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As part of DPReview's 25th anniversary celebration, we're looking back at some of the more significant cameras to come along over the past 25 years, and today, we're highlighting the camera that led the 4K revolution in consumer cameras: the Panasonic GH4. Officially announced in early 2014, we published our GH4 review on October 16, 2014 – ten years ago today.

We've all become so used to 4K video that it no longer registers as unique. It's found on virtually every mirrorless camera made today, smartphones, action cameras, miniature gimbal cameras, webcams, security cameras, and even those wacky $100 'pro' video cameras you see on Amazon and wonder who buys them.

But, of course, it wasn't always that way, and we have the GH4 – the first mirrorless camera to capture 4K video internally – to thank for opening the metaphorical floodgates and ushering in the 4K era.

I had a personal interest in the GH4: as someone who had adopted the GH line early on for video projects, I was as curious as anyone to know how it stacked up. Although I was on staff at DPReview, I wasn't involved in writing the GH4 review and probably read it with as much anticipation as anyone else.

Photo: DPReview staff

It's worth remembering that the GH4 was a hybrid camera designed to appeal to both stills and video shooters, and it had features to appeal to those who wanted to do both. Like the GH3, the camera was built around a 16MP sensor, but it supported 12fps burst shooting (7.5fps with focus tracking), a 1/8000 shutter speed and 1/250th flash sync. It even had a rather lovely 2.36M-dot OLED viewfinder.

But realistically, nobody was buying a GH4 just to shoot stills. You bought it because you wanted a solid video camera that could shoot stills when needed.

"Realistically, nobody was buying a GH4 just to shoot stills."

The GH4 could capture 4K video at up to UHD 4K/30p (3840x2160) or DCI 4K/24p (4096x2160) internally and supported both Long GOP and All-I codecs at bit rates up to 200Mbps. Although we take bit rates like this for granted today, this was very high at the time. The camera also produced pleasing 1080p video, though as we called out in our review, its HD video wasn't as good as the perfectly oversampled 1080p video from the Sony a7s.

Despite the impressive specs and beautiful video to match, we had some nitpicks. To start, 4K video captured internally only had 8-bit 4:2:0 color, providing less flexibility for color grading in post. (10-bit 4:2:2 color was supported, but only when recording externally.) Additionally, the GH4's sensor was 4608 pixels wide, requiring the camera to use a smaller, native crop of the sensor when shooting 4K. This resulted in a 1.1x crop for DCI 4K and a 1.2x crop for UHD 4K.

Equally as crucial as its video specs, the GH4 illustrated Panasonic's commitment to supporting a professional video workflow.

The camera included several now-common tools to improve the video shooting experience, including focus peaking, two zebra settings, control over Master Pedestal (black level) and luminance scale, and a 'cinema-like' gamma preset. It also allowed users to set the shutter speed and ISO as shutter angle and gain and could generate color bars for calibration. It was also possible to switch between capture frequencies, meaning the camera could support NTSC, PAL, and true 24fps cinema standards.

"Equally as crucial as its video specs, the GH4 illustrated Panasonic's commitment to supporting a professional video workflow."

Alongside the camera, Panasonic released the optional DMW-YAGH interface unit. This $1999 accessory unit added two XLR inputs for audio, an SDI input for timecode, four 3D-SDI connectors capable of outputting 4:2:2 10-bit video and a 12V DC power socket. The unit attached to the bottom of the GH4 and felt oversized relative to the camera. Beginning with the GH5, the interface unit was phased out in favor of the DMW-XLR1, a much more affordable option in the style of the hotshoe-mounted XLR adapter we've become accustomed to today.

The GH4 was also the camera Panasonic used to debut its newest autofocus technology: Depth-from-Defocus, or DFD. DFD attempted to build a depth map of a scene by making tiny focus adjustments and analyzing changes in the image. With an understanding of the out-of-focus characteristics of a particular lens, the camera could build a depth map of the scene.

The optional DMW-YAGH 'Interface Unit' provided a more extensive selection of video industry connectors for using the GH4 as part of a high-end video rig.

However promising the technology may have been, DFD never quite met expectations. Panasonic really wanted to make it work, and it's possible that, given fast enough sampling and processing, it might have continued to improve. Unfortunately for Panasonic, cameras using phase-detect autofocus consistently provided a better AF experience, particularly when shooting video, and the company eventually made the jump to phase-detection with the Lumix S5II in 2023, finally arriving in the GH series on the GH7 in 2024.

In our review of the GH4, we found a lot to like and a few frustrations. For example, despite having an autoexposure compensation dial, the camera didn't allow you to use it when using Auto ISO in manual exposure mode, and there was no Auto ISO option when shooting video in M mode. Overall, though, we were mighty impressed and saved our biggest praise for the camera's video capabilities:

"The GH4 was also the camera Panasonic used to debut its newest autofocus technology: Depth-from-Defocus, or DFD."

"It's in terms of video that the GH4 really stands out. It produces some of the best video we've yet seen - losing out only to the Sony a7S's moiré-free 1080 output. The ability to capture good quality 4K, whether for use at full resolution, downsampling to 1080 or cropping to 1080, adds real flexibility to the camera. Low light performance is solid if not exceptional," we concluded.

The GH4 landed in the retail market at a price of $1699, or about $2260 today adjusted for inflation, which isn't far off the $2199 price of the GH7. It's amazing to think about how expectations for video have changed over the years. However, the GH7 has its work cut out for it: rather than being an obvious standout in the crowd, it has to compete in a marketplace of cameras brimming with video features. Maybe in another ten years, we'll look back to see how it held up.

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The Fujifilm X-M5 is the company's latest APS-C mirrorless camera. Although it comes in at the budget end of the spectrum and is aimed at vloggers, it's also a great compact camera for still photography.

The X-M5 uses Fujifilm's previous generation 26MP X-Trans sensor – which is a good thing. That's the same sensor found inside cameras like the X100V, X-T4, and the X-Pro3, all cameras capable of delivering excellent image quality. Unlike some compact models and vlog cameras, it also includes twin control dials for easy operation and a fully mechanical shutter.

Our sample gallery includes photos shot with several lenses, including the camera's XC 15-45mm F3.5-5.6 OIS PZ kit lens. Take a look and let us know what you think.

Click here to see our Fujifilm X-M5 sample gallery

Buy now:

$799 at B&H Photo$899 w/ 15-45 at Amazon.com$799 at Adorama

Photo: DJI

DJI has announced the Air 3S, an update to its existing dual-camera Air 3 model that upgrades the primary camera to a larger Type 1 sensor and adds features that promise to make the drone easier to operate at night. DJI is positioning the Air 3S as "perfect for travel photography."

The main camera on the Air 3S gains a 50MP Type 1 (13.2 x 8.8mm) CMOS sensor and features a 24mm equiv. F1.8 lens. That's an upgrade from its predecessor, which utilized a smaller Type 1/1.3 (4.8 x 3.6mm) CMOS sensor with a marginally faster F1.7 lens. The telephoto camera remains unchanged between the two models, using a 48MP Type 1/1.3 sensor and featuring a 70mm equiv. F2.8 lens.

In addition to stills, both cameras can capture up to 4K/120p or 4K/60p when shooting HDR. All video can be captured in 10-bit, even in regular color mode, and D-Log M and HLG modes are available. The maximum ISO has been raised to 12,800 (3200 when shooting D-Log M). However, DJI says the Air 3S includes a new, more advanced video encoding algorithm that reduces video file size by over 30% without compromising image quality.

Buy now:

$1599 Fly More Combo (RC 2 controller) at DJI$1599 Fly More Combo (RC 2 controller) at B&H Photo

DJI claims both cameras can capture up to 14 stops of dynamic range and says the new main camera should capture even more detail than the camera on its more expensive Mavic 3 Pro model.

The DJI Air 3S is similar to its predecessor, the Air 3, but it gains a larger Type 1 (13.2 x 8.8mm) CMOS sensor on its main camera.

Image: DJI

Beyond the cameras, DJI has added several appealing features to the Air 3S:

A new Free Panorama mode enables users to create panoramic shots by stitching together images across a manually selected subject area. This works with either camera, but DJI suggests the best results will come from using the telephoto camera, which reduces distortion.

The Air 3S also includes features designed to make it easier and safer to fly at night, including Nightscape Obstacle Sensing, with the Air 3S becoming the first DJI drone to feature forward-facing LiDAR. Additionally, the drone includes downward-facing infrared sensors and six vision sensors (two each at the front, rear and bottom). According to DJI, this combination of sensors provides the Air 3S with "nightscape omnidirectional obstacle sensing," which should allow the drone to automatically identify and navigate around obstacles for safer nighttime photography.

This technology also enables DJI's next-gen Smart RTH (return-to-home) feature, intended to allow the drone to return safely to its takeoff location, even at night.

The Air 3S is available with either DJI's RC-N3 controller, which requires a smartphone to monitor the camera feed and aircraft status, or the RC 2 controller (above), which includes a built-in 700-nit 5.5" 1080 screen.

Image: DJI

The Air 3S also includes real-time vision positioning and map construction technology, designed to allow the drone to memorize a flight path and to return safely when adequate light is available, even in areas without satellite coverage.

The new model also features DJI's ActiveTrack 360 subject tracking but introduces a new subject focusing feature designed to keep a subject in sharp focus, even during manual flight or when a subject moves off-center. This should allow a pilot to focus on creative decisions like composition or camera movement while ActiveTrack keeps the subject in focus.

There are a few hardware specs worth noting as well. The Air 3S weighs 724g (1.6 lbs), just 4g more than its predecessor, and is rated for 45 minutes of flight time. It includes DJI's O4 video transmission system that transmits 10-bit video at up to 1080/60p and 42GB of built-in storage. A new Off-state Quick Transfer feature allows files to be transferred from the drone to a smartphone or a computer even when powered off.

Finally, for the privacy-conscious, a new Local Data mode completely disconnects the drone from the internet, ensuring that all data stays only on the device. DJI likens this mode to airplane mode on a smartphone.

The Air 3S is available in several packages. The Fly More combo shown above includes the RC 2 controller, ND filter set, two additional batteries (for a total of three), a charging hub, extra props and a shoulder bag, will retail for $1599.

Image: DJI

The charging hub that ships with the Air 3S supports PD fast charging and features a power accumulation function. It allows users to transfer the remaining power from several depleted batteries into the battery with the most remaining power – something anyone who has had to use drones in remote locations without a charging station is likely to appreciate.

Price and availability

The DJI Air 3S is available for purchase in several configurations: the drone with the RC-N3 controller, which requires a smartphone to monitor the camera feed and flight status, will retail for $1099. A Fly More combo with the RC-N3 controller, ND filter set, two additional batteries, a battery charging hub and shoulder back will retail for $1399. Finally, a Fly More combo with DJI's RC 2 controller, which includes a built-in 700-nit 5.5" 1080p screen, ND filter set, two additional batteries, charging hub and shoulder pack, will retail for $1599.

Buy now:

$1599 Fly More Combo (RC 2 controller) at DJI$1599 Fly More Combo (RC 2 controller) at B&H Photo

This teaser image, released by Canon, shows its existing RF L-series lenses, the RF 24-105mm F2.8 L IS USM Z and the RF 35mm F1.4 L VCM alongside three new mystery lenses.

Image: Canon

Canon has announced plans to introduce new lenses to its hybrid RF-L series on October 30. No additional details were provided.

However, a teaser photo released with the announcement offers some hints. It shows five lenses, including the two previously announced RF L-series lenses: the RF 24-105mm F2.8 L IS USM Z, a fast wide to moderate telephoto zoom, and the RF 35mm F1.4 L VCM prime lens. The implication is that we can expect to see three new lenses, possibly a zoom and a couple of smaller primes.

The RF 24-105mm F2.8 L IS USM Z was the first lens in Canon's RF L series of hybrid lenses. Unlike any EF or RF lens before it, it includes a manual aperture ring.

Image: Canon

According to Canon, its RF L-series of lenses are designed to meet the needs of both still photographers and video shooters, borrowing design elements from both its existing RF lenses as well as technology from the company's broadcast and cinema lenses.

Previously announced RF L lenses include manual aperture rings, something that hadn't previously appeared on Canon EF or RF lenses, and include support for stepless aperture control, a feature desired by filmmakers. The lenses are also designed to minimize focus breathing.

We'll hold our breath until Canon provides more details at the end of the month.

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Yesterday, Fujifilm announced a new version of its XF 16-55 F2.8 R LM WR lens, which is substantially smaller and lighter than the original. The size is what convinced our editor, Richard Butler, to take it with him on his vacation to the UK, and he has kindly sent back sample images that he took using it.

The lens is in the same class as full-frame 24-70 lenses, though it provides slightly more reach on the long end, around 82mm equiv. with the 1.5x crop on APS-C systems.

Click here to see the sample gallery

Buy now:

$1199 at B&H Photo$1199 at Adorama

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

One of the announcements to quietly sneak out of Adobe's annual MAX conference this week in Miami comes from Nikon, which announced that it is currently developing firmware to add a feature called Content Credentials, which is based on the standards developed by the Coalition for Content Provenance and Authenticity (C2PA), to the Z6III mirrorless camera.

"Nikon is committed to developing solutions, including compliance with C2PA standards, with the goal of protecting individuals and enterprises in the imaging industry, and ultimately society, from any unfavorable results caused by fake images and/or unauthorized use of images," states the company's official press release. "Our aim is to implement a mechanism that preserves original, unaltered image data recorded using the camera, making it easier to verify the authenticity of images and protect the rights of photographers."

Nikon has been working on content authenticity since at least 2022, revealing earlier this year that it's working with Agence France-Presse (AFP) to test a digital watermark function as an additional layer to the C2PA digital signature. Nikon also reiterated the importance of content authenticity when DPReview visited Nikon headquarters for an interview in February in which we discussed the challenges of generative AI.

In an interview at Nikon's headquarters in Tokyo earlier this year, Yusuke Adachi, an executive from Nikon's Imaging Business Unit, reiterated the importance of having a system to validate the authenticity of images.

Photo: Dale Baskin

"We believe that generative AI can leave a positive impact on both cameras and the industry as a whole, but at the same time, it’s been causing issues such as fake images or fraudulent use of images, which leads to the issue of credibility and confidence," Yusuke Adachi, an executive from Nikon's Imaging Business Unit, told us. "In order to grapple with these issues, we’ve been working on technology to record histories of captured images. Right now, we’re in the demonstration phase to verify and validate the efficacy of these functions we’re trying to deploy together with AFP (Agence France-Presse)."

According to Nikon, the firmware currently under development for the Z6III should reflect the results of testing the system's practicality as part of a news agency workflow and is expected to be released to some news and other agencies in mid-2025. Nikon did not indicate when these features may be available to non-agency photographers.

Buy now:

$2496 at Amazon.com$2497 at B&H Photo$2497 at Adorama

Image: DXO

DxO has announced ViewPoint 5, a new version of its geometry correction and editing software that's meant to help correct optical distortion or adjust perspective for artistic effect. Most of the changes revolve around the ReShape Fusion control introduced in the previous version, giving users more options when adjusting perspective or geometry in their images.

In ViewPoint 4, the ReShape Fusion tool let you manually drag points in a mesh to adjust a photo's geometry. The new version adds a free transform mode, which lets you move, rotate, or scale certain parts of your image. It also now has a 'propagation' slider, which is somewhat analogous to the feather tool in other editing software; it lets you control how much your edits in one area of the image affect other parts of the image.

The propagation tool lets you choose how much you want your edits to affect other parts of your image.

Image: DXO

DxO has also added a "Sticky Borders" checkbox, which 'maintains the original crop of the image' by warping your image to fill in spaces left by your other adjustments.

The horizon and perspective editing tools have also been updated to let you make adjustments locally, so they only apply to specific subjects in the image rather than the entire thing. For example, if you had an image with several skyscrapers in it and the ones at the edge of the frame were starting to lean away from the center, you could correct that distortion without affecting the other towers in the image.

That local correction is also now available for volume deformation correction, which helps fix the stretched edges of images taken with ultra-wide lenses. That means that if one edge of your image is stretched more than the other, you no longer have to apply the correction to fix it to the entire image.

Volume deformation adjustments can now be made to only certain parts of the image and can be adjusted using the same propagation slider control available on other tools.

Image: DXO

Like DxO's other software, ViewPoint 5 is being sold as a perpetual license instead of using a subscription model. Buying it standalone will cost $109, and upgrading from version 3 or 4 will cost $69. It's also available as a bundle with the company's recently announced PhotoLab 8 Raw editing software for $269. Like with the previous version, owning both will give you access to some of ViewPoint's features within PhotoLab.

Press Release:

DxO ViewPoint 5, the unique photo software for controlling geometry, shape, and perspective, adds spectacular new tools

The innovative ReShape Fusion tool lets users warp imperfections, correct perspective, and resolve issues caused by wide-angle lenses, and more.

Paris, France: DxO Labs, the pioneering force in photo editing software for over 20 years, today announces DxO ViewPoint 5, the latest version of its unique editing software. DxO ViewPoint allows photographers to overcome imperfect geometry, fix problem perspectives, and perfect vital image details. This major update enhances the peerless ReShape tool, adding powerful local warping of perspective, scale, and horizons, while adding more ways to use DxO ViewPoint’s exclusive volume deformation corrections to combat the stretching caused by wide-angle lenses.

“If you need to adjust perspective or geometry — whether that’s across the whole image or specific areas — there’s nothing else on the market like DxO ViewPoint 5,” explains Product Manager Fabrizio Dei Tos. “For version 5, the increased level of control gives you beautifully simple solutions to otherwise complex and fiddly problems.”

ReShape Fusion: A whole new level of control

DxO ViewPoint’s exclusive ReShape tool lets photographers realign and reposition small but vital details in their photos.

Introduced in version 4, the ReShape tool allowed photographers to realign and reposition small but vital details in their photos. In version 5, this is upgraded to ReShape Fusion, giving users powerful ways to balance and harmonize images. Previously, users were limited to manually dragging points in the tool’s mesh, but DxO ViewPoint 5 introduces Move, Rotate, and Scale options to perform far more complex edits. Alongside this is the innovative Propagation slider which steadily migrates those effects to surrounding points, allowing for more natural and photographic changes than ever before. Furthermore, the new Sticky Borders checkbox maintains the original crop of the image.

ReShape Fusion: Local horizon and perspective editing

The new ReShape Fusion tool adds more functionality, with new modes for Horizon and Perspective control. These take DxO ViewPoint’s regular Horizon and Perspective tools and combine them with the power of local adjustments. Photographers simply target the specific part of the image that needs to be realigned, make the adjustment, and then refine the changes with the Propagation slider to blend the effect with the rest of the photo. Once again, the Sticky Borders option locks the edges of the frame, so no blank pixels are created after warping.

ReShape Fusion: Correct volume deformation locally

DxO Viewpoint is the only software that offers a true solution to volume deformation — the stretching that occurs at the edges of photos taken with wide-angle and ultra-wide-angle lenses. Up until now, this distortion could only be corrected globally, but thanks to the power of the ReShape Fusion tool, photographers can now apply it to carefully controlled areas of the image to fix and refine all manner of problems. Again, the Propagation slider and Sticky Borders are on hand to fine-tune editing as required.

DxO ViewPoint 5: Vital tools for any workflow

When activated within DxO PhotoLab 8, its features bring a new level of control to your RAW workflow, granting the power to warp, correct, and edit geometry with full quality. Alternatively, it can be used standalone or alongside other photo editing software to bring balance to all manner of subjects.

Price and availability

DxO ViewPoint 5 (Windows and macOS) is now available for download on the DxO website (https://shop.dxo.com/) at the following prices:

• DxO ViewPoint 5, new license $109, €109, £99
• DxO ViewPoint 5, upgrade from v3 or v4 $69, €69, £59

A free, 30-day trial is available.

DxO ViewPoint 5 is available as a bundle with DxO PhotoLab 8, the advanced, end-to-end workflow that offers RAW photo editing at its finest:

• DxO ViewPoint 5 and DxO PhotoLab 8 $269, €269, £249

For even greater savings, DxO FilmPack7, the software that brings back the timeless magic of film, can also be added:

• DxO ViewPoint 5, DxO PhotoLab 8, DxO FilmPack 7 $349, €349, £329

About DxO ViewPoint

DxO ViewPoint 5 is software that allows photographers to achieve the perfect composition without having to re-create an image. It can warp parts of an image into the ideal position, and in one click it restores the natural shape of subjects located at the edge of an image that have been stretched by a wide-angle lens. In addition, it automatically resolves distorted perspectives and defects introduced by lenses and the position of the photographer. Alongside an array of perspective tools, it features DxO’s renowned Optics Modules which correct lens flaws such as distortion and chromatic aberrations. It also has a Miniature Effect tool that produces a super-shallow depth of field featuring smooth bokeh, similar to that produced by a tilt-shift lens.

DxO ViewPoint is designed for Mac and Windows computers as an independent application, as a palette within DxO PhotoLab, and as a plugin for Adobe Photoshop, Adobe Lightroom Classic, and Adobe Photoshop Elements.

Yuji, Igarashi, Fujifilm’s Division Manager for its Professional Imaging Group, teases that the company is working on two new cameras for release in 2025.

Image: Fujifilm YouTube Channel

Earlier today, Fujifilm announced its newest camera, the X-M5, along with two new lenses, the XF 16-55mm F2.8 R LM WR II and the XF 500mm F5.6 R LM OIS WR, at its most recent X Summit event in Japan.

Fujifilm likes to move its events around, and this X Summit took place at CLAY Studio, Fujifilm’s own design center in Tokyo, where the company creates designs for digital cameras and lenses as well as for everything from medical devices to cosmetics.

During the event, Yuji, Igarashi, Fujifilm’s Division Manager for its Professional Imaging Group, introduced Kazuhisa Horikiri, Director of the design studio, who discusses the origin of the name (some design is still done with clay) and the philosophy of an “ever-evolving” design studio. He also notes, “I am probably the designer who has designed the most film cameras in the world.” Might that hint about where some of Fujifilm’s retro designs originated?

While it’s clearly a launch event and not an in-depth behind-the-scenes tour, members of Fujifilm’s team, including at least one designer, discuss some of the design philosophy, history, and manufacturing challenges behind Fujiiflm’s products, and the video could be an interesting watch for Fujifilm aficionados.

"One more thing..."

In a brief moment at the end of the video, Igarashi channels Steve Jobs and says, “But wait. There’s one more thing.”

“We’re currently developing new cameras,” he says, looking over at two hidden objects, a large one under a white cloth and a smaller one under a black cloth. “Wow!” he says, theatrically lifting one of the sheets for a look while keeping the product hidden from viewers. “Although the timing is yet to be determined, we hope to bring you exciting news next year. Please stay tuned.”

While it’s not much of a reveal for a camera company to tease that it’s developing, well, more cameras, Igarashi’s brief attempt to create an Apple-like moment seems to confirm that we can look forward to at least two new cameras form Fujifilm in 2025.

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Product Photos by Mitchell Clark/Dale Baskin

The Fujifilm X-M5 is the company's latest APS-C mirrorless camera and comes in as the lowest-end entry in its current lineup. It uses the company's last-generation 26MP X-Trans sensor, the same one found in cameras like the X-T4 and X-100V, but comes equipped with its latest processor, giving it access to Fujifilm's AI-powered subject detection autofocus.

Key features:

• 26MP X-Trans BSI CMOS sensor
• X-Processor 5 with AI-powered subject detection AF
• On-sensor phase detection
• Fully articulated 3", 1.04M-dot LCD
• 20 Film Simulation modes, including Reala ACE
• Continuous shooting up to 8fps (30fps with E-shutter and 1.25x crop)
• 6.2K 3:2 video up to 30p, 4K up to 60p with crop
• External mic and 3.5mm headphone socket
• Single UHS-I card slot
• Battery life rated up to 330 frames (440 frames in Eco) per charge

The X-M5 will be available in November at a body-only price of $799. At launch, it'll be available in the silver color seen in the product photos here, but a black version is coming in April 2025.

Fujifilm is also selling a kit with the X-M5 and its XC15-45mmF3.5-5.6 OIS PZ lens for $899. Optically, it's not our favorite lens, but its size and price make it an obvious pairing with this camera.

Buy now:

$799 at B&H Photo$899 w/ 15-45 at Amazon.com$799 at Adorama Index:

• What's new?
• How it compares
• Body and controls
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new

It's been a very long time since we've seen a camera with the X-M label: the last, the X-M1, was announced in 2013 and was only the third camera to feature the then-new X-mount. It obviously wouldn't make sense to compare the X-M5 to that model, but it's also a bit tricky to find a direct predecessor in Fujifilm's modern lineup.

It has the same sensor/processor combination as the X-S20 and the same focus on vlogging. However, that's a substantially higher-end camera with a stabilized sensor and electronic viewfinder. The X-T30 II's viewfinder is also indicative of the fact that it started life as a higher-end and more photography-focused camera, though its age – exemplified by its last-gen processor – puts it at a similar price point as the X-M5. The newer camera does still bring some things to the table that you won't find in Fujifilm's prior models, though.

A tiny design

The X-M5 is very lightweight and compact – even with the power zoom kit lens attached it comes in under 500g (17.6oz) and is small enough to fit in most purses, belly bags, or jacket pockets. Anyone who buys one will be hard-pressed to come up with an excuse not to take it with them when they leave the house.

It also helps that, subjectively, it's a very good-looking camera; Fujifilm's retro aesthetic with modern functionality continues to serve it well. More on that later.

The camera also features the film simulation dial found on the X-T50, which lets users play around with Fujifilm's color profiles to get the look they want without requiring them to dive into the menu. It may seem like a small thing given that film simulations have long been one of Fujifilm's main selling points, but putting them front and center like this strongly encourages people to experiment with them, even if they're averse to spending too much time in the menus.

4K LP video

The Fujifilm X-M5 has 4K and 1080p 'Long Play' modes that crop in on the sensor, letting you record for longer before the camera overheats. The 4K LP mode has a 1.18x crop and is available in 23.98p, 24p, 25p, and 30p. The HD LP mode, meanwhile, is only available in 50p and 60p and comes with a 1.29x crop. The company says you can record for over an hour at 4K when using the LP mode in temperatures of 25°C (77°F) and around 20 minutes at 40°C (104°F).

The X-M5 also has two new low-bitrate options, letting you capture footage at 25Mbps and 8Mbps. This lets you sacrifice image quality for small file sizes in scenarios when you want to get footage out quickly and will only be using it on social media, where it'll already be heavily compressed.

If you want to shoot with heavier codecs, the X-M5 is compatible with Fujifilm's optional cooling fan, which can help extend record times without giving up quality or cropping in.

Three-microphone system

Fujifilm has added an extra microphone to the camera to help distinguish between the audio you're trying to capture and ambient noise. Its UI lets you select whether you want it to let everything in, focus on audio from in front of the camera, behind the camera, or both. The last option could be useful if you're filming someone and talking to them from behind the camera.

The company also says the camera has improved wind reduction and a new "Steady-State noise reduction" mode meant to make constant noises like air conditioners less noticable.

If you'd rather plug in an external microphone, the X-M5 has cleverly placed the 3.5mm mic jack on the back of the camera, so the plug and cable won't block the screen when you're vlogging with it. The jack's cover is connected to the camera's body, so you don't have to keep track of a tiny piece of rubber when you're on the go.

Updated vlogging UI

Vlog mode isn't entirely new to Fujifilm's lineup: it appeared on the X-S20 as well, but the company has updated it for the X-M5, making it even easier to control the most important settings via the touchscreen.

Vlog mode has its own UI separate from the standard video recording interface. When you've selected Vlog on the control dial, the camera puts relatively large buttons on the touchscreen that allow you to control focus, access playback mode and start and stop recording.

The vlog mode UI has a clean layout with easy-to-press buttons for the most important functions.

There's also a menu button that brings up controls for other settings, letting you control eye autofocus, electronic image stabilization, 'Portrait Enhancer' mode, background defocus mode, product priority mode, and more without flipping the camera around. It also lets you put the camera into the new 9:16 short movie mode, which lets you record a vertical video without physically rotating the camera; in vlog mode, you can choose between recording 15, 30, and 60-second clips.

Pressing the Menu button gives you access to most of the options you'd need to control while vlogging. From left to right:

Top: Shooting mode, focus mode, image stabilization mode, Face/Eye Detection setting, Portrait enhancer

Bottom: Background defocus mode, Product priority mode, high-speed recording, self-timer, 9:16 short movie mode

While you'll still have to use the physical buttons on the back of the camera to change things like which codec or resolution you're recording in, vlog mode does a good job of putting most of the controls, you'll need on the touchscreen without being overwhelming to newcomers.

9:16 short video mode

We touched on the 9:16 short video mode in the previous section, but it's worth diving into a bit on its own. It achieves vertical video by taking a 1080 x 1920 crop from the middle of the frame, instead of requiring you to physically turn the camera into portrait orientation. When you're shooting in this mode, the display will show you the full 16:9 image but darkens the frame outside what's being recorded.

9:16 short video mode shows you the entire preview, which could help if you want to move the camera while recording.

The resulting videos will be small and quick to transfer to your phone for posting; by default the camera records them at an 8Mbps bitrate, though you can bump this up to 25Mbps. File sizes will vary depending on what you're filming, but you can expect 60 second second clips shot at 8Mbps to usually be under 100 megabytes, or under 250MB if you shoot at 25Mbps.

The 15, 30 and 60-second record limits are upper boundaries, but you can stop recording before you hit the time limit; it's easy to imagine a worse version of this mode locking up your camera until the timer hits zero. If you want to record for longer than 60 seconds, you'll have to dig into the menus to switch to the 9:16 resolution mode, which also gives you control over codec and bitrate.

USB-to-smartphone transfer

Fujiifilm also says you'll be able to use XApp transfer files from the X-M5 to your phone using a USB cable, which should be appreciably faster and more reliable than Wi-Fi. It's another signal about who this camera is for: people who want to be able to capture something and then post it right away.

How it compares

The X-M5 is far from the first small interchangeable lens camera pitched as a hybrid vlogging and photography tool. This time, Fujifilm is using size, price, and convenience to make its offering more appealing to people who are used to shooting on their phones.

While it's certainly bigger than a modern smartphone, it costs about as much as buying the latest iPhone outright, even with the kit lens. Its background defocus and product priority modes make it easier to get professional-looking video, even for those who don't know what aperture or subject tracking are. It's also worth pointing out that, for those used to shooting on a smartphone, the lack of an EVF won't feel like as much of a downside as they're already used to doing everything using a screen.

Fujifilm's also leaning on design; it's a safe bet that many creators know what its cameras look like now, ever since the X100V went viral. From its film simulation dial to the mic jack that's apparently inspired by the look of tiny viewfinders on vintage cameras, the X-M5's design screams, "this is a camera you want to be seen with."

Fujifilm X-M5 Sony ZV-E10 II Sony A6100 Canon EOS R50 Fujifilm X-T30 II MSRP $799, $899 with 15-45mm $999, $1099 w/ 16-50mm OSS II $750, $850 w/ 16-50mm $679, $799 with 18-45mm $899, $999 with 15-45mm Pixel count 26 MP 26 MP 24 MP 24 MP 26 MP Mech shutter Yes No Yes Yes Yes Top plate control dials 2 1 1 1 2 Max burst rate

8 fps (mechanical)

30 fps (e-shutter)

11 fps 11 fps

12 fps

15 fps (elec)

8 fps (mechanical)

30 fps (e-shutter)

Rear screen 1.04M-dot fully articulated 1.04M dots fully articulated 921K dots tilting 1.62M dots fully articulated 1.04M dot fully articulated EVF No No 1.44M dots, 1.07x magnification 2.36M dots, 0.95x magnification 2.36M dots, 0.93x magnification Video capabilities

• 6.2K/24p (3:2)
• 4K/60p (1.18x)
• 4K/30p, 24p no crop
• 10-bit

• 4K/60p (1.1x)
• 4K/30p, 24p no crop
• 10-bit

• 4K/30p 1.23x crop
• 4K/24p no crop
• 8-bit

• 4K/30p no crop
• 4K/30p no crop
• 10-bit HDR mode

• 4K/30p no crop
• 8-bit

Log video F-Log / F-Log 2 S-Log 3 / S-Log 3 Cine Gamut No No F-Log Mic / Headphone sockets? Yes / Yes Yes / Yes Yes / No Yes / No Yes / No Battery life (LCD) 440 frames 610 frames 420 frames 370 frames 380 frames Card slot 1x UHS-I 1x UHS-II 1x UHS-I 1x UHS-1 1x UHS-1 Dimensions 112 x 67 x 38 mm 121 x 68 x 54mm 120 x 67 x 59mm 116 x 86 x 69 mm 118 x 83 x 47 mm Weight 355g 377g 396g 375g 378g

The Sony ZV-E10 II is the most similar competitor to the X-M5. It, too, features a three-capsule microphone (though it comes with a handy wind cover for it), has background defocus and product showcase modes, and a microphone and headphone jack. It's also just as focused on video, with 10-bit internal recording and 4K/60p recording – though that focus comes at a cost for photography, as it lacks an EVF just like the X-M5, though Fujifilm's offering does at least include a mechanical shutter. The most interesting area of comparison will be in autofocus performance; traditionally, Sony has held the crown here, and so far, Fujifilm's latest-gen cameras haven't threatened to take it away. We'll also have to see if the X-M5 can match the ZV-E10 II's commendable rolling shutter performance

Sony's a6100 can't quite match the X-M5's video specs, given its lack of a headphone port, 8-bit video, and crop in 4K/30p mode. However, its EVF will make it more enticing to people who want photography capabilities first and video second.

It's much the same story with the Fujifilm X-T30 II and the Canon EOS R50, though the latter distinguishes itself by being notably cheaper than the rest of the cameras in this lineup and by having the nicest display.

Body and handling

The X-M5 is a very compact camera; compared to the Sony ZV-E10 II, it feels smaller than the minor differences in its dimensions would suggest. Part of that can likely be chalked up to its much shallower grip, but the grip the Fujifilm does have is confidence-inspiring, especially when using the relatively small lenses that most people will likely pair with this camera.

While the camera is almost entirely plastic, it doesn't feel especially cheap. There are no creaks or squeaks when you're using it, the buttons are satisfyingly clicky, and the dials and hinges are reassuringly stiff.

Another nice touch is the inclusion of two top-plate control dials, which let you easily adjust your exposure settings without having to change your grip on the camera or switch to using the touchscreen. Of course, the target audience of vloggers and beginners may not be in the habit of manually adjusting exposure parameters, but it does at least offer those users some room to grow.

You need good aim to hit the Q button.

The Q button is less ideal. It's recessed and on the top of the camera rather than the back, which makes it a little difficult to access, especially when you're trying to change settings quickly. Also not helping matters are its small size and the fact that it's nestled between two large dials.

Given the camera's focus on video, it's also a bit disappointing that the slower UHS-I SD card slot is in the battery compartment on the bottom, which could make it difficult if you have a tripod plate installed. It's understandable why it isn't on the sides, which are mostly taken up by the headphone jack, USB-C port and micro-HDMI connecter, but it's still a bummer.

Another potential downside is the lack of a directional pad, as Fujifilm has opted to include a joystick instead. That makes it so you're not reliant on the touchscreen to set focus, but it also means you don't have the four quick settings shortcuts d-pads usually provide. Like with many other Fujifilm cameras, you can swipe in different directions on the touchscreen to bring up menus, but doing so is decidedly less ergonomic than using buttons.

If you're willing to spend some time diving into the menus to customize the camera, you may be able to work around some of those issues via the four custom settings on the mode selector dial. For instance, switching between human subject detection and other subject detection modes on Fujifilms has historically been a bit of a pain; they're two separate items, so disengaging one will put you back into standard autofocus tracking, not whatever subject tracking you were using before.

However, you could set C1 up to use eye detection, C2 to be another subject detection mode, and C3 to be standard autofocus, letting you easily switch between them without ever touching the menu. Of course, you only have four custom settings on the mode dial, so you'll have to decide what's important to you. You can also choose whether each custom slot will be a photo or video mode.

A few other quick notes about the mode selector dial. It includes an Auto mode, which should be helpful for anyone who's new to the world of dedicated cameras, as well as a 'Filter' setting that activates the toy camera mode, which will be less useful to most people. Anyone wanting to play around with the look of their image should probably reach for the film simulation dial instead, as its adjustments are generally more subtle and pleasing.

The mode dial also lets you switch the camera into video mode and vlog mode, which are two separate beasts. We've already covered the vlog-specific UI, but it's also worth noting that vlog mode and movie mode have separate settings, letting you quickly switch between entirely different modes of shooting.

Battery

The X-M5 uses Fujifilm's 8.7 Wh NP-W126s battery, which has been around since the days of the original X-M1 and persists in modern cameras like the X-T50 – Fujifilm's higher-end, physically larger cameras have moved on to a new, higher-capacity model. It's rated to last around 330 shots or 440 if you're using eco mode. That'll likely be good for a day or so of shooting or a weekend of sporadic photography, though it's far from one of the best batteries in its class.

The camera has a USB-C port, which it can charge with even while in use.

Initial Impressions

By Mitchell Clark

Let's get one thing out of the way: the X-M5 is not a new photography-focused X-E camera. While plenty about it will likely appeal to photographers, such as its inclusion of a mechanical shutter and twin control dials, Fujifilm very clearly made this camera for people who shoot just as many videos as they do photos and who are "camera curious," as Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions for Fujifilm North America put it.

If you're considering this as a secondary photography camera – who could blame you, given the price tag? – it's very much worth taking a step back and considering what this camera is rather than what you probably want it to be.

That's absolutely not to say that the X-M5 isn't an exciting new option. To be candid, we had almost given up on seeing a new camera at this price point, so it's nice to see that sub-$1,000 kits aren't dead yet.

It feels like Fujifilm actually spent some time figuring out what modern-day vloggers and content creators need in a camera. Despite its small size, it still has a microphone and headphone jack, which are critical for getting good audio in-camera. Vlogging mode and the suite of tools that come with it also strike me as well-suited for people trying to film themselves, and while the short vertical clip mode is easy to scoff at, I can see it truly being a big time saver for some creators. And, of course, the film simulation dial makes it easy to choose an aesthetic without messing around with LUTs in post – though the inclusion of F-Log means you can do that if you want.

The X-M5 does come with some notable downsides, though. Like the Sony ZV-E10 II, it lacks a stabilized sensor, which will be a concern if you like to walk and talk to your camera. Fujifilm says its latest iteration of digital image stabilization should help deal with that and even correct for rolling shutter, but it comes with a hefty 1.32x crop. Shooting at 60fps in 4K also comes with an additional crop. If you stack them all together, you end up with a 1.44x crop, which may require a substantially wider lens – or longer arms – if you want to film yourself with sensible framing.

Fujifilm's autofocus tracking system, while improved from previous models, is still decidedly second-tier compared to systems from Sony, Nikon and Canon. The screen can also be difficult to see in direct sunlight, making it annoying to shoot in harsh conditions.

Still, shooting stills and videos with it has been quite enjoyable, and its price may make it worth those trade-offs for someone who's just getting into the hobby. The size and weight have made it very easy to carry around, and the ergonomics of shooting with it are about as good as they can be on a camera without an EVF.

The X-M5's stills mode is among the most competent out of all the vlogging-focused cameras I've tested

I'll again reiterate that this is not a camera for professional or enthusiast photographers. Still, its stills mode is among the most competent out of all the vlogging-focused cameras I've tested, at least from a controls standpoint. While I doubt many – or any – X-M5 users will actually attach a flash to its hot shoe, the mechanical shutter makes the act of taking a picture feel and sound substantially more satisfying than doing so on a phone. The joystick also greatly helps when selecting an autofocus point or moving through menus.

We'll have to spend some time vlogging with a production unit to really put it through its paces, but so far, it seems like Fujifilm has struck a good balance with this camera. While some people will wish the company had added extra features or capabilities, those also would've come at the expense of the size and cost that make this camera so attractive in the first place.

Sample Gallery

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Fujifilm has announced the 16-55mm F2.8 R LM WR II, a significantly more compact update of its top-end fast standard zoom lens for the X mount.

The new lens is significantly smaller and lighter than the original XF 16-55mm. Whereas the original lens looked like a slightly shorter 24-70mm zoom, the new version looks like modern 24-70mm that's been reduced by around 1/3rd, which is in keeping with what you might hope for, given the smaller image circle of APS-C.

The design features 16 elements in 11 groups, including four aspheric elements, three ED lenses and one Super ED element, to help minimize chromatic aberration.

The new lens is substantially smaller than the previous model, shown on the right.

Image: Fujifilm

It's the first X-mount lens to feature 11 aperture blades and the first to let you de-click the aperture ring. This will allow more subtle control of the aperture when shooting in video and should prevent the flickering brightness effect that could happen with the old one, as its aperture jumped in 1/3rd stops.

The Mark II zoom accepts 72mm filters rather than the 77mm ones used by the previous version.

The new lens will be sold for the same $1199 recommended price as its predecessor, and will be available in December.

Buy now:

$1199 at B&H Photo$1199 at Adorama Fujinon XF16-55mm F2.8 R LM WR II pre-production sample gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Press Release:

Prime Performance, Zoom Versatility: Fujifilm Announces FUJINON XF16-55mmF2.8 R LM WR II

Latest Iteration of Popular Lens Brings New Features for Photo and Video Creation

VALHALLA, N.Y., October 14, 2024 – FUJIFILM North America Corporation today announces the release of its new FUJINON XF16-55mmF2.8 R LM WR II lens (XF16-55mm II), the next generation of the company’s venerable XF16-55mm zoom lens that debuted in 2015.

“XF16-55mm has always been known as a workhorse; a must have everyday carry lens for professionals and enthusiasts alike,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “XF16-55mm II takes everything our fans loved about the original lens and elevates it to the next level by combining new lens optics, smooth aperture control, and enhanced autofocus, with nods to the reliable go-anywhere form factor that made the original lens such a hit.”

Product Features

Large-Aperture Standard Zoom Lens with Superior Imaging Performance

• Capable of content creation at a bright F2.8 aperture throughout the entire zoom range, from wide-angle 16mm (equivalent 35mm focal length of 24mm) to mid-telephoto 55mm (equivalent 35mm focal length of 84mm), XF16-55mm II supports a wide range of still photography genres, including nature, landscape, and portraits, leveraging its high resolution and beautiful, smooth bokeh.
• Featuring an 11-group, 16-element configuration that includes 4 aspherical lenses, 1 Super Extra-low Dispersion (ED) lens, and 3 ED lenses, XF16-55mm II maintains image clarity and sharpness from the center to the edges while controlling chromatic aberrations, even when a large aperture of F2.8 is used.
• Enhanced ultra-precision manufacturing technology of aspherical lenses reduces ring patterns compared to ring patterns produced by the prior model. This results in smooth, beautiful bokeh that is uniquely different from the original XF16-55mmF2.8 lens.
• Achieving a minimum focusing distance of 11.81 inches (0.3m) across the entire zoom range, allowing for close-up photography with a maximum magnification of 0.21x.

Compact and Lightweight Design for Enhanced Mobility

• Utilizing the latest lens processing technologies, the size of the lens elements in XF16-55mm II are thinner, resulting in a reduction of the total lens length by approximately 0.433in (11mm) and a volumetric reduction by approximately 37.8% compared to the previous model. The weight has also been reduced by approximately 37.4% to about 14 ounces (410g), ensuring excellent mobility.
• Features a dust-resistant, weather-resistant, and low-temperature-resistant construction with 12 sealing points throughout the lens body, along with a fluorine coating on the front element for superior water and smudge resistance. When combined with Fujifilm's weather-resistant mirrorless X Series digital cameras, it provides reliable performance even during extended image-making in nearly all weather conditions.

Enhanced Design for Video Recording

• The introduction of an "Aperture De-Click Switch" allows users to toggle between a stepped aperture control for still photography and a smooth, continuous aperture control for video recording, ensuring seamless and intuitive operation1.
• Minimizes focus breathing to provide more consistent framing during focusing.

High-Speed, High-Precision AF with Near-Silent Operation

• The adoption of an inner focusing system and lightweight focusing lens elements, combined with a high-speed linear motor, enables rapid and precise autofocus, achieving speeds as fast as 0.02 seconds2.

Pricing and Availability

FUJINON XF16-55mmF2.8 R LM WR II lens will be available in December 2024 at a Manufacturer’s Suggested Retail Price of $1,199.95 USD and $1,619.99 CAD.

For more information, visit https://fujifilm-x.com/en-us/products/lenses/xf16-55mmf28-r-lm-wr-ii/.

1 The "Aperture Click Switch" functionality requires a firmware update for compatible camera bodies. Future firmware updates are planned for current models including the FUJIFILM X-H2S, FUJIFILM X-H2, FUJIFILM X-T5, FUJIFILM X-S20, and FUJIFILM X-T50.

2 Based on CIPA guidelines, measured internally using the FUJIFILM X-T4 mirrorless digital camera in phase-detection AF mode with High-Performance Mode enabled, at the wide-angle end.

Fujifilm XF 16-55mm F2.8 R LM WR II Specifications: Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length16–55 mmImage stabilizationNoLens mountFujifilm XApertureMaximum apertureF2.8Minimum apertureF22Aperture ringYesNumber of diaphragm blades11OpticsElements16Groups11Special elements / coatings4 Aspheric, 3 ED, 1 Super EDFocusMinimum focus0.30 m (11.81″)Maximum magnification0.2×AutofocusYesMotor typeLinear MotorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight410 g (0.90 lb)Diameter78 mm (3.07″)Length95 mm (3.74″)SealingYesZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread72 mmHood suppliedYesTripod collarNo

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Fujifilm has announced the XF 500mm F5.6 R LM OIS WR (762mm equiv), a super telephoto APS-C lens for its X Mount system. The lens is sure to be a welcome addition to bird photographers with Fujifilm cameras, or anyone else who's been wishing for a super telephoto prime with autofocus capabilities. Prior to the 500mm, the furthest-reaching prime Fujifilm offered was the 200mm F2.

The company also has its $2,000 150-600mm F5.6-8, but that'll be slower than F5.6 by the time you get to 500mm and it seems reasonable to expect sharper images from the prime. The zoom lens also 270g (9.5oz) heavier, though at 1,335g (2.9lbs) the prime isn't exactly ultralight either.

In terms of construction, the lens is essentially identical to the company's medium format GF 500mm F5.6, apart from the mount. It's made of 21 elements in 14 groups, including 2 super ED lenses, and 5 ED lenses. Its optical image stabilization system is rated to 5.5 stops, and it has 20 seals for weather resistance, along with a flourine coating on the front element to ward off water and dirt. It's threaded for 95mm filters.

The lens also has linear focus motors, as well as a focus limiter switch to prevent it from focusing on subjects closer than 5m away. When using the lens' full range of focus, it's minimum focus distance is 2.75m (9ft).

The 500mm is compatible with Fujifilm's 1.4x teleconverter, which makes it act like an F8 lens with a 1067mm equiv. focal length, as well as the company's 2x teleconverter that gives it a 1,524mm equiv. focal length at the cost of knocking its max aperture down to the equivalent of F11.

The XF 500mm will be available starting in December, and will have a manufacturer suggested retail price of $2,999.

Buy now:

$2999 at B&H Photo$2999 at Adorama

Press Release:

Super-Telephoto Excellence: Fujifilm Announces FUJINON XF500mmF5.6 R LM OIS WR

The Ultimate Tool for Outdoor Content Creators

VALHALLA, N.Y., OCTOBER 14, 2024 – FUJIFILM North America Corporation today announces the launch of its FUJINON XF500mmF5.6 R LM OIS WR lens (XF500mmF5.6). The new super- telephoto lens offers the longest prime lens coverage in the current Fujifilm X Series lens lineup, designed for quick autofocus response and incredible detail in image-making around even the most challenging outdoor subjects, and is ideal for birding, wildlife, and sports.

“Making content outdoors can always present challenges, considering weather, fast moving animals, birds, and the rapid motion of athletics,” said Victor Ha, vice president, FUJIFILM North America Corporation, Electronic Imaging and Optical Devices Divisions. “These are only a few of the examples that were considered when developing this latest super-telephoto lens. Optical image stabilization and linear-motor driven autofocus help the creator document all the action without missing a detail. We’re excited about the capabilities this lens brings to outdoor creatives.”

Product Features

Serious Optical Performance, Rugged Yet Stylish Design

• XF500mmF5.6 offers an impressive 500mm (35mm equivalent focal length of 762mm) with a maximum aperture of F5.6, making it ideal for a variety of outdoor pursuits, including sports, birding, and wildlife.
• When paired with an optional FUJINON Teleconverter XF1.4X TC WR1, the lens reaches a maximum focal length of 700mm (35mm equivalent focal length of 1067mm), and with FUJINON Teleconverter XF2X TC WR1, it extends to 1000mm (35mm equivalent focal length of 1524mm).
• The lens features durable yet sophisticated construction with 21 elements in 14 groups, including two Super Extra-low Dispersion (ED) lenses and five ED lenses. This advanced optical design effectively minimizes chromatic aberration commonly associated with super-telephoto lenses to achieve exceptional resolving power for an extraordinary amount of detail, beyond what the naked eye can see.

Exceptional Mobility and Superior Resolution That Redefine Super-Telephoto Lenses

• Leveraging the APS-C format, which provides a 1.5x crop factor equivalent, XF500mmF5.6 maintains a compact and lightweight design weighing only approximately 2.94 pounds (1,335g)2, despite achieving a focal length equivalent to 762mm (35mm format) at F5.6 maximum aperture.
• Even though super-telephoto lenses tend to have heavier front elements, the optimal lens arrangement in this model ensures balanced weight distribution for a comfortable and stable hold, allowing users to enjoy super-telephoto photography, making it easy to handhold or carry all day in the field.
• The lens features a dust and weather-resistant structure with 20 sealing points on the barrel and can operate in temperatures as low as 14°F (-10°C). Additionally, the front element is fluorine coated, providing hydrophobic and anti-stain properties, making the lens a reliable partner for extended content creation sessions in harsh weather conditions.

Powerful 5.5-Stop Optical Image Stabilization Performance

• Enhanced sensing accuracy and an optimized mechanical design allow XF500mmF5.6 to achieve up to a powerful 5.5-stops3 of optical image stabilization. This ensures comfortable handheld image-making in the super-telephoto range, which can ordinarily be more susceptible to camera shake.

Comfortable Operation and High-Speed, Near-Silent, Precision Autofocus

• The adoption of an inner focus system allows for a compact and lightweight focus lens assembly. Combined with a high-speed linear motor, this enables fast and silent autofocus, achieving a focus speed as quick as 0.33 seconds4. This ensures that even in the super-telephoto range, where precise focus is crucial, the user can keep up with the action as it happens.
• The Focus Preset function is featured so that the focus can be shifted to a location pre-defined with the Focus Preset button. This reduces user operation workload as re-adjusting focus on a targeted subject is not needed.
• The lens also features the Focus Limiter5, allowing users to restrict the lens’s AF range. This can effectively shorten AF time when photographing a subject that is approximately 16 feet (five meters) away or more.
• The Focus Control button is placed at the front edge of the lens barrel. Press this button to instantly recall a function you have assigned with the Focus Selector for smooth AF operation.

Pricing and Availability

FUJINON XF500mmF5.6 R LM OIS WR lens will be available in December 2024 at a Manufacturer’s Suggested Retail Price of $2,999.95 USD and $4,049.99 CAD.

For more information, visit https://fujifilm-x.com/en-us/products/lenses/xf500mmf56-r-lm-ois-wr/.

1 Sold separately

2 Weight excluding the lens cap, lens hood and tripod seat.

3 Compliant with CIPA in pitch / yaw directions.

4 Using an internal measurement method compliant with the CIPA Guidelines, when mounted on the mirrorless digital camera “FUJIFILM X-T4” with Phase Detection AF activated and the High Performance Mode turned ON.

5 The Focus Limiter function is activated with the Focus Range Selector.

Fujifilm XF 500mm F5.6 R LM OIS WR Specifications: Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length500 mmImage stabilizationYesCIPA Image stabilization rating6 stop(s)Lens mountFujifilm XApertureMaximum apertureF5.6Minimum apertureF22Aperture ringYesNumber of diaphragm blades9Aperture notesRounded bladesOpticsElements21Groups14Special elements / coatings2 Super ED, 5 ED elementsFocusMinimum focus2.75 m (108.27″)Maximum magnification0.2×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter5m-infinityPhysicalWeight1335 g (2.94 lb)Diameter105 mm (4.13″)Length255 mm (10.04″)SealingYesColourWhiteFilter thread95 mmHood suppliedYesTripod collarYes

Adobe announced the latest updates to Photoshop, Lightroom and Adobe Camera Raw during its Max conference keynote. Perhaps unsurprisingly, the products are getting a heaping helping of generative AI features, though there are other non-Ai improvements as well.

Index

• Lightroom Changes
• Photoshop Changes
• ACR Changes

Lightroom

The Quick Actions are meant to help quicky spice up a picture.

Image: Adobe

The big new feature coming to Lightroom is called Quick Actions, which Adobe says will speed up "fine tune editing." Essentially, Lightroom will give you some suggested edits that it can perform with the click of a button. The company says the feature will launch in early access in Lightroom Mobile and Lightroom for the web.

The company also says the Generative Remove feature it announced in May is out of early access and is now generally available to Lightroom users in Lightroom, Lightroom Classic, and Lightroom mobile. The feature lets you select an object in a photograph, which the software will then try to erase, filling in the gaps with imagery generated using Adobe's Firefly AI. The company says it has also improved Generative Remove's selection tool, letting you circle the things you want to erase.

Now, everyone can erase unwanted elements in images without jumping into Photoshop.

Image: Adobe

In an FAQ, Adobe says, "Content Credentials will be automatically attached to photos edited with the feature in Lightroom," which should help people determine if an image was altered with AI as long as the platform they're viewing it supports that metadata – though at the moment, very few do.

Adobe has also continued to make performance improvements to Lightroom Classic, improving the image navigation experience in the Develop module and making the tethered capture experience for Nikon cameras substantially faster.

It's also been working on improving and expanding the HDR editing experience. The company says you can now see HDR content in more views throughout Lightroom and that it now supports embedded ISO HDR Gain Maps. That means you should be able to export one file that will render correctly on SDR and HDR displays rather than having to export separate SDR and HDR files.

Lightroom is getting big improvments if you shoot HDR images on your phone

Lightroom also now supports HDR images from Google's Pixel 9 phones and will let you edit HDR video if you have an Apple silicon Mac or are using Lightroom mobile on iOS.

Adobe is also expanding the availability of its AI Denoise tool, which is available in Lightroom and Adobe Camera Raw. It'll now work on HDR and panorama DNGs, as well as Apple, Google, and Samsung's flavors of Raw.

Finally, there are the classic quality-of-life improvements. Lightroom Mobile is getting a performance boost on Android, and there are new options for managing how much disk space Lightroom Classic will take up for its preview cache. Additionally, Lightroom Classic will no longer require you to change the name of your catalog when you upgrade it using a newer version of Lightroom.

Frame.io

The company also says the Frame.io changes it announced earlier this year are now generally available. That includes custom metadata features and integration into Lightroom that supports loading images via Camera To Cloud. In theory, that means you could shoot pictures on your camera and have them show up in Lightroom via Frame.io, as long as your camera supports the feature. Currently, the list of stills cameras with Frame.io integration includes the Lumix S5II/X, GH7, and Fujifilm's latest-gen cameras, including the recently announced X-M5.

On that note, Adobe also says that Nikon, Canon, and Leica will join in on supporting Camera To Cloud. The Canon C400 and C80, and the Leica SL3 will be getting updates to natively support the feature, and the Nikon Z6III, Z8, and Z9 will be able to offload to Frame.io via Nikon's NX MobileAir app. The updates enabling Frame.io integration will be coming at various points throughout next year.

Photoshop

Like with Lightroom, Adobe is making many of Photoshop's early-access generative AI features generally available. That includes tools like Generative Fill, Generative Expand, Generate Similar, Generate Background, and Generate Image, all of which use the company's Firefly 3 AI model to do more or less what the names imply. Generative Fill lets you drop AI-generated images in to whatever you're editing.

In addition, it's adding a Generative Workspace tool, which lets you generate images and will keep a record of them in one place.

Speaking of Firefly, the company says there's a new 'fast mode' available for it that will let you generate images up to four times faster, if you're just trying to get a very quick draft that you'll refine later.

Image: Adobe

Adobe is also introducing an automatic distraction removal tool, which uses AI to find distracting elements in an image and remove them.

The company says that, if you want, you are able to turn off generative AI in the remove tool. By default, it will choose "from many technologies to deliver the best result," but there's a setting that lets you set generative AI on or off – you can also leave it on Auto, where it'll use whichever methods it thinks are most suited to whatever you're trying to remove.

There are some non-AI improvements to Photoshop, too. The company says it's expanding the number of tools that work with 32-bit HDR images in Photoshop, meaning you can use things like the dodge/burn tool, Magic Wand, magnetic lasso, Spot Healing Brush Tool, Remove Tool, and more without converting your image down to 16- or 8-bit.

Adobe Camera Raw

Adobe is adding a Firefly-powered Generative Expand mode to ACR, which will use AI to fill in past the borders of your image. The mode will be available as a technical preview.

The company is also announcing a beta for something called Adobe Adaptive Profile, which it says will use AI to make editing images with high dynamic range easier. You apply it like you do the standard 'Adobe Color' or 'Adobe Landscape' profiles, but instead of making the same adjustments for each image, an AI model will automatically adjust Exposure, Shadows, Highlights, Color Mixer, Curves, etc. The sliders will still be at their default values, but the changes the profile makes are meant to act as a base upon which you'll add your own edits.

The photo on the left uses the Adobe Color profile, while the one on the right uses the Adobe Adaptive one.

Image: Adobe

Adobe says it created the profile based on 'thousands of hand-edited photos of people, pets, food, architecture, museum exhibits, cars, ships, airplanes, landscapes, and many other subjects.' It has a blog post that goes into a deep-dive on what exactly it changes and how the company put the profile together. Generally, it's meant to make subjects pop from the background, making them subtly lighter and more colorful. Adobe says it'll automatically generate HDR and SDR looks for an image.

Adobe says the mode will currently only work on Raw images, though it hopes to expand support for other file types in the future.

We're on the ground at Adobe's conference this week, so keep an eye out for some demos of these features. Be sure to let us know if you have any questions so we can keep them in mind during our tests.

Adobe's Firefly video generation panel.

Screenshot: Adobe

Adobe has announced Firefly Video, an AI model that can generate video footage that the company says is designed "to be commercially safe" and to "not infringe on others' IP." Some of the generative AI features are being integrated into the company's editing software, Premiere Pro.

Premiere Pro is also getting several updates unrelated to the AI features; click here to jump to the section about those.

Perhaps the most useful feature Adobe showed off in its keynote address at its Max conference is Generative Extend. The feature is meant to continue video or audio clips after the end of the actual recording or cut, generating a few extra seconds of footage or room tone to help fill in gaps. The plan is to build it into Premiere Pro, so you can extend your footage straight from your timeline. Like most of Firefly's video abilities, the feature will be launched as a beta.

You can generate new footage to fix eyelines, fill in gaps, or help smooth out a J/L cut, straight from the timeline.

Image: Adobe

There will initially be a few limitations: the most notable is that the beta version can only generate 720p or 1080p 16:9 video at framerates between 8 and 30fps. It also only works with 8-bit and SDR video.

The company also showed off Firefly's ability to 'animate' still images, turning them into video, though that feature will launch on the web version of the tool, not in Premiere. The tool can also generate video assets along with actual footage. The company showed Firefly-generated light leak artifacts that were added to a conventionally-shot video, as well as AI-generated animation and text graphics.

'Filmic' light leaks generated by Firefly that could then be composited on top of existing footage. AI-Generated Image: Adobe

Of course, Firefly Video can also generate footage whole-cloth based on text prompts from the user. The UI gives people several ways to control the video that's generated, letting them pick an aspect ratio and frame rate, as well as specify what kind of framing, angle, and motion they want. However, Adobe says its customers are generally more interested in how generative AI could help them edit human-created content than using the tech to create something from scratch.

Adobe stresses that it has trained the model "responsibly," using "licensed content" from Adobe Stock and the public domain. Representatives for the company said it was not trained on data scraped from the web or customer data, practices that have been controversial with other generative AI models.

The company also says that footage generated or edited with Firefly will automatically have Content Credentials attached, tagging it as being created with AI. However, similar to images created using the system, it currently falls to the user to manually check a video's veracity, as most platforms don't interpret the Content Credentials metadata.

Premiere Pro updates Image: Adobe

Adobe also announced that it's adding a new 'context-aware properties panel,' which will attempt to surface the most useful tools based on what you're currently working on.

The company has also updated the Frame.io panel, saying that the new version will make it easier to track reviews and approvals. On that note, Adobe also announced that Canon, Nikon, and Leica are adding support for Frame.io's Camera-To-Cloud feature, which lets cameras automatically upload footage to the service without needing to manually offload it to a computer. There are currently no details on which camera models will support it.

Premiere is also getting a performance bump, with the company promising that it'll be able to export to ProRes up to three times faster. The app is also getting a bit of a redesign, which the company says will make it feel "modern and more consistent."

We're attending Adobe Max, so keep an eye out for demos of some of these features. If you want to follow along live, check out our Instagram page.

Editors' Choice Photo Challenge: The blue hour

In our most recent Editors' Choice Photo Challenge, we asked you to show us the 'blue hour', a period shortly before sunrise or after sunset when the sun is below the horizon but still provides enough light to make the sky appear deep blue in photos. Once again, we were seriously impressed with some of the images you entered.

This time around, we added an extra twist: all entries had to be shot after the day the challenge was announced, so all the photos you'll see in this slideshow were taken by your fellow readers after September 22nd.

If you didn't get a chance to enter this challenge, you can watch for our November Editors' challenge, which is coming soon and will be open to photos taken at any time.

Praia da Ursa - 6

Photographer: luCalretas

Description: This beach is near the "Cabo da Roca" cape in Sintra [Portugal], featuring beautiful and gigantic rock formations. It's difficult to get there, but the view is worthy.

Equipment: Sony a5100 + Sony 16-50mm F3.5-5.6 PZ OSS

Fifty Shades of Blue

Photographer: rshoub

Description: None provided.

Equipment: Sony RX10 III

Blue Hour Reflection

Photographer: Brighton Shooter

Description: After a heavy night's rainfall, a photo of Brighton's i360 tower and prom during blue hour.

Equipment: Sony a7R V + Sony 16-35mm F4 G

Comet C/2023 A3 Tsuchinshan-ATLAS in Oamaru, New Zealand

Photographer: jlg84

Description: I had been hoping that I'd get to see the comet of the moment one day, and for several days, I would wake up at 4 am or so and take a quick Look out the window to see if the clouds were thin enough for a shot, and at last, that happened on 29 September 2024, coincident with New Zealand switching to summer time.

Equipment: Canon EOS R5 + Samyang 135mm F2.0 ED UMC

Yik Cheong Building (aka Monster Mansions) Quarry Bay, Hong Kong

Photographer: Walters44

Description: The Yik Cheong Building (aka Monster Mansions) could easily pass as a backdrop building in BladeRunner. A dystopian ultra-cramped government housing block, it provides limitless photographic subjects.

Equipment: Canon EOS M6 II + Sigma 18-35mm F1.8 DC HSM Art

Arts Building Valencia

Photographer: windmillgolfer

Description: Valencia Arts and Science Park after sunset, which was shortlived.

Equipment: Olympus OM-D E-M1 Mark III + 8mm fisheye lens

Goonies Beach

Photographer: Kenster63

Description: Northern California coast, one hour after sunset.

Equipment: Nikon D750 + Nikon AF-S 35mm F1.8G ED

The Calm Waters

Photographer: Bento2

Description: View down the Chicago River as the city sparkles to life after sunset.

Equipment: Sony a6700 + Tamron 17-70mm F2.8 Di III-A C RXD

Istanbul Sunset

Photographer: GZieses

Description: From the rooftop of the Seven Hills Restaurant in Istanbul, Türkiye looking across toward the Blue Mosque.

Equipment: Nikon Z6 + Nikon Z 24-200mm F4-6.3 VR

Beam Me Up, Scotty!

Photographer: Aidan Williams

Description: Walking into the scene, I fired a cold flashlight to complement the warm sunstars of the streetlights. The location is underneath a long-retired cargo crane in central Rotterdam, The Netherlands.

Equipment: Sony a7C + CV 10mm F5.6

Editors' Choice Photo Challenge: The blue hour

In our most recent Editors' Choice Photo Challenge, we asked you to show us the 'blue hour', a period shortly before sunrise or after sunset when the sun is below the horizon but still provides enough light to make the sky appear deep blue in photos. Once again, we were seriously impressed with some of the images you entered.

This time around, we added an extra twist: all entries had to be shot after the day the challenge was announced, so all the photos you'll see in this slideshow were taken by your fellow readers after September 22nd.

If you didn't get a chance to enter this challenge, you can watch for our November Editors' challenge, which is coming soon and will be open to photos taken at any time.

Praia da Ursa - 6

Photographer: luCalretas

Description: This beach is near the "Cabo da Roca" cape in Sintra [Portugal], featuring beautiful and gigantic rock formations. It's difficult to get there, but the view is worthy.

Equipment: Sony a5100 + Sony 16-50mm F3.5-5.6 PZ OSS

Fifty Shades of Blue

Photographer: rshoub

Description: None provided.

Equipment: Sony RX10 III

Blue Hour Reflection

Photographer: Brighton Shooter

Description: After a heavy night's rainfall, a photo of Brighton's i360 tower and prom during blue hour.

Equipment: Sony a7R V + Sony 16-35mm F4 G

Comet C/2023 A3 Tsuchinshan-ATLAS in Oamaru, New Zealand

Photographer: jlg84

Description: I had been hoping that I'd get to see the comet of the moment one day, and for several days, I would wake up at 4 am or so and take a quick Look out the window to see if the clouds were thin enough for a shot, and at last, that happened on 29 September 2024, coincident with New Zealand switching to summer time.

Equipment: Canon EOS R5 + Samyang 135mm F2.0 ED UMC

Yik Cheong Building (aka Monster Mansions) Quarry Bay, Hong Kong

Photographer: Walters44

Description: The Yik Cheong Building (aka Monster Mansions) could easily pass as a backdrop building in BladeRunner. A dystopian ultra-cramped government housing block, it provides limitless photographic subjects.

Equipment: Canon EOS M6 II + Sigma 18-35mm F1.8 DC HSM Art

Arts Building Valencia

Photographer: windmillgolfer

Description: Valencia Arts and Science Park after sunset, which was shortlived.

Equipment: Olympus OM-D E-M1 Mark III + 8mm fisheye lens

Goonies Beach

Photographer: Kenster63

Description: Northern California coast, one hour after sunset.

Equipment: Nikon D750 + Nikon AF-S 35mm F1.8G ED

The Calm Waters

Photographer: Bento2

Description: View down the Chicago River as the city sparkles to life after sunset.

Equipment: Sony a6700 + Tamron 17-70mm F2.8 Di III-A C RXD

Istanbul Sunset

Photographer: GZieses

Description: From the rooftop of the Seven Hills Restaurant in Istanbul, Türkiye looking across toward the Blue Mosque.

Equipment: Nikon Z6 + Nikon Z 24-200mm F4-6.3 VR

Beam Me Up, Scotty!

Photographer: Aidan Williams

Description: Walking into the scene, I fired a cold flashlight to complement the warm sunstars of the streetlights. The location is underneath a long-retired cargo crane in central Rotterdam, The Netherlands.

Equipment: Sony a7C + CV 10mm F5.6

Well, everyone, we did it – another week is in the books, which means it's time to take a look at the new accessories that came across our radar. We've found some fun ones, including a somewhat unexpected Nikon product and some inexpensive but fun third-party batteries. But first, let's look at what's on sale this week.

The deals keep going The Sony A7R V is currently $400 off.

Usually in this series, we like to point out the best camera deals around. This week, though, Amazon held its Prime Day event, and plenty of our favorite gear went on sale. While that event is technically over, most manufacturers seem to be keeping their gear on sale for the week, rather than limiting the savings to just two days. Since that's the case, I'll refer you to the Prime Day article my colleague Dale put together so you can get your deals fix.

NiSi's joining the magnetic filter game

Filter maker NiSi doesn't want you to spend all your time screwing and unscrewing filters from the front of your lens. The company has introduced its JetMag Pro system, which lets you screw on an adapter ring once, then use a variety of magnetically attaching filters.

The filters have a twist-lock system, which the company says "ensures the filter stays securely in place during use even when stacked with other filters." In its announcement video, the company even shows someone shaking a poor Nikon around while just holding on to the filter – though we wouldn't recommend trying that one at home.

The filters are color-coded, so you can tell at a glance whether you're picking up an ND filter, a UV filter, a mist filter, etc. All the filters are 82mm, but the company is selling magnetic adapter rings, which step down to various filter sizes, as well as different kits with several filters and accessories like magnetic front and back caps and carrying bags.

NiSi is far from the first company to develop a magnetic filter system, but it's always nice to have more options, especially from well-known brands. The magnetic adapter rings cost $20 each, and the filters range between $80 and $120.

Find your next shot Image: Nikon

Nikon is obviously famous for its cameras, but it also invests some of its optical expertise into binoculars. Its latest models, which it announced this week, also feature its optical image stabilization tech, giving you a much clearer view of whatever faraway object you're trying to look at.

If it weren't for the power button, you could almost confuse these for regular binoculars. They're much slimmer and more compact than the StabilEyes models the company sold many years ago, though, in fairness, those models did offer more magnification.

Nikon says you'll get up to 12 hours of runtime out of two AA batteries. You can still keep using the binoculars once the battery runs out, you just won't have the stabilization – though it can be hard to go back once you've experienced seeing the world like Legolas.

The 10x25 zoom model will sell for $640, and the 12x25 zoom model will cost $650. The company says they'll be available in early November.

Nikon Stabilized 10x25 S

$639 at B&H $639 at Nikon

Nikon Stabilized 12x25 S

$649 at B&H $649 at Nikon New camera, new cage Image: Tilta

If you recently purchased a Canon R5 II and want to rig it out for video, you now have another option. Tilta has announced a variety of accessories for the camera, including a half cage, a full cage and a cage kit that includes a handle and cable clamp for locking down any attached HDMI or USB-C cords.

The cages are made of aluminum and are relatively utilitarian-looking. Still, if you just want to add a ton of 1/4" threads on your camera, they'll provide an inexpensive way to add them.

Full Cage

$49 at Tilta

Cage Kit

$76 at Tilta More colorful batteries Image: SmallRig

A while ago, we covered Manfroto's expansion of its third-party battery lineup, which happen to come in a fun red shell. Now, SmallRig is offering something similar; its camera batteries, which can be charged directly via USB-C, are now available in vibrant safety orange.

SmallRig's lineup is extensive. It sells equivalents of the:

• Canon LP-E6NH
• Fujifilm NP-W235
• Nikon EN-EL25
• Nikon EN-EL15C
• Sony NP-FW50
• Sony NP-F970
• NP-F550

It's worth checking compatibility before purchasing; some note that they're not compatible with certain cameras that could physically fit them, such as the EN-EL15C, which doesn't currently work with the Nikon Z6III. Pricing on the models varies, but they're generally a fair bit cheaper than the first-party options.

Image: SmallRig

SmallRig is also now making its VB50 and VB99 mini V-mount batteries available in green and orange, though only in the US. Unlike regular camera batteries, the color will actually work to accessorise your rig, as V-mount batteries are located on the outside of the camera rather than inside. Perhaps that's one of the reasons that the colorful versions of the VB50 and VB99 cost $13-20 more than their black counterparts.

Orange VB99 Green VB99 $169 at Amazon $169 at B&H $169 at Amazon
$169 at B&H Orange VB50 Green VB50 $130 at Amazon $110 at B&H $130 at Amazon $110 at B&H Every video a masterpiece

A month ago, we covered Every Frame a Painting's temporary return to YouTube. This week, the filmmaking essay channel released another video, this time looking at the work of filmmaker Billy Wilder, director of classic films like The Apartment, Some Like It Hot, and Sunset Boulevard. As always, it's a great watch for anyone who's interested in movies and the craft behind them.

Click here to see last week's roundup

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

Updated: October 10th, 2024

These days, $2000 gets you a lot of camera. The picks on our list are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.

Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of the types of lenses you'd like to shoot with. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to look at that during your lens research.

Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, you may want to think about whether they're worth keeping around and adapting to a new system, or whether you'd be better off selling them and using the proceeds to buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.

Best camera around $2,000: Nikon Z6III

25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF

Photo: Richard Butler

Buy now:

$2569 at Amazon.com What we like:

• Very good image quality
• Good autofocus tracking with auto subject recognition mode
• Extensive choice of video resolutions and codecs

What we don't:

• Peak dynamic range lower than peers
• N-Raw video format has limited support
• Nikon controls 3rd-party lens options

The Nikon Z6III is Nikon's third-generation full-frame enthusiast mirrorless camera, with a 'partially stacked' 25MP CMOS sensor. The Z6III has an ample grip and easy-to-use control scheme. Nikon's menus and touchscreen layout are also well-refined, but the camera lacks the company's traditional AF mode button or front-corner switch. Autofocus is generally reliable, and the camera includes Nikon's 3D-tracking system and plenty of subject recognition modes. It can shoot 20 raws per second, or 60fps in JPEG mode. The Z6III is a genuine do-anything camera with excellent video and photo capabilities. Image quality is very good, with lots of detail and acceptable amounts of noise. There is a slight dynamic range tradeoff for speed, but it's only noticeable in extreme situations. The Z6III shoots many video formats, including Raw, and has dependable subject-tracking autofocus and a waveform display. Its 4K and 5.4K modes produce excellent detail, even in 60p, and its rolling shutter performance is outstanding. The Z6III is a significant step-up from its predecessor and is to-date the most all-round capable camera in its class. It excels in both stills and video.

Read our full review of the Nikon Z6III

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera under $2,000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

$2549 at Amazon.com What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

The Nikon Zf is a retro-styled camera built around an image-stabilized 24MP full-frame BSI CMOS sensor. The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our full review of the Nikon Zf

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A capable Canon: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

Buy now:

$2289 at Amazon.com What we like:

• Simple, powerful AF for stills
• Fast 40fps shooting with continuous AF
• Excellent battery life

What we don't:

• AF less reliable in video mode
• SD cards limit burst duration
• E-shutter can distort fast-moving subject

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beat the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by the two companies' lens lineups and how they match your preferences... with the knowledge that they both tightly control which lenses third parties like Sigma and Tamron can produce for their systems.

The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.

Read our full review of the Canon EOS R6 II

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$1999 at Amazon.com What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• No joystick control
• No fully mechanical shutter

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control. Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate. “The a7C II is a surprisingly capable camera for its size.” The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks. The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.

Read our full review of the Sony a7C II

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I buy the Sony a7 IV, a7 III or a7C?

At this point, the Sony a7 IV is tough to recommend. There are ways it's better than the A7C II, such as its much nicer viewfinder, slightly better ergonomics, and full mechanical shutter, which eliminates the risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If you're sure you don't care about compactness, it might be worth your while to pay a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.

What about other sensor sizes?

There are a couple of high-end APS-C cameras that fall in the realm of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience, thanks in part to the company's habit of including aperture rings on many of its lenses. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.

Also worth mentioning are the OM System OM-1 II and Panasonic G9II, which were both released 2024, and act as flagships for Micro Four Thirds. That format is smaller still than APS-C, which could be a tough sell given the sensor sizes people usually expect when they're spending this much on a camera – they cost $2,400 and $1,899, respectively. However, they may be worth considering if you're excited by computational photography features like handheld high-resolution mutishot, are looking to get the most reach out of the smallest lenses, or are going on adventures that require the most compact kit available.

Best for vlogging: Sony ZV-E1

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

Photo: Richard Butler

Buy now:

$2152 at Amazon.com What we like:

• 4K footage up to 120p
• Auto-cropped modes aid one-person operation
• Effective autofocus

What we don't:

• Recording times can be short in warm conditions
• 12MP resolution not optimal for stills
• Cropped footage is upscaled to 4K

The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.

The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.

The ZV-E1 has two command dials, both on the back of the camera, which makes manual video control a little fiddly, there's a touchscreen-led interface to encourage more automated presenter/operator working, though. The ZV-E1's subject recognition system is highly reliable. The lack of a fan means it's much more susceptible to overheating than the otherwise similar FX3. It adds automated modes that crop and follow a recognized subject around the frame, adding dynamism to single-operator footage. "The ZV-E1 has some clever automated modes but can be a bit fiddly to operate. It's hard to match the power for the price, though" The camera's 4K footage (up to 120p) is detailed with relatively little rolling shutter, but you'll want to use the strongest level of image stabilization (with crop) for hand-held shooting as it's a little juddery in less intensive modes. The camera's 12MP sensor takes perfectly attractive images with plenty of dynamic range and pleasant JPEG color but the low resolution means it wouldn't be our choice if stills shooting is important to your work. The ZV-E1 tries to marry the capability of the FX3 cinema camera with automated ease-of-use, but can end up being quite confusing in the auto modes and quite fiddly if you try to take a more hands-on approach. It's hard to match the power for the price, though.

Read our initial review of the Sony ZV-E1

What if I want to shoot videos, not vlogs?

Realistically, all of our picks above have very capable video modes that should give you the flexibility to work on the occasional video project. If you're mainly buying a camera for video work, though, it's worth considering something like the Sony FX30, which is designed to be flown on gimbals and to produce 4K/60p video without having to crop in. Sony's more video-focused camera also has excellent rolling shutter rates, helping avoid a jello-like effect in fast-moving footage, as well as best-in-class autofocus.

The FX30 does have the downside of having an APS-C sensor, meaning it can't take in as much light as full-frame options. Its full-frame counterpart, the FX3, is priced way above $2,000. If you really value full-frame and video performance, the Panasonic S5 IIX has some serious video chops, including features like waveform displays and shutter angle settings. However, its autofocus is decidedly a tier below Sony's, as is its rolling shutter performance.

A fixed-lens option: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

$1389 at Amazon.com What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

• Lens not especially fast to focus
• Hard to find in stock

While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

If you're looking to make an investment in a camera with a ton of versatility, the X100VI doesn't compete with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

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This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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Yesterday, Panasonic fully unveiled the S 18-40mm F4.5-6.3, a compact lens that's the new kit option for the company's creator-focused S9 camera. We were able to put it to the test and shoot a sample gallery with it, which should give anyone considering it a good idea of how it performs.

One note on processing: our standard procedure for lens galleries is to export the JPEGs using Capture One, as it gives us more control over how lens corrections are applied than Adobe Camera Raw. However, we shot this gallery with the Panasonic S9, which currently isn't supported in Capture One, so we reverted to processing these images using ACR. We've worked to use settings similar to our standard C1 recipe while also using the lens' built-in distortion correction profile. No correction for vignetting was applied.

Click here to see the S 18-40mm F4.5-6.3 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.

Buy now:

$499 at Amazon.com$497 at B&H Photo$499 at Adorama

NASA photo / Matthew Dominick

Hurricane Milton is barreling across the Gulf of Mexico toward the west coast of Florida, putting almost 15 million Florida residents under flood watches and prompting the evacuation of millions from the central part of the state.

Earlier today, NASA astronaut and photographer Matthew Dominick shared photos and video of Hurricane Milton through the window of the Crew Dragon Endeavour spacecraft. The spacecraft is currently waiting to undock from the International Space Station to return to Earth.

The National Hurricane Center continued to classify Milton as a Category 5 hurricane, with maximum sustained wind speeds of 265 km/h (165 mph) and warning of "life-threatening inundation from storm surge." However, the view from space belies the terrifying wind and rain on the ground, clearly showing the pinwheel shape of the hurricane with an identifiable eye at its center.

Additionally, Dominick posted a timelapse video from Dragon Endeavour on X, giving a sense of what it's like to pass directly over the hurricane.

Timelapse flying by Hurricane Milton about 2 hours ago.

1/6400 sec exposure, 14mm, ISO 500, 0.5 sec interval, 30fps pic.twitter.com/p5wBlC95mx

— Matthew Dominick (@dominickmatthew) October 8, 2024

In addition to Dominick's posts on X, NASA has shared two videos of the hurricane from the International Space Station that provide different views:

NASA caption: External cameras on the International Space Station captured views of strengthening Hurricane Milton at 10:28 a.m. EDT October 7 as it churned across the Gulf of Mexico. NASA caption: External cameras on the International Space Station captured new views of category 4 Hurricane Milton at 9:37 a.m. EDT October 8.

Although Milton may appear serene from space, and maybe even beautiful, it poses a real risk to life and property down on Earth and will impact millions. If you're anywhere in the path of the hurricane, you can visit the National Weather Service's feed on X, where the agency is posting regular updates and information.

Wildlife Photographer of the Year winners

The Natural History Museum has announced the winners of its prestigious Wildlife Photographer of the Year competition. This year, the museum received a record-breaking 59,228 entries from 117 countries and territories and granted awards to 100 photos. The two Grand Title winners were selected from 18 category winners.

Celebrating its 60th year, Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. You can visit the exhibition in person at the museum beginning Friday, October 11, and on tour around the UK and in Australia, Canada, Denmark, France, Germany, Italy and Switzerland, with more locations to be announced. The exhibition features all 100 winning images, videos showing the impact wildlife photography can have globally, and past Grand Title winners.

Here, we present some of our favorites, including the Grand Title and winners of many award categories.

Wildlife Photographer of the Year: Grand Title

The Swarm of Life by Shane Gross, Canada
Wildlife Photographer of the Year: Grand Title
Winner, Wetlands: The Bigger Picture

Shane Gross looks under the surface layer of lily pads as a mass of western toad tadpoles swim past. Shane snorkeled in the lake for several hours through carpets of lily pads. This prevented any disturbance of the fine layers of silt and algae covering the lake bottom, which would have reduced visibility. Western toad tadpoles swim up from the safer depths of the lake, dodging predators and trying to reach the shallows, where they can feed. The tadpoles start becoming toads between four and 12 weeks after hatching. An estimated 99% will not survive to adulthood.

Location: Cedar Lake, Vancouver Island, British Columbia, Canada

Technical details: Nikon D500 + Tokina fisheye 10–17mm F3.5–4.5 lens at 11mm; 1/200 at F13; ISO 640; 2x Sea & Sea strobes; Aquatica housing

Copyright Shane Gross / Wildlife Photographer of the Year

Young Wildlife Photographer of the Year: Grand Title

Life Under Dead Wood by Alexis Tinker-Tsavalas, Germany
Young Wildlife Photographer of the Year: Grand Title
Winner, 15-17 Years

Alexis Tinker-Tsavalas rolls a log over to see the fruiting bodies of slime mold and a tiny springtail. Alexis worked fast to take this photograph, as springtails can jump many times their body length in a split second. He used a technique called focus stacking, where 36 images, each with a different area in focus, are combined. Springtails are barely two millimeters long (less than a tenth of an inch). They are found alongside slime molds and leaf litter all over the world. They feed on microorganisms such as bacteria and fungi, improving soil by helping organic matter to decompose.

Location: Berlin, Germany

Technical details: Panasonic Lumix G91 + Laowa 25mm F2.8; 2.5–5x ultra macro lens; 1/200 at F4; ISO 200; Nikon SB-900 Speedlight flash; Cygnustech macro diffuser; focus stack of 36 images

Copyright Alexis Tinker-Tsavalas / Wildlife Photographer of the Year

Winner: Urban Wildlife

Tiger in Town by Robin Darius Conz, Germany
Winner, Urban Wildlife

Robin Darius Conz watches a tiger on a hillside against the backdrop of a town where forests once grew. Robin was following this tiger as part of a documentary team filming the wildlife of the Western Ghats. On this day, he used a drone to watch the tiger explore its territory before it settled in this spot. The protected areas in the Western Ghats, where tigers are carefully monitored, are some of the most biodiverse landscapes in India and have a stable population of tigers. Outside these areas, where development has created conflict between humans and wildlife, tiger occupancy has declined.

Location: Nilgiris, Tamil Nadu, India

Technical details: DJI Mavic 3 Pro Cine + 70mm F2.8 lens; 1/15 at F2.8; ISO 400

Copyright Robin Darius Conz / Wildlife Photographer of the Year

Winner, Behavior: Birds

Practice Makes Perfect by Jack Zhi, USA
Winner, Behavior: Birds

Jack Zhi enjoys watching a young falcon practicing its hunting skills on a butterfly above its sea-cliff nest. Jack has been visiting this area for the past eight years, observing the constant presence of one of the birds and photographing the chicks. On this day, it was a challenge to track the action because the birds were so fast. Should this young peregrine falcon make it to adulthood, tests have shown it will be capable of stooping or dropping down on its prey from above at speeds of more than 300 kilometers per hour (186 miles per hour).

Location: Los Angeles, California, USA

Technical details: Sony α9 II + 600mm F4 lens; 1/4000 at F5.6; ISO 640

Copyright Jack Zhi / Wildlife Photographer of the Year

Winner, Oceans: The Bigger Picture

A Diet of Deadly Plastic by Justin Gilligan, Australia
Winner, Oceans: The Bigger Picture

Justin Gilligan (Australia) creates a mosaic from the 403 pieces of plastic found inside the digestive tract of a dead flesh-footed shearwater. Justin has been documenting Adrift Lab’s work for several years, often joining them on beach walks at dawn to collect dead chicks. The team brings together biologists from around the world to study the impact of plastic pollution on marine ecosystems. Studies found that three-quarters of adult flesh-footed shearwaters breeding on Lord Howe Island – and 100% of fledglings – contained plastic. The team, including a Natural History Museum scientist, discovered it causes scarring to the lining of the digestive tract, a condition called plasticosis.

Location: Lord Howe Island, New South Wales, Australia

Technical details: Nikon D850 + 24–70mm F2.8 lens; 1/125 at F11; ISO 400; Profoto B10 + A1 flash

Copyright Justin Gilligan / Wildlife Photographer of the Year

Winner, Behavior: Invertebrates

The Demolition Squad by Ingo Arndt, Germany
Winner, Behavior: Invertebrates

Ingo Arndt documents the efficient dismemberment of a blue ground beetle by red wood ants. ‘Full of ant’ is how Ingo described himself after lying next to the ants’ nest for just a few minutes. Ingo watched as the red wood ants carved an already dead beetle into pieces small enough to fit through the entrance to their nest. Much of the red wood ants’ nourishment comes from honeydew secreted by aphids, but they also need protein. They are capable of killing insects and other invertebrates much larger than themselves through sheer strength in numbers.

Location: Hessen, Germany

Technical details: Canon EOS 5DS R + 100mm F2.8 lens; 1/200 at F8; ISO 400; Canon Macro Twin Lite MT-24EX flash; softboxes

Copyright Ingo Arndt / Wildlife Photographer of the Year

Winner, Photojournalism

Dusting for New Evidence by Britta Jaschinski, Germany/UK
Winner, Photojournalism

Britta Jaschinski looks on as a crime scene investigator from London’s Metropolitan Police dusts for prints on a confiscated tusk. Britta spent time at the CITES Border Force department, where confiscated animal products are tested. Newly developed magnetic powder allows experts to obtain fingerprints from ivory up to 28 days after it was touched, increasing the chances of identifying those involved in its illegal trade. The International Fund for Animal Welfare has distributed more than 200 specially created kits to border forces from 40 countries. They have been instrumental in four cases that resulted in 15 arrests.

Location: Heathrow Airport, London, England, UK

Technical details: Leica SL2 + 24–90mm F2.8–4 lens at 62mm; 1/80 at F3.8; ISO 200

Copyright Britta Jaschinski / Wildlife Photographer of the Year

Winner, 11-14 Years

An Evening Meal by Parham Pourahmad, USA
Winner, 11-14 Years

Parham Pourahmad watches as the last rays of the setting sun illuminate a young Cooper’s hawk eating a squirrel. Over a single summer, Parham visited Ed R Levin County Park most weekends to take photographs. He wanted to showcase the variety of wildlife living within a busy metropolitan city and to illustrate that ‘nature will always be wild and unpredictable’. The Cooper’s hawk is a common species across southern Canada, the USA, and central Mexico, where it inhabits mature and open woodlands. These adaptable birds also live in urban spaces, where there are tall trees to nest in and bird feeders that attract smaller birds, which they can prey on.

Location: Ed R Levin County Park, California, USA

Technical details: Nikon D3500 + Sigma 150–600mm F5-6.3 lens at 210mm; 1/400 at F6.3; ISO 800

Copyright Parham Pourahmad / Wildlife Photographer of the Year

Winner, Animals in their Environment

Frontier of the Lynx by Igor Metelskiy, Russia
Winner, Animals in their Environment

Igor Metelskiy shows a lynx stretching in the early evening sunshine, its body mirroring the undulating wilderness. The remote location and changing weather conditions made access to this spot – and transporting equipment there – a challenge. Igor positioned his camera trap near the footprints of potential prey. It took more than six months of waiting to achieve this relaxed image of the elusive lynx. A survey carried out in 2013 estimated the entire Russian lynx population was around 22,500 individuals, with numbers for the Russian Far East, including those in Primorsky Krai, at 5,890.

Location: Lazovsky District, Primorsky Krai, Russia

Technical details: Sony α7 IV + 24–70mm F2.8 lens; 1/500 at F5.6; ISO 100; Scout camera controller + PIR motion sensor

Copyright Igor Metelskiy / Wildlife Photographer of the Year

Winner, Impact Award

Recording by Hand by Liwia Pawłowska, Poland
Winner, Impact Award

Liwia Pawłowska watches as a relaxed common whitethroat is gently held by a bird ringer. Liwia is fascinated by bird ringing and has been photographing ringing sessions since she was nine. She says that she hopes her photograph ‘helps others to get to know this topic better.’ Volunteers can assist trained staff at bird-ringing sessions, where a bird’s length, sex, condition and age are recorded. Data collected helps scientists to monitor populations and track migratory patterns, aiding conservation efforts.

Location: Rgielsko, Greater Poland Voivodeship, Poland

Technical details: Nikon Coolpix P900; 1/400 at F5; ISO 100

Copyright Liwia Pawlowska / Wildlife Photographer of the Year

Winner, Impact Award

Hope for the Ninu by Jannico Kelk, Australia
Winner, Impact Award

Jannico Kelk illuminates a ninu, with the wire grass and shrubs behind it providing a frame against the darkness. Jannico spent each morning walking the sand dunes of a conservation reserve, searching for footprints that this rabbit-sized marsupial may have left the night before. Finding tracks near a burrow, he set up his camera trap. The greater bilby has many Aboriginal names, including ninu. It was brought to near extinction through predation by introduced foxes and cats. Within fenced reserves where many predators have been eradicated, the bilby is thriving.

Location: Arid Recovery, Roxby Downs, South Australia, Australia

Technical details: Canon EOS 60D + 24mm F2.8 lens; 1/80 at F9; ISO 320; 3x Nikon SB-28 Speedlight flashes; Camtraptions PIR motion sensor

Copyright Jannico Kelk / Wildlife Photographer of the Year

Winner, Behavior: Amphibians and Reptiles

Wetland Wrestle by Karine Aigner, USA
Winner, Behavior: Amphibians and Reptiles

Karine Aigner recognizes the skin of a yellow anaconda as it coils itself around the snout of a yacaré caiman. The tour group Karine was leading had stopped to photograph some marsh deer when she noticed an odd shape floating in the water. Through binoculars, Karine quickly recognized the reptiles and watched as they struggled with each other. Caimans are generalist feeders and will eat snakes. As anacondas get larger, they will include reptiles in their diet. It’s hard to determine who is the aggressor here. On the snake’s back are two tabanids, blood-sucking horseflies that are known to target reptiles.

Location: Transpantaneira Highway, Mato Grosso, Brazil

Technical details: Sony α1 + 200–600mm F5.6–6.3 lens; 1/400 at F16; ISO 800

Copyright Karine Aigner / Wildlife Photographer of the Year

Winner, Animal Portraits

On Watch by John E Marriott, Canada
Winner, Animal Portraits

John E Marriott frames a lynx resting, with its fully grown young sheltering from the cold wind behind it. John had been tracking this family group for almost a week, wearing snowshoes and carrying light camera gear to make his way through snowy forests. When fresh tracks led him to the group, he kept his distance to make sure he didn’t disturb them. Lynx numbers usually reflect the natural population fluctuations of their main prey species, the snowshoe hare. With climate change reducing snow coverage, giving other predators more opportunities to hunt the hares, hare populations may decline, in turn affecting the lynx population.

Location: Yukon, Canada

Technical details: Canon EOS 5D Mark IV + 100–400mm fF.5–5.6 lens at 400mm; 1/800 at F9; ISO 1250

Copyright John E Marriott / Wildlife Photographer of the Year

Winner, Photojournalist Story Award

Dolphins of the Forest by Thomas Peschak, Germany/South Africa
Winner, Photojournalist Story Award

‘Among the Trees’: The Amazon river dolphin is one of two freshwater dolphin species living in the Amazon and Orinoco basins. Only this species has evolved to explore the seasonally flooded forest habitat.

Portfolio Story: Thomas Peschak documents the relationship between endangered Amazon river dolphins, also known as botos or pink river dolphins, and the people with whom they share their watery home. The Amazon river dolphin’s relationship with humans is complex. Traditional Amazonian beliefs hold that the dolphins can take on human form, and they are both revered and feared. Others see them as thieves who steal fish from nets and should be killed. Thomas took these images in areas where local communities are creating opportunities for tourists to encounter the dolphins. This brings another set of problems: when they’re fed by humans, the dolphins become unhealthy, and younger individuals don’t learn to hunt for themselves.

Technical details: Nikon Z9 + 14–30mm F4 lens at 16mm; 1/320 at F6.3; ISO 1250

Location: Brazil and Colombia

Copyright Thomas Peschak/ Wildlife Photographer of the Year

Winner, Rising Star Portfolio Award

The Serengeti of the Sea by Sage Ono, USA
Winner, Rising Star Portfolio Award

‘Rubies and Gold’: These tube-snout fish eggs will fade in color as the embryos develop. But for now, they sparkle like gems next to the kelp’s gold, glowing, gas-filled buoyancy aids. The green serrated edges of the kelp fronds complete the simple composition.

Portfolio Story: Sage Ono explores the abundant life around the giant kelp forests in Monterey Bay National Marine Sanctuary. Inspired by the stories told by his grandfather, a retired marine biologist, and by a photograph of a larval cusk eel, Sage acquired a compact underwater camera and decided to take up underwater photography. After university, he moved to the coast near the Monterey Bay National Marine Sanctuary to pursue his interest. Here, it’s the submerged world of the bay’s forests of giant kelp – the biggest of all seaweeds – and the diversity of life they contain that have captured his imagination.

Technical details: Nikon D850 + 60mm F2.8 lens; 1/160 at F14; ISO 250; Nauticam NA-D850 housing; 2x Sea & Sea YS-D2J strobes

Location: California, USA

Copyright Sage Ono / Wildlife Photographer of the Year