize your input if you try to 'wind-on' too soon after each shot.

Once you've taken all your photos, you can connect your camera to the app and transfer the photos, at which point you get to see a contact sheet and watch the images 'develop.' That contact sheet image, complete with sprocket holes, frame numbering (with the images numbered as 01, 01A, 02, 02A and so forth), can also be downloaded.

If you lose interest in a project before the end of the roll, you can double-tap the film window screen and the camera will 'rewind' the roll, leaving you with a partially-complete film strip. Fujifilm also warns that removing the memory card or the battery can result in film camera mode being abandoned.

we found the Film Camera mode to be fun, but the entertainment value waned quickly

In use we found the Film Camera mode to be fun, but the entertainment value waned quickly. 36 shots is a lot to combine as a single, cohesive project but if we were shooting over an extended period, the way you might have with real film, the temptation to swap filmstocks or regain live view so that we would tell what we were focusing on meant we abandoned most 'films,' mid-roll.

Filters and Film Simulations

One of the X half's main selling points is likely to be Fujifilm's film simulation modes, and the camera includes ten of the most popular ones.

• Provia / Standard
• Velvia / Vivid
• Astia / Soft
• Classic Chrome
• Reala ACE

• Classic Neg.
• Nostalgic Neg.
• Eterna / Cinema
• Acros (with Red, Yellow or Green filter)
• Sepia

The X half also has a range of Filter modes, including Toy Camera, Vignetting, Light Leak, Halation and Expired Film. These give more extreme looks than the film simulations, but include some fun options such as giving the expired film mode a green or red tint, or the light leak mode that applies a one of a selection red/yellow bursts across each image at random, which are only visible in the final image. Filters can't be combined with Film Simulation modes.

ISO and Autofocus

The camera's base ISO is 200 and there are three pre-defined Auto ISO settings, you choice is essentially whether the camera stops at ISO 800, 3200 or 12,800.

In terms of autofocus, you have a choice of two AF area modes: a large central point or an AF area that can be moved to one of nine positions. There are eye and face detection options on top of this, and the camera will prioritize faces in your scene, regardless of the AF position.

Autofocus is somewhat laggy and distinctly slow, though, so we found the camera to be much more dependable in AF-S mode. This is not a camera for action or moving subjects, really.

Video

The X half can shoot up to 1080/24 footage at up to 50Mbps, captured in a 3:2, 1080 x 1440 format. It can also shoot 2x slowmo footage. These video clips can be combined with still images in 2-in-1 diptychs, output as 2160 x 1440px MOV files. There's a 3.5mm-to-USB-C lead in the box, but this is for attaching headphones (?!?) rather than an external mic, as is the case on other Fujifilm models.

Body and handling

The X half is small, boxy and really rather cute: both its size and looks attract attention. It's also pretty well built. It feels like a lot of it is plastic but it's thick enough that the camera doesn't feel flimsy. It's small enough to fit in a coat pocket, despite the protruding lens.

The lens has an aperture ring around it, controllable in whole stops and with an 'A' position at one end, passing control back to the camera body. There is no other control dial on the camera, so there's no way to gain 1/3EV control of the aperture.

The camera's shutter tops out at 1/2000 sec, so in bright light you'll need to remember to stop down; especially if you're using the viewfinder, where there's nothing to indicate that your shots will be overexposed.

There's a narrow ring around the front of the lens that can be used for manual focus. The ring moves quite freely and the stepping of focus distances isn't very fine-grained, but it's there if you want it.

The lens is covered with a soft plastic lens cap. It's not the prettiest or most convenient feature, but ends up highlighting a benefit to the lens design: it doesn't change length. As such you never have to worry about stripping the gears or damaging a motor if you turn the camera on in your pocket or with the cap still attached.

The top of the camera is decidedly simple: a large exposure comp dial, that photo advance lever and an power switch, which releases the level from its stowed position. There's also a cold shoe slot in the middle of the camera. We're not really sure why.

The whimsy continues on the back, with a film-window-style rounded LCD panel that displays the currently active Film Simulation mode or Filter effect. It's a touchscreen, so you can swipe up or down to change mode (unless you're in Film Camera mode).

Next to this is the main display, a small, portrait-orientation 2.4" 640 x 480px touchscreen. In regular shooting mode this shows a live view display, just as you'd expect. Swiping your finger across the screen brings up one of four menus.

Swipe right

Swipe down

Swipe right

Swipe up

Swipe left

Swiping down gives you the choice between connecting to a smartphone and entering Film Camera mode.

Swiping right lets you select whether you're in Film Simulation or Filter mode. There are icons at the bottom of the screen to let you determine which of these modes applies to stills or video shooting. You don't select which of the simulations of filters you're using, just which mode the camera is in.

Swiping up brings up a quick menu, detailing eight of the camera's core settings:

• Exposure mode (P, S, A, M)
• Image size (L, M, S)
• Face/Eye detection setting
• Portrait enhancer

• Focus mode (MF, AF-C, AF-S)
• Self-timer (2s, 10s, Off, Continue)
• Grain (Roughness / Size)
• White balance

Finally, swiping left brings up the camera's main menu. It's a much-simplified variant of the one from other Fujifilm cameras, divided up into seven catagories: Shooting settings, Movie settings, IQ settings, AF/MF settings, Audio settings, Set up and Networking/USB settings. These catagories are navigated by swiping up and down on the film window, next to the main LCD.

The film advance lever

One of the only physical controls on the whole camera is the film advance lever. In normal camera mode its job is to engage 2-in-1 diptych mode, in Film Camera mode it acts as the film advance lever it mimics. Push the lever in towards the body in normal shooting mode and the camera will show you the last image you took, while the lever is held in. Again, we're not entirely sure why.

Battery

The X half takes the same NP-W126S battery as Fujifilm's other small cameras. It's a relatively large battery for such a small camera, making up something like 1/7th of the camera's volume. This helps power the camera to a rating of 880 shots per charge, if you use the OVF. We've not seen a figure for shooting with live view.

This is enough that you'll essentially never have to worry about charging the battery. The camera can charge over its USB-C socket, so all you need to do is remember to plug it in from time-to-time.

Image quality

This isn't the most sensible way to assess the X half's image quality, but we wanted to check how it compares to other cameras on the market. Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

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Ultimately, the X half isn't a camera where we think absolute image quality it critical to its appeal (most of its fun/retro rivals have much, much smaller sensors and consequently much noisier images with lower image quality). But it doesn't do terribly, in this regard, compared to enthusiast compacts. It doesn't pull as much detail out of its files as the likes of the Sony RX100 V. The Sony uses the full 116mm² of it Type 1 sensor, rather than the 103mm² crop used by the Fujifilm, but a 12% diffence isn't especially significant, as can been seen by looking at the high ISO images.

We'd suggest thinking about how and where you're likely to use the X half's images, then upload or output them via that medium and see how they look, rather than worrying about the nth degree of pixel-level performance. Or look at the sample gallery and ask yourself "could I have fun with that?"

Smartphone app and connectivity

One of the great paradoxes of modern compacts is that they exist as an alternative to smartphone cameras, yet need to be able to connect to them easily, and be used in conjunction with them.

The X half achieves this with its own, dedicated app. At its core, it seems to essentially be a version of the company's X app but with a simpler pairing system because there's only one model it has to know how to connect to. This means there's no ambiguity about how to pair the devices and little risk that updated to support future models will break its existing function.

The dedicated X half app lets you download images from the camera, 'process' the results of Film Camera mode or combine 2-in-1 diptychs. Click to see the full image.

Once connected, the X half app maintains a constant Bluetooth connection and is able to fire up Wi-Fi when you need to transfer images. The app itself lets you combine images into diptychs, just as the camera does, with a choice of the width, style and color of the divider between images. Unlike the camera you can also flip each image horiztonally, if that improves the composition. You can then select which images to share beyond the app, with the option to crop a central square from the each picture. It's all very straightforward.

The other function the app performs is 'processing' the output of the camera's Film Camera mode. You can't view any of the images taken in Film Camera mode until you've transfered them to the smartphone and waited for them to 'develop.' The images are then copied to your phone and seemingly deleted from the camera (though you can re-import and process the film if you wish: the images are still on your SD card, just placed in a different folder.

Finally, there's the option to connect directly to one of Fujifilm's Instax printers, which feels like one of the core ways they expect the X half to be used.

Conclusion What we like What we don't

• Stylish, fun camera
• Better image quality than most point-and-shoots
• Film simulations and filter modes make the pictures look interesting but still attractive
• Film sim 'window' touchscreen is [chef's kiss]
• Exposure comp dial gives direct access to the most important setting
• Optical viewfinder for shooting outdoors
• Good battery life
• X half app is simple and works well

• Expensive
• Touchscreens are a bit laggy
• AF is a bit slow and unreliable for people pictures or shooting in low light
• Film advance lever doesn't have any mechanical resistance
• Delay between taking a shot and the film advance lever being usable
• Viewfinder and rear screen give only a rough idea of what you're going to capture
• LED 'flash' has minimal effect

The more we use the X half, the more it confirms our initial impression: it's profoundly silly, and also a lot of fun. But absolutely inherent to its appeal is that it doesn't take itself seriously, so you shouldn't, either: doing so both misses the point and the appeal.

If you think the idea of swiping a 'film window' to select which retro filmstock the camera mimics is cute, then you're likely to be delighted by the way it takes cool-looking snaps whenever the whim takes you. If you are frustrated about its lack of Raw-shooting capability or fretting over how its images might look in a large print, you'd be better off with almost any other camera from Fujifilm's lineup.

If you look at the film window touchscreen on the back of the camera and think 'that's adorable' then the X half might be for you. If you're weighing it up against enthusiast compacts, you're barking up the wrong tree. Possibly in the wrong forest.

The X half is good-looking and handily small, making it a ready companion. It takes attractive images and has a well-judged touchscreen interface with mercifully few options to interact with. Most of the time, you'll need to set only exposure compensation and film simulation.

The Film Camera mode feels exactly like the design study that it started as: an amusing diversion that it's hard to imagine wanting to use too often, once the initial interest has waned. But if it helps inspire a photo project or two, then why not? After that, the faux film winder becomes a quick way to interact with the camera's diptych feature, which felt like something with more staying power, to us.

In purely objective terms, the X half isn't an especially good camera. The images are much better than most run-of-the-mill compact cameras, due to it having a much larger sensor, and its color rendering options are excellent, but it's not going to win any prizes if you start pixel peeping. It's also a fairly slow camera, with some touchscreen swipes being ignored and the laggy, simplistic and somewhat unreliable AF system undermining its appeal as a social camera.

It's good looking and easy to carry around with you.

The cost is also a concern. That larger sensor means it has to be more expensive than most of its 'just a bit of fun' peers, but the asking price, particularly the preemptively tariff-adjusted US one, is steep.

As a knowingly frivolous, endlessly entertaining carry-everywhere lifestyle accessory, the X half is great. And it's better than most second-hand point-and-shoots from yesteryear, in just about every respect: easier to use, more fun, better color. But the price tag requires quite a lot of commitment to the bit.

The things that makes the X half so endearing aren't the sorts of things measured by our scoring system, and trying to view it through that lens would be to take the camera (and ourselves) too seriously. Our awards, which are based on looking at the product from the perspective of the would-be buyer, still feel apt. Unfortunately, much as we enjoyed it, lack of dependability of face and eye detection detracts a little too much to let us award the camera a Silver.

Buy now:

$849 at Amazon.comBuy at AdoramaBuy at B&H Photo Sample gallery

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

On the surface, Fujifilm's recently announced X-E5 looks like a very familiar setup in a new body. Its combination of 40MP BSI CMOS sensor and processor has shown up in several previous Fujifilm cameras, such as the X-T5, X-T50, X-H2 and X100VI. Theoretically, that means it should provide very similar, but since we like to be thorough, we put a production copy in front of our test scene so we could make sure.

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

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As expected, the X-E5's Raw detail capture is identical to Fujifilm's other 40MP cameras, and it outperforms the 24MP Nikon Z5II and 26MP Sony a6700. Its images also have more detail than those from its 26MP predecessor, the X-E4.

Its base ISO noise performance is on par with the rest of the current-gen APS-C competition, and it's a bit cleaner than the X-E4; no surprise, given that its base ISO is 125 while its predecessors was 160. The full-frame Z5II, however, provides around a stop improvement in noise, which follows its increased sensor area.

These trends continue at mid to high ISOs, and the X-E5's lead in detail slips away past around ISO 1600.

The camera's JPEG engine isn't quite as good as its competitors at emphasizing fine details, even at base ISOs, so its lead isn't as apparent as it is in Raw. However, it continues Fujifilm's tradition of offering pleasing colors and does a decent job of retaining details even while reducing noise at higher ISOs, though its performance does suffer a bit in low-contrast areas.

Dynamic Range

This sensor has always offered excellent dynamic range with low read noise, and it's no different in the X-E5.

Exposure Latitude | ISO Invariance

This means it offers plenty of room to bring up shadows in post, so you can make the most of its maximum dynamic range at base ISO. Its design also lets you choose to extend dynamic range when shooting in low-light scenes, as long as you're willing to use a lower ISO to reduce blown highlights.

As expected, the X-E5 doesn't offer anything new in terms of image quality, though that's not necessarily a bad thing. Fujifilm's current generation of cameras have long been strong contenders in that department, and if you're trying to decide between them you only have to consider form factor and feature sets. If you don't prefer the rangefinder-styling, you're not giving up image quality by going with an X-T50 or X-T5 instead.

One of the great things about photography is how diverse the medium is. There are countless subjects and genres to focus on, offering opportunities for everyone to create images with their unique perspective. That's no different here at DPReview. Our photographic experiences and styles vary greatly, with each of using finding photography in different ways. We've previously shared what gear we take when traveling, but today, we're giving you a look into the genres and subjects that drive each of us.

Mitchell Clark

Someone didn't read the sign.

Photo: Mitchell Clark

I'm not entirely sure what to call my favorite genre of photography, but I always love capturing things that are out of place or in some other way ironic. Think a "no graffiti" sign in front of a thoroughly tagged wall, a drinking cup precariously perched on a piece of architecture or a machine that's obviously malfunctioned.* Essentially, it's anything that makes you tilt your head and go "huh!"

Graffiti and a piece of electrical equipment? My lucky day.

Photo: Mitchell Clark

A close second: infrastructure. High-tension power lines are one of my favorite subjects for reasons unknowable even to myself, but I'm also fond of capturing pipes, wires, pumps, junction boxes and the million other often-overlooked pieces of equipment that help our world run the way it does.

* Of particular interest: public displays or checkout stands whose computers have obviously crashed.

Richard Butler

My first 'ask someone if I can take their photo' portrait.

Photo: Richard Butler

The need to constantly shoot images for galleries means it's difficult to find the time to develop any sort of specialism. I never know what sort of camera or lens I'll be using next, so it's hard to focus on one particular style, genre or technique. However, I have developed a real enthusiasm for everyday portraits. It started with a camera launch in New York, during which I had a couple of hours to shoot as varied a gallery as possible. Eventually, I plucked up the courage to ask a stranger if they'd mind me taking their photo and, amazingly, they said yes.

Photo: Richard Butler

I still have an awful lot to learn and am always looking for an opportunity to practice, but I love the fact that a lot of portraiture has nothing at all to do with gear or technical knowledge: it's about your interaction with the subject. I was first drawn to photography because it combined the technical, which I can just learn with the aesthetic, where there's always room to improve. Ad hoc portraiture is a great example of that, and there's nothing more satisfying than a subject you don't know emailing you back to say that they like the shot you took.

Matt Waller Photo: Matt Waller

My love of photography started late in life, meaning I'm still in the phase of bouncing around and trying different genres. But the main driver for me has been black-and-white street photography. Certainly, this has taken my wandering feet to far-flung cities and even a couple of workshops (which incidentally I recommend as a great way to explore a city and meet like-minded souls).

At home in Seattle, my work for DPReview is part-time, and my second job, in a downtown skyscraper office, led me to find a weird street photography outlet of taking telephoto shots downward of roofs, streets and alleys. Is this a sub-genre? Do any other frustrated office-bound photographers do this?

Photo: Matt Waller

Speaking of my telephoto lens, I've put it to more traditional use by dabbling in bird photography. I find this a great way to get out into nature and a fun (and very challenging) form of photography.

Finally, in the last few years, I've started doing some corporate event photography. Though this obviously has "third job" potential, I think I want to keep my photography on the amateur side – so I can keep bouncing around and trying different genres!

Dale Baskin

The aurora borealis reflects off a lake in Canada's Northwest Territories.

Photo: Dale Baskin

As a photographer, I've captured nearly everything under the sun, but my favorite subject reveals itself at night: the aurora borealis. I've been photographing the aurora from northern latitudes for over a decade, and I never tire of seeing Mother Nature's own fireworks. The sheer variety of shapes, patterns and colors never ceases to amaze me. There's only one thing I love more than shooting the aurora: taking other photographers on the adventure and teaching them how to shoot it, too.

While the northern lights are a passion of mine, I've recently been drawn to photographing something entirely different: rodeo. I'll let you in on a little secret – getting good photos of riders in a rodeo arena isn't that hard. With a fast telephoto lens, a camera with a fast burst rate and a clear sightline, you're bound to get some keepers.

A cowboy tries to mount a restless bronco at a small town rodeo in western Montana.

Photo: Dale Baskin

However, I quickly discovered that the real story of rodeo isn't in the center of the arena, but in places that spectators don't usually get to see. So instead, I started using a wide-angle lens, working behind the scenes to capture the soul of the rodeo, like riders prepping for their events, rodeo clowns applying makeup or cowboys just hanging out and trading stories.

However, my favorite place to shoot is right up against the chutes, the small pens where riders saddle up for their eight seconds of insanity. Working just inches from a snorting bull or a kicking bronco, you feel a sense of raw power, and the explosion of energy as a rider bursts out of the gate can almost knock you off your feet. It's the most intense, adrenaline-pumping photography I've ever done. And I'm absolutely hooked.

Abby Ferguson

My graduate thesis involved multiple exposure images of staged still life scenes. These were then printed on transparency film and either mounted to plexiglass or suspended from the ceiling on red string.

Photo: Abby Ferguson

If you had asked me this question a few years ago, I would have been able to answer easily. Yes, like most photographers, I've shot a wide range of genres. However, for a very long time, I focused my personal work on conceptual still life imagery, either found or staged. My graduate thesis was entirely still life related, and that subject, along with light and shadow, remained important to me for a long time.

Lately, though, I've been going through a bit of a crisis with my photography, and identifying a clear genre is more difficult. I haven't been photographing many formal still life scenes, partly due to space constraints, partly due to motivation. My conceptual work has also largely fallen by the wayside (though I've had the itch to pick it back up). Instead, my photography has been a lot less focused on one specific area as of late.

Photo: Abby Ferguson

Light and shadow remain favorite subjects though. I love capturing unique natural light on small, often overlooked details no matter the genre. If those details are broken things, like shattered glass or a rundown building, even better. So while I don't necessarily find myself gravitating towards a clear, well-defined genre these days, I do still see a consistent thread throughout much of my work.

Photo: Abby Ferguson

Photographers are often told that they need a specialized camera bag to carry their gear. There's certainly no shortage of options these days, with a long list of brands and styles available. And while it's important to keep your expensive camera gear safe even when out and about, a dedicated camera bag isn't necessarily the only way to do that.

Can you put a camera in a backpack?

A camera insert can allow you to use any backpack as a camera bag.

Photo: Abby Ferguson

Simply put, a dedicated camera bag isn't necessary for many people and situations. They are often bulky and heavy. They typically don't work well if you need to bring a lot of things other than camera gear, making them challenging to travel with. They can also be conspicuous, raising the risk of theft. Plus, it can be hard to get the fit right, and spending a lot of money on a bag just to avoid using it because it's uncomfortable is far from ideal.

Most people already have a backpack or bag that they like carrying around, and may have occasionally even used it to carry cameras that have been carefully wrapped in a jacket or other articles of clothing. While we wouldn't recommend that too often, and would strongly advise against just tossing your camera loose inside a pack, the bag you already have could serve your camera bag needs with a simple accessory. Instead of buying a new bag that can only be used with your cameras, you could buy a much more affordable camera insert that goes inside your favorite pack.

Many companies, including Peak Design, Wandrd, Lowepro, and more, make padded inserts allowing you to safely store your camera in any bag. They are easy to move around to different bags as needed, giving you much more flexibility. Plus, you can take it out and use your backpack or bag without any camera gear. Just be sure you aren't packing the insert at the bottom of your bag with a lot of weight on top; they offer padding for protection, but aren't crushproof.

For casual outings when I'm traveling light, a small sling is plenty for my camera.

Photo: Abby Ferguson

If you only have a small compact camera, an insert is likely more than you need. As long as you carefully consider where you are packing your camera in your bag, you should be okay without a specific case. Just ensure it won't have too much weight on it and that it won't get hit when setting the bag down or moving around.

When should you use a dedicated camera bag?

For lots of gear, a dedicated camera bag or case is often a must.

Photo: Abby Ferguson

Inserts in everyday bags work well for many people, but a dedicated camera bag is a smart move for some. Wedding and event photographers who need multiple bodies and a full kit of lenses, for example, should invest in a camera bag. After all, inserts are generally smaller and not made to handle a lot of gear.

All that gear will also be heavy, and you want a pack that will allow you to distribute the weight well, saving your back over time. Camera backpacks are typically made with that weight in mind (the good ones, at least), making them more comfortable when loaded up. That is especially useful if you'll be wearing the bag for long periods, too.

If you're a professional photographer, you likely need plenty of accessories when you head to shoots as well. You need to find a home for things like extra batteries, filters, a cleaning kit, flash and, of course, snacks. Camera backpacks often have better organization options than standard packs, helping you keep all your gear organized and easy to find.

The back panel on this bag provides faster access to my camera than a typical backpack with an insert would.

Photo: Abby Ferguson

Many dedicated camera bags have another advantage over regular bags with inserts: quick access. An insert inside a bag requires you to take the bag off your back and open two things, potentially with some digging involved. Dedicated camera bags, though, typically make it easier to access your gear fast. Some even offer side access to get your camera out without even taking the pack off. So, if you need to keep your camera tucked away but still have easy access, a dedicated camera bag is the way to go.

Consider how you'll be using the bag

Whether or not you need a dedicated camera bag depends on your gear, where you'll be using it and your preferences. For travel and casual day trips, a camera insert in a normal backpack is likely a good move. However, a dedicated, well-designed camera bag will make a significant difference in comfort and organization for those carrying a lot of equipment, especially for long periods.

Larval smooth angler fish.

Photo: Ryo Minemizu

Underwater photography is a challenging genre to tackle. But the complexity is significantly amplified when you add subjects that are only a few millimeters large, and pitch-black nighttime conditions. Yet that's exactly what photographer and diver Ryo Minemizu is doing with his nighttime dives, also called blackwater dives. Minemizu took the time to answer some questions while on a sailboat in the Pacific Ocean, providing insight into how he captures incredibly unique creatures in the ocean.

When Minemizu started taking photographs while diving, he simply wanted to capture beautiful underwater landscapes and life forms easily visible to the naked eye. Eventually, though, he became more interested in what wasn't obvious, seeking out things that were often overlooked and fleeting moments that didn't get attention. "I was drawn not only to their beauty, but also to the strength and skill required for survival, and the deep significance of life itself," he said.

Polka dot ribbon fish.

Photo: Ryo Minemizu

To find those fleeting moments, Minemizu has to dive in locations and times when most aren't venturing into the sea. Night dives opened up a new perspective, allowing him to capture creatures in, quite literally, new light. Minemizu also decided to focus on creatures that don't typically get attention. But that makes for tricky photographic scenarios. "Blackwater dive photography is arguably one of the most challenging and relatively new frontiers in the world of underwater macro photography," he said.

"Blackwater dive photography is arguably one of the most challenging and relatively new frontiers in the world of underwater macro photography"

The dark conditions are perhaps the most obvious challenge. Minemizu says that for blackwater dives, a rope with multiple lights attached is suspended beneath a buoy, but its main purpose is safety-related, not for photography. In fact, "lights suspended from the buoy should be as dim as possible to avoid any negative impact on the natural environment," he explains. Instead, he said that divers mainly search for subjects in complete darkness, only using handheld underwater lights as they find them.

A string of lights hangs from a buoy, but only for safety reasons.

Photo: Ryo Minemizu

When it is time to light up a subject, Minemizu relies on five lights: two Marelux Apollo III 2.0 strobes for ultra-high-speed flash photography, two RGBlue (Super Natural Color) lights with high color rendering for use as target lights and for video recording in the dark ocean, and one INON LE-250 light used to illuminate subjects that exhibit phototaxis (when an organism moves in response to light). He uses the maximum flash sync speed to freeze movement, since the tiny creatures are constantly in motion. But it's not a set it and forget it situation. "Both the exposure and flash intensity are manually adjusted on site to suit the transparency of each subject," he explains.

While light is necessary in pitch-dark conditions, it can also have negative impacts. "Each subject has its own unique characteristics and behaviors," Minemizu explained. "For example, some would close their fins and begin to swim away the moment a light is pointed at them or quickly vanish into the darkness." As a result, he has to anticipate the subject's next move, rapidly assess how it will react to light and how it might behave, and make on-the-spot decisions about lighting. "This involves choosing the right color tone, the best angle for illumination and the appropriate light intensity," he said.

The size of his subjects is another significant challenge. Minemizu is primarily focused on photographing plankton, fish larvae and other minuscule creatures that only measure a few millimeters to a few centimeters. To show them at a large enough scale, Minemizu has to get very close to them. But the water between the lens and the subject adds more complexity. "Even small currents created during movement can disturb the subject’s posture, especially when operating near the minimum focusing distance," he explained.

Zoea larva of the scarlet shrimp.

Photo: Ryo Minemizu

The constant motion also makes it difficult to find and track subjects. "One of the most important tasks is to find the subject through the viewfinder and keep track of it without losing sight," Minemizu said. To help with that, he explains that a standard macro lens with a shorter focal length (around a 50 to 60mm equiv lens) is more effective than longer lenses. Focus is also a unique challenge. Keeping an animal's eye in focus while it moves around on dry land can be difficult, but imagine keeping that critical focus on a tiny subject floating around in the dark while underwater. After all, both Minemizu and the subject are moving in the current, so he only gets a brief window to engage.

Naturally, there's the gear component to consider as well. Minemizu uses Nauticam housing and the Canon EOS R5 with the EF-EOS R converter. For lenses, he sticks with the EF-S 35mm F2.8 Macro IS STM and EF-S 60mm F2.8 Macro USM lenses. He's opted for APS-C lenses because the equivalent focal lengths are ideal for his subject matter, especially the 35mm lens. He says he's eagerly awaiting an "RF-mount standard macro lens that fully takes advantage of a full-frame sensor’s capabilities," however.

Minemizu's setup weighs 14kg (31lbs), but is perfectly balanced for working underwater.

Photo: Minemizu

Minemizu says that on land, his setup weighs 14 kilograms (about 31 pounds). To manage that heft underwater, he adjusts the balance and weight using float arms so the camera is perfectly level and neutrally buoyant, meaning it isn't sinking or floating. Those float arms are attached to the top and bottom, making it easier to rotate the camera vertically.

Beyond all the technical challenges, blackwater dives introduce physical risk. For safety reasons, Minemizu says he limits his dives to 25 meters (82') at night, though most are between 10 and 20 meters (32.8 to 65.6'). Occasionally, the subject he's photographing will begin to descend to deeper water, and he'll need to decide whether to follow or not. "Following it too far can become dangerous," he said. "In such cases, I need to maintain discipline and accept that there are moments I must let go."

Larval margined flying fish.

Photo: Ryo Minemizu

While Minemizu's images are beautiful, they also contribute to science. Some of the subjects he's photographed are entirely new scientific observations. "In order to recognize such cases on the spot, it is essential for me to have a broad knowledge of plankton, acquired through my own study," said Minemizu. He is working in collaboration with scientists from the Smithsonian Institution and conducting joint studies with universities and specialists studying jellyfish, cephalopod larvae, crustacean larvae and the larvae of various other invertebrates.

You can see more of Minemizu's incredible images on his website.

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With the S1II, Panasonic continues the tradition of offering "open gate" recording that uses the entire sensor area, which, like with the S5II, produces a roughly 6K 3:2 image (though the S1II's rolling shutter is substantially faster). This mode provides great levels of detail and more flexibility in post; if you're working on a 4K timeline, you have a fair amount of room to reframe a shot, and you can use the same footage for both landscape and vertical output.

The camera also has a 5.1K open gate mode with a little less resolution and detail. That cuts down on its flexibility, but allows for a first for full-frame Lumix cameras: open gate recording at 60p. The 5.1K 24p and 60p modes apparently have the same level of detail.

The camera's 4K modes are all oversampled from 6K capture, and have similar levels of detail to those of competitors like the Z6III and EOS R6 II, even at up to 60p. The S1II can't quite manage full-width 4K 120p, but the mode only requires a 1.24x crop, rather than a 1.5x crop like with the Z6III. So while there's some reduction in detail compared to the slower framerates, it does capture a tad more detail than the Nikon, and will come with a smaller change to your field of view.

If you don't prefer oversampling, the S1II also offers a 16:9 5.9K capture mode and a 1.89:1 5.8K capture mode, both of which are available at up to 60p. The extra resolution offers a bit more detail and more flexibility in post, though not quite as much as the 6K open-gate mode.

Raw video

Like the S1RII, the S1II can record ProRes Raw internally, capturing a native 5.8K region of the sensor at up to 30p, or a native DCI 4K region at up to 60p. This mode may be useful for those on professional shoots that need the utmost control over their footage, but for reasons we explained in the S1RII writeup, Raw video isn't something that most shooters will likely find useful. In short, it doesn't offer the same benefits that stills shooters expect from Raw images versus JPEG ones, and it will require a lot of post-processing work, especially if you're using modern mirrorless lenses that have geometric distortion correction as part of their optical formula, as Panasonic's implementation of ProRes Raw doesn't embed them.

The S1II is absolutely bursting with video modes, so this overview is far from comprehensive. Our chart detailing them in our initial review covers 166 different options, and it isn't even a complete list of all the configurations you can have. However, our testing shows that it's very capable of producing high-quality footage, even at fast framerates. Combine that with all the video assistance features that Panasonic includes, and it's one of the most flexible hybrid shooters we've seen.

This video is part of our Intro to Photography series, where we break down some of the fundamental concepts of the image-making process. You can find a written version below.

What is shutter speed?

Shutter speed, along with aperture value, is one of the fundamental properties of exposure: ie, how much light your camera gets exposed to. A faster shutter speed helps freeze action, whereas a slower one lets in more light but can result in blurred movement.

How do I choose my shutter speed?

There are two important factors to consider when choosing a shutter speed: how fast is my subject moving? And if that's not a concern, how steadily can I hold the camera?

For sports and action, you'll need a very high shutter speed. For portraits of a subject who's posing, you can get away with something much slower, but in low light, there'll be a limit to how long you can hold the camera without shaking it, even if your camera or lens has image stabilization.

Left: a photo shot at a 30-second shutter speed. Right: a photo shot at a 1/1600 shutter speed

Working at the other extreme, long exposures can give some interesting creative effects: blurring the motion of crowds or traffic, or conveying a flowing effect with water, rather than freezing its movement.

Much of the time, you're more likely to want to set your shutter speed (or let your camera set the shutter speed) in response to your choice of aperture value and the light level in your scene.

We'll be continuing this series with more discussions on the fundamentals of exposure and photography. Check back soon for links to more entries!

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With the release of the S1II, Panasonic became the second company to market a camera with a "Partially Stacked" sensor, which uses more sophisticated readout circuits to get data off the sensor faster than possible with existing BSI designs. (Though not nearly as fast as fully Stacked designs allow.) We've had the chance to put it in front of our studio test scene to see how it performs in terms of image quality and dynamic range.

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

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The S1II performs well at shooting our test scene, providing great image quality. Looking at base ISO Raws, the S1II captures similar levels of detail as the other 24MP full-frame cameras on the market*, though Panasonic's JPEG engine doesn't seem to get rid of quite as much moiré artefacting as Nikon or Canon's.

Speaking of that JPEG engine, we've been pleased with Panasonic's colors for a while now, and the S1II is no exception; like the rest of its competition and the company's previous cameras, its colors are solid.

At mid ISOs to high ISOs the S1II's noise levels are competitive. Its JPEG engine does an admirable job of reducing noise while still retaining detail.

* The S1II's price puts it in competition with much slower, but higher-resolution cameras like the Sony a7CR and Panasonic's own S1RII; if you care more about image quality than speed, that's worth noting.

Dynamic Range

The S1II provides a good amount of dynamic range, giving you room to pull your shadows up without the detail being overwhelmed by noise. However, given the lack of chroma noise visible in our tests, it seems like there may be some noise reduction going on, either in ACR or in-camera. Either way, there's plenty to be squeezed out of the files, with no nasty surprises, though you will see the effects of a little extra read noise if you're shooting at base ISO to maximize dynamic range.

Exposure Latitude | ISO Invariance

This is still a relatively new sensor, but it seems like Panasonic is getting a lot out of it. The S1II's image quality is very similar to other 24MP full-frame cameras with much slower burst rates and less capable video specs. Speaking of, be sure to stay tuned: tomorrow we'll be taking a look at video stills from the S1II.