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Photo: Leica

Leica has announced an updated version of one of its iconic lenses, expanding the Leica Classic Line in the process. The Summilux-M 50mm F1.4 (I) was launched in 1959 as the first offering under the Summilux umbrella. Thus, the lens has 65 years of history under its belt. This marks the fifth lens in the Leica Classic Line, joining the ranks of the Summaron-M 28mm F5.6, Thambar-M 90mm F2.2, Noctilux-M 50mm F1.2 ASPH and the Summilux-M 35mm F1.4.

The Summilux name is derived from the Latin "summa lux," which means "maximum light," in reference to its wide F1.4 aperture. The new lens stays true to its roots in form and function. In fact, Leica says that the Summilux-M 50mm F1.4 (II) is "an almost unchanged version" of the lens that was produced from 1962 to 2004. Indeed, like the original, it features seven lens elements in five groups. It also keeps the 12-blade aperture diaphragm of the historic model.

Photo: Leica

Like the first iteration, the updated Summulux-M 50mm promises "impressive image quality" with soft bokeh at wide apertures. It isn't all original, though. Leica says that it will be sharper and have higher contrast than its historical predecessor due to modern production techniques. Leica didn't offer any more details about how that improved quality is achieved, though. "The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor," says Leica. Another benefit of the second edition is a shorter close focusing distance of 0.7m (2.3ft), down from the original version's 1m (3.3ft).

The Summilux-M 50mm F1.4 (II) features the "Made in Germany" label. It is made by hand from solid brass and comes with a round vintage lens hood. Leica also says it will be the first Leica lens in the newly designed packaging, which does away with all plastic.

The Leica Summilux-M 50mm F1.4 (II) is now available for purchase through Leica Stores, the Leica Online Store and specialist retailers for $3895.

Buy now: $3895 at Leica $3895 at B&H Manufacturer sample images: Photo: Leica Photos: Leica Photo: Leica

{PressRelease}

Press release:

Leica Summilux-M 50 f/1.4

Wetzlar, 20 February 2025

Lenses from Leica boast a tradition that spans over 150 years. During this time, many handcrafted masterpieces have been created and have gone on to reach numerous milestones while defining trend-setting standards. The history of the legendary M-Lenses began over 70 years ago. Each of them tells a success story, with some of these legends now enjoying a renaissance decades later. This is the case for the new Leica Summilux-M 50 f/1.4.

The Summilux-M 50 f/1.4 (I) was launched onto the market in 1959 as the first lens released under the name Summilux. This is derived from the Latin “summa lux”, meaning “maximum light”. Since then, Summilux has become synonymous for particularly fast Leica lenses featuring an aperture of f/1.4 to f/1.7. The new interpretation combines the classic vintage look with state-of-the-art technology and is the fifth member of the Leica Classic Line. Just like the Summaron-M 28 f/5.6, the Thambar-M 90 f/2.2, the Noctilux-M 50 f/1.2 ASPH. and the Summilux-M 35 f/1.4, its timeless aesthetics are reminiscent of its historical predecessor.

The optical calculation is based on the second Summilux-M 50 f/1.4 (II), an almost unchanged version of which was produced from 1962 to 2004. It is noted for its impressive image quality and unmatched image characteristics at a wide aperture. The new Summilux-M also captures the moment in this unique look with particularly soft bokeh when a wide aperture is used, making it ideal for portrait photography. When stopped down, the new lens produces sharper and higher-contrast images than its historical predecessor. This is ensured by modern production techniques and the use of special types of glass. The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor. Compared to its historical predecessor, it offers even more creative freedom thanks to its extended close focusing distance of 0.7 m.

Like all M-System lenses, the new Summilux-M proudly bears the “Made in Germany” label and is testament to the quality for which Leica lenses are known all around the world. The new lens is made by hand from solid brass and fitted with a high-quality, round vintage lens hood. As the new standard lens in the Leica Classic Line, it combines a charming vintage design with technical precision par excellence.

The Summilux-M 50 f/1.4 is the first Leica lens to come in the newly designed packaging. The high-quality boxes do not contain any plastic at all and are also produced in Germany.

The Leica Summilux-M 50 f/1.4 is now available worldwide from all Leica Stores, the Leica Online Store and specialist retailers. The recommended retail price is EUR 3,850.00 incl. VAT.

{/PressRelease}

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Product Photos by Dale Baskin

89%Overall scoreJump to conclusion

The Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, optional 32-bit float audio and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.

Key specifications

• 25.2MP BSI CMOS sensor with parallel gain readouts
• Phase-detection autofocus
• ProRes RAW / HQ internal recording
• 32-bit Float audio capture via optional accessory
• Arri LogC3 gamma profile (optional paid upgrade - see below)
• UHD or DCI 4K in 10-bit 4:2:2 up to 60p
• Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
• 5.7K full-width capture at up to 60p
• 5.8K full-sensor 'open gate'/anamorphic capture at up to 30p
• 60 fps burst shooting with AF and pre-capture
• External SSD recording
• LUT support for photos and video
• 1 x CFexpress Type B, 1 x UHS-II SD slot
• Tilting/fully-articulating rear screen
• Built-in fan for unlimited recording

The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022.

Additionally, Panasonic has partnered with Arri, a leading manufacturer of digital cinema cameras, to bring Arri's LogC3 profile to the GH7. LogC3 matches Arri's color and tone response and allows the use of LUTs designed for Arri cameras. Since enabling this feature requires paying a license to Arri, LogC3 is an optional $200 upgrade, and can be installed by purchasing Panasonic's DMW-SFU3A software upgrade key.

Index:

• What's new?
• How it compares
• Body and controls
• Video
• Image quality
• Autofocus
• Video performance
• Conclusion
• Sample gallery
• Specifications
• Press release

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What's new: Sensor

The GH7 is built around a revised version of the sensor from the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.

The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to maintain focus on a relatively static subject.

The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.

29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 ms

The other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.

On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.

Find out more about dual conversion gain, dual output gain and how they work

However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required in the GH6). This doesn't explain how Panasonic can offer a mode with a high-gain component while maintaining the same ISO 100 rating for standard gamma. Interestingly, when you exceed 60fps (where the dual output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.

32-bit Float audio The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input and three dials to control the gain of each input. It can power mics that accept 48V phantom power.

While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.

32-bit Float audio doesn't encode its data directly as numerical values. Instead, it captures them as scientific notation, with most bits encoding the value and the last few describing the magnitude (i.e., how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.

To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.

This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback during the edit.

When recording 4-channel audio, this display allows you to view all four channels' input levels simultaneously, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.

With the DMW-XLR2, you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.

There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.

Video

The GH7's headline video feature is support for internal ProRes RAW recording, with ProRes RAW and RAW HQ options, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.

ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.

Raw Codec Resolution Frame Rate Crop Destination

ProRes RAW

or

ProRes RAW HQ

5.7K (5728 x 3024)

• 29.97
• 25
• 24
• 23.98

Full width CFexpress card or external SSD* DCI 4K (4096 x 2160)

• 59.94
• 50
• 29.97
• 25
• 24
• 23.98

1.41x

*Supports SSDs up to 2TB capacity

The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.

The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.

In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.

Subject recognition AF

In addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.

Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.

Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.

Subject recognition works in both still and video modes.

Photography features

While initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.

Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.

The GH7 also gets Panasonic's Real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.

This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.

Photo by Dale Baskin

We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.

Other improvements

Image stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting.

Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud function, which automatically uploads video proxy files or images to Adobe's Frame.io service.

How it compares

The GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented models of their own.

Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30 and Fujifilm X-H2S. We'll also include the Nikon Z6III, a full-frame camera with a strong video feature set, in the comparison.

Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Nikon Z6III MSRP at launch $2200 $2200 $1800 $2500 $2500 Sensor size/type Four Thirds
BSI CMOS Four Thirds
BSI CMOS APS-C
BSI CMOS APS-C
Stacked CMOS "Semi-stacked" BSI CMOS Cooling Built-in fan Built-in fan Built-in fan Optional screw-on fan No fan High res modes 5.8K (4:3)
5.7K (1.9:1) 5.8K (4:3)
5.7K (1.9:1) None 6.2K (3:2)

6K (1.78:1)
5.4K (1.78:1)

High speed modes 4K/120p (full width)
FHD/300p 4K/120p (full width)
FHD/300p 4K/60p (1.04x crop)
4K/120p (1.56x crop)
FHD/240p

4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p

4K/120p (1.5x crop) Codec options ProRes RAW
ProRes RAW HQ
ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) X-AVC HS (H.265 Long GOP)
X-AVC I (H.264 All-I)
X-AVC S (H.264 Long GOP) ProRes 422 HQ
ProRes 422
ProRes LT
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP)

N-Raw
ProRes RAW HQ
ProRes 422 HQ
H.265 (Long GOP)
H.264 (Long GOP)

Assist tools Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Focus map
Custom LUT preview Zebras
Peaking
Fixed LUT preview

Zebras
Peaking
Fixed LUT preview
Waveforms

Profile options

V-Log
Arri LogC3*
HLG
CinelikeD2

V-Log
HLG
CinelikeD2 S-Log3
HLG
S-Cinetone

F-Log
F-Log2
HLG
Eterna N-Log
HLG Media type 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD 2x CFexpress A /UHS-II SD 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD Viewfinder 3.86M dot OLED
0.8x mag 3.86M dot OLED
0.76x mag None 5.76M dot OLED
0.8x mag 5.76M dot OLED
0.8x mag HDMI Full-sized Full-sized Full-sized Full-sized Full-sized Audio Up to 4ch with optional XLR2 unit, 32-bit float audio Up to 4ch with optional XLR1 unit Up to 4ch with optional XLR handle Up to 4ch with optional Tascam XLR unit Stereo audio Battery life (CIPA) LCD 380 360 570 580 390 Weight 805g (28.4 oz) 823g (29.0 oz) 646g (22.8oz) 660g (23.3oz) 760g
(26.8oz)

From a specs standpoint, the GH7's main advantages are ProRes RAW, which can also be found on the Z6 III, 32-bit Float audio, and the ability to add Arri's LogC3 gamma profile (as a paid upgrade).

Other than those callouts, the cameras are reasonably well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect. It is designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort exclusively focused on video and might not be a good choice as a hybrid camera.

The Nikon may seem like the odd duck here, given that it has a full-frame sensor. However, it has an impressively strong video feature set, and with a retail price within spitting distance of the GH7, it merits serious consideration as an alternative. One thing the table doesn't capture? The Nikon will surely surpass the other models in still image quality.

Body and controls

The GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.

There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.

EVF and rear screen

Remember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.

The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.

Audio button and 32-bit Float audio

The GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.

As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit Float recording.

All four audio channels are output over HDMI.

Built-in fan

The GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.

Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, opening the Thermal Management menu and changing the setting from standard to 'High' may be necessary in some of the more demanding modes.

"The GH7 can provide unlimited recording at all resolutions and frame rates."

The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.

Battery

The GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.

The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.

To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.

Video capabilities

The GH7 supports a dizzying array of resolutions, frame rates, and codecs to choose from, along with comprehensive tools to support a video workflow. This grows to an even greater number, thanks to the inclusion of both ProRes and ProRes RAW capture.

"The GH7 supports a dizzying array of resolutions, frame rates, and codecs."

Frankly, it would be impractical for us to list every possible combination here – something that takes 11 full pages out of the camera's 977-page user manual, not including special modes like VFR – so we're going to focus primarily on the 5.7K and 4K modes that will interest most users.

Before we dive into the details, it's worth noting that the GH7 can use autofocus and record sound at almost every resolution and frame rate, up to 240fps in FHD mode. If you need to go faster than that, there's a 300fps VFR mode without AF or audio capture. Also, with the exception of basic MP4 files, all video modes on the GH7 can capture 10-bit video.

Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials. 5.7K

The GH7 isn't the first GH camera to capture 5.7K video, but it is the first to support 5.7K ProRes RAW capture, which can be recorded either internally to the camera's CFexpress card or to an attached SSD. (The GH6, could capture 5.7K video using the standard ProRes or H.265 codecs.)

ProRes RAW provides additional flexibility when editing. It's possible to adjust settings like white balance or exposure offsets that are baked into gamma-encoded file types. A Raw workflow introduces other challenges, though: the data rates are enormous, and, while providing flexibility, the files might require more downstream processing than other formats, including sharpening and noise reduction. In many cases, it's a lot more efficient to use a non-Raw format unless you really require the benefits of a Raw workflow.

When shooting in 5.7K, the camera captures video in the DCI (17:9) aspect ratio.

Resolution Frame rate Chroma Comp. Codec Bitrate (Mbps) Card type 5.7K (5760 x 4320)

• 29.97

Bayer Lossy ProRes RAW 4200 CFexpress or SSD

• 25

3500

• 24

3300

• 23.98

3300

• 29.97

2800

• 25

2300

• 24

2200

• 23.98

2200

• 29.97

4:2:2 All-I ProRes 1900

• 25

1600

• 24

1500

• 23.98

1500

• 29.97

1300

• 25

1100

• 24

1000

• 23.98

1000

• 59.94
• 50
• 48
• 47.95

4:2:0 Long GOP H.265 300 CFexpress, SSD or SD

• 29.97
• 25
• 24
• 23.98

200 4K: DCI and UHD

Although 5.7K video is impressively detailed, we expect many video shooters will choose to use the camera's 4K modes unless they require flexibility to zoom or pan at the editing stage.

The GH7 can capture 4K video using either the 16:9 UHD or 17:9 DCI aspect ratio. However, ProRes and ProRes RAW are limited to the 17:9 DCI format.

Additionally, 4K ProRes RAW video comes with a 1.41x crop. By virtue of being a Raw format, it captures a native 4K region from the middle of the sensor rather than using oversampled (i.e. processed) data from the full width of the sensor.

Resolution Frame Rate Chroma Comp. Codec Bitrate (Mbps) VFR Card type

DCI (4096 x 2160)

1.41x crop

• 59.94

Bayer Lossy ProRes RAW HQ 4200 No CFe or SSD

• 50

3500

• 29.97

2100

• 25

1800

• 24

1700

• 23.98

1700

• 59.94

ProRes RAW 2800

• 50

2400

• 29.97

1400

• 25

1200

• 24

1100

• 23.98

1100 DCI (4096 x 2160)

• 59.94

4:2:2 All-I ProRes 422HQ 1900

• 50

1600

• 29.97

972

• 25

811

• 24

779

• 23.98

778

• 59.94

ProRes 422 1300

• 50

1100

• 29.97

648

• 25

541

• 24

519

• 23.98

519

DCI (4096 x 2160)

or

UHD (3840 x 2160)

• 120
• 119.88
• 100

4:2:0 LongGOP H.265 300 CFe, SSD or SD

• 59.94
• 50
• 47.95

4:2:2 All-I H.264 800 CFe or SSD 600 CFe, SSD or SD 4:2:0 LongGOP H.265 200 Yes

• 29.97
• 25
• 24
• 23.98

4:2:2 All-I H.264 400 LongGOP 150 No 4:2:0 H.265 Yes

With such a mind-boggling number of combinations, just finding the settings you want in the camera's menus can be a challenge. Fortunately, the GH7 continues the ability to filter video modes, including by frame rate, resolution, codec, VFR mode, HLG and proxy recording capabilities, and favorites can be saved to a designated "My List" for quick access.

5.8K / 4.4K Anamorphic

Like its predecessor, the GH6, the GH7 can capture 'open gate' 4:3 footage from its entire sensor. Open gate recording provides additional flexibility to zoom, pan or add stabilization in post-processing. It can also be used in combination with anamorphic lenses to leverage the full area of the camera's sensor when de-squeezed to a widescreen format.

1080 (Full HD)

While not a headline feature, the GH7 retains the ability to capture the full range of full HD video modes, which are directly comparable to the camera's 4K options. This includes the choice of All-I or LongGOP codecs as well as the choice of 4:2:2 or 4:2:0 color modes.

Full HD video can be captured at frame rates up to 240fps with support for autofocus and audio recording, or up to 300fps in VFR mode without AF or audio. It can be captured in ProRes 422 and ProRes 422 HQ at up to 60p

Image quality Studio Scene

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

If you'd like to see a comparison to more photography-oriented peers, you can view the studio scene for the G9 II, which has the same photography specs and uses the same sensor.

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The GH7 is capable of capturing impressive levels of detail, thanks to its 25MP sensor. At base ISO, the results are broadly comparable to its APS-C peers, though it's not quite up to the level of the full-frame Z6III.

The sensor handles noise well, outperforming its predecessor, the GH6, by a hair. It falls a short of the APS-C sensor in the X-H2S, while managing to keep a bit closer to the a6700, though it can't beat physics and match it. Predictably, the full-frame sensor in the Z6III outpaces the other models here. At very high ISOs, we observe much the same pattern.

JPEG images deliver good detail, visible in the fine stitched texture of The Beatles' clothing. It also handles natural textures, like hair, gracefully, without looking oversharpened.

At higher ISOs, the JPEG engine does a good job of controlling noise, however, this comes at the expense of fine detail, with the GH7 falling a behind the other cameras in this cohort.

The GH7 produces very good colors using its standard JPEG settings. A look at the color patches reveals slightly vibrant pinks, with subtly pale yellows and blues. In real-world photos, we found colors very natural and pleasing, similar to other recent Panasonic models we've used.

Olympus ED 40-150mm F2.8 Pro @120mm | F2.8 | 1/400 sec | ISO 1000
Photo: Dale Baskin Dynamic range

A sensor with a wide dynamic range provides more latitude to boost shadows with a minimal increase in noise, and our tests show that the GH7 has ample room for pulling up shadows at base ISO. Its performance isn't quite as good as the larger APS-C sensors in this regard, falling about 2/3 EV behind the other sensors across the image, but it will mostly be in the deepest shadows where you notice the difference.

I exposed this photo for the highlights in the sky, which left the foreground very dark. I raised the shadows approximately 3.5 stops in Adobe Camera Raw to recover details in and around the road.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F4 | 1/20 sec | ISO 400
Photo: Dale Baskin

Dynamic range is one of the GH7's most notable improvements relative to its predecessor, the GH6. That camera exhibited significant shadow noise at base ISO, only improving from ISO 800 upwards when its DR Boost mode engaged. By implementing dual parallel gain at ISO 100, Panasonic has enabled the GH7 to be much more competitive in this regard.

Exposure Latitude | ISO Invariance

Autofocus

The most notable – and possibly most anticipated – upgrade to the GH7 is the addition of phase-detect autofocus, in the form of Panasonic's Phase Hybrid AF system.

Performance

Not surprisingly, we found the GH7's autofocus system performed better than its predecessor, which relied on Panasonic's Depth-from-Defocus (DFD) system, delivering a more reliable, more confident experience.

The camera had no trouble identifying the bird in this photo when subject detection was set to 'Animal', even against this busy background.

Olympus ED 40-150mm F2.8 Pro @150mm | F2.8 | 1/2000 sec | ISO 1250
Photo: Dale Baskin

The camera's subject detection modes are very quick to identify subjects and work across both photo and video modes. However, subject tracking still lags behind the best-in-class AF systems we've used. Specifically, while the system is quick to identify subjects, it's not quite as tenacious at sticking to subjects as they move, particularly if they move quickly.

Video autofocus

Video is where phase-detect autofocus makes the greatest impact on the GH7's performance. DFD was notorious for not being decisive enough for video use; this frequently resulted in undesirable artifacts, most notably a slight fluttering of the image when the AF system attempted to confirm focus on a subject or predict focus when a subject started to move.

"Video is where phase-detect autofocus makes the greatest impact on the GH7's performance."

We haven't encountered this with the GH7, making it much more suitable for run-and-gun use or any other application that requires autofocus, for that matter.

Subject identification and tracking work impressively well in video mode, particularly human and animal identification. Combined with phase-detect autofocus, it delivers reliable and predictable results in most situations. It's a level of confidence we haven't previously experienced when using a GH camera.

Photography autofocus

Since the photography features of the GH7 are identical to the G9 II, we would broadly expect it to perform similarly, or the same, as that camera, and this has been consistent with our experience. In a nutshell, it performs very well but isn't quite as dependable as the best of its peers. One continued frustration: if the camera doesn't detect a subject right away, it will sometimes flash a red box and leave you waiting for up to a second before starting to focus.

To read our in-depth analysis of the G9 II's AF system for photography, which matches our experience with the GH7, you can read the autofocus section of our Panasonic G9 II review.

Video performance Video quality Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Panasonic's GH cameras set high expectations for video, and the GH7 continues this trend. It delivers essentially the same results as its predecessor, the GH6, though with improved dynamic range at lower ISOs (more on that below).

Straight out-of-camera, it doesn't look quite as crisp as rivals like the Fujifilm X-H2S or the Nikon Z6III. Historically, Panasonic hasn't baked quite as much sharpening into its files, resulting in a less crunchy out-of-camera look. However, those files typically sharpen up nicely in post-processing if desired, leaving a lot of flexibility for an editor.

The GH7 delivers very similar results even when shooting 4K/120p high frame rate video. In this mode, it continues to use the full area of its sensor to render oversampled 4K footage, and it solidly outperforms other video-oriented models here.

At its highest 5.7K resolution settings, the GH7 is capable of capturing quite a bit of additional detail. However, it still falls noticeably short of the level of detail generated by Panasonic's own S5II when shooting in 6K mode. For maximum flexibility, you can capture 5.7K using ProRes RAW, but you'll need to do some downstream processing to make the most of it.

DR Boost

The GH7 provides more flexibility than the GH6 to capture a wider dynamic range using an expanded range of ISO settings. For the comparison below, we shot our DR test wedge using both cameras so that the very brightest patch just reached the clipping point, as shown by the video waveforms from DaVinci Resolve Studio.

GH7 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH7 V-Log (24p)

ISO 500
1/160 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 500
1/320 sec
F10

The first two buttons illustrate the impact of Panasonic's DR Boost mode. Both cameras were shot in V-Log at ISO 2000, the lowest ISO at which the GH6 supports DR Boost mode (ISO 800 when shooting in standard color modes). Since both cameras benefit from DR Boost mode at this ISO, the waveforms look very similar, as do the resulting video images.

However, the GH7 gains the ability to use DR Boost mode all the way down to its nominal base ISO of 500 in V-Log (ISO 100 in standard color modes). The next two buttons illustrate the advantage this gives it over the GH6 when shooting at ISOs below 2000: we've had to give the GH6 a whole stop less light to prevent the brightest tones in our test chart from clipping.

Note that the sensor's dual output gain system, which makes DR Boost possible, can't operate at frame rates exceeding 60p, so if you're planning to shoot at higher frame rates, you can expect the dynamic range to match that of the GH6 without DR Boost enabled.

Image stabilization

The GH7 gains Panasonic's Active I.S. technology, first introduced on the S5II series. Active I.S. is designed to more effectively dampen dramatic movements when walking while filming or using longer lenses and takes advantage of a new, higher precision gyroscope, which it shares with the G9 II. It's not an option you can switch on and off, but something the camera does automatically.

"Active I.S. is designed to more effectively dampen dramatic movements when walking."

Recent GH cameras have delivered impressive image stabilization, particularly in Boost I.S. mode, which is designed to correct all camera movement to simulate the effect of using a tripod for a stationary shot. Active I.S. is intended to play a somewhat analogous role, but when the camera is moving to deliver a smooth, if not quite gimbal-like performance when walking with the camera. In our experience, it's quite effective.

When Active I.S. is combined with the camera's electronic stabilization modes, it turns in a very impressive performance that could be mistaken for a gimbal. It's not magic, though. As with a gimbal, it still requires good technique to get the best results, but if you can manage that, it's another useful tool in the camera's bag of tricks.

Conclusion What we like What we don't

• Excellent video quality
• Phase-detect autofocus
• Internal ProRes and ProRes Raw recording
• Expanded DR Boost mode captures wider dynamic range at lower ISOs
• Impressive image stabilization in both stills and video
• Strong video workflow support
• Magnified live view during video capture
• 32-bit float audio (with XLR2 adapter)
• Real-time LUTs
• USB-C SSD support

• Autofocus can hesitate to engage if the camera doesn't immediately find something to track
• Subject tracking still lags behind peers
• DR Boost is not available at frame rates greater than 60p

At a high level, the GH7 delivers exactly what we expect from a GH camera: excellent video quality with an extensive set of tools for video shooters. It even adds some new tricks to its bag in the form of internal ProRes RAW recording and the ability to capture 32-bit float audio when used with Panasonic's XLR2 adapter.

Whereas previous GH-series cameras were primarily aimed at video shooters, Panasonic included all the photography features from its sibling, the G9 II, on the GH7. If you want Panasonic's best Micro Four Thirds camera for either photography or video, this is it – you can get it all in one package.

The inclusion of phase-detect autofocus is a hugely beneficial addition, particularly for video, and it effectively eliminates our biggest pain point with previous GH models: the tendency of the AF system to pulse or flutter during video capture as it tried to confirm or predict a subject's movement. Still, autofocus continues to be an area where the GH7 still lags behind the best of its peers, most notably in photography. It's generally quite good at identifying subjects, but it's not always as effective at tracking them.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F2.8 | 1/40 sec | ISO 3200
Photo: Dale Baskin

It used to be that you could count on every new GH camera to be first across the line with the latest video features, and there was a time when a GH camera was the obvious go-to choice for serious video users, but the landscape has evolved. It's still one obvious choice for video aficionados, but can it still stand out in a market where almost every new model purports to be a "hybrid" camera?

In short, yes.

The GH7 sets itself apart not just with specs, but with an implementation that reflects the needs of a serious video shooter: shutter angle, a built-in fan, pro audio capture, a proven and flexible Log curve, and incredible image stabilization that's designed around videography use cases. It sports a vast, but sensible array of codecs and frame rates, and offers little touches like the ability to filter them and save your favorites to a custom list. Yes, other cameras include some of these features, but they don't all work in concert like they do on the GH7.

In essence, the GH7 is the result of continuous improvement that started with the original GH1 16 years ago, and at this point, it's pretty dialed in. If you just want a hybrid camera that excels at photos and can also capture good video, there are other options. But if you want a production tool that's been refined over generations and polished to a shine – while also being able to shoot stills when needed – the GH7 is a great choice, in a way that raw specs simply can't convey, and for that, it wins our Silver Award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-GH7Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.Good forSerious videographers who need support for a video-centric workflow.Not so good forUsers who primarily want to shoot still photos rather than video.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcgh7","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared with its peers

Like the GH7, the Fujifilm X-H2S has a long list of advanced video features, though it doesn't have the same attention to detail around those features; the GH7's more polished video toolset makes it a more dependable camera for shooting video. However, photo image quality is better, and it's worth choosing for stills even if the AF doesn't live up to its fast shooting promise. It's also the only system to rival Micro Four Thirds' range of compact lenses.

If you would prefer a purpose-built camera for video, the Sony FX30 is worthy of consideration. Its boxy body is built from the ground up for video use and includes half a dozen threaded attachment points so you can build your rig, your way. It also has more dependable autofocus and better battery life, though you'll need an external recorder to capture Raw video. Whatever you do, don't get it for photography; it's not made for it and doesn't include a mechanical shutter.

If you have a significant interest in shooting stills and don't mind its larger lenses, the Nikon Z6III is a very strong choice, with much better image quality and a more sophisticated AF system. While its video specs are competitive on paper and it's capable of producing high-quality video, the GH7's dependability and refined video implementation make it a superior choice for video work.

Finally, it's worth considering Panasonic's own G9 II, particularly if video is more of a 'sometimes' activity rather than your primary focus. It includes the exact same photography features, and all but the most advanced video options, from the GH7, but in a body that's almost 20% lighter and less expensive. Also like the GH7, it benefits from a large catalog of size-appropriate lenses that can keep your kit small if desired.

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The Canon PowerShot V1 has a 16-50mm equivalent lens. Despite its vlogging focus it can capture Raw stills, too.

Rendering: Canon

Canon has announced the PowerShot V1 large-sensor vlogging compact, but for now, at least, it is only available in Asia. We get the impression it will be made more widely available at some point in the near future but Canon is giving no details.

The V1 is a "video-first" compact camera with a 16-50mm equivalent, F2.8-4.5 zoom lens. It's built around a 22-megapixel Type 1.4 (18.4 x 12.3mm) sensor with Canon's Dual Pixel AF II system. It features a fully articulating rear display and a windscreen for its top-mounted microphones, but no built-in flash or electronic viewfinder.

Key specifications:

• 22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
• 16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
• Full-width 4K up to 30p from 5.7K capture
• 4K/60p from a 1.4x crop (1:1 pixel capture)
• Up to 30 fps stills capture in e-shutter mode
• Cooling fan for extended video recording
• Wired or wireless video streaming
• Multi-function hotshoe for flash or audio accessories
• Fully-articulated rear touchscreen
• Headphone and mic sockets

The camera has a control ring around its lens, but we don't know if it rotates smoothly or clicks when turned.

What is a Type 1.4 sensor?

The sensor is essentially the same size as a Four Thirds chip, but in the wider 3:2 aspect ratio. Its pixel size matches that of the 33MP EOS R7, strongly suggesting it is a variant or cropped version of that sensor: an approach Canon previously took with its G1X series of large-sensor enthusiast cameras.

Conceptually, the Canon PowerShot V1 is essentially akin to a PowerShot G1X Mark II (pictured), mixed with Sony's ZV-1 Mark II vlogging compact.

Photo: Richard Butler

The V1 can shoot 4K video at up to 30p using 5.7K readout from approximately the full width of its sensor, or can deliver 60p from a 1.4x cropped region. As with the EOS R7, that equates to a roughly 1:1 pixel region of the sensor. The camera has a built-in fan, and we're told it can shoot 4K/60 for over two hours if you set the overheat threshold to 'High.'

We were impressed by the sensor in the EOS R7, so the idea of a compact that can shoot Raw using a cropped version of that sensor is an attractive one. That's especially true as the V1 has the Human and Animal detection modes from the R7, and full P,A,S,M control modes.

Video capabilities

The V1 can capture 10-bit Log footage using the Canon Log3 response curve, giving the option to color grade after shooting. It can also tether to a smartphone over USB and Wi-Fi and, if connected to a computer, be used as a video camera for streaming.

The new compact has optical stabilization that can be combined with electronic stabilization in video mode. There's also a 'Subject Tracking IS' mode that uses the stabilization (optical and digital) to maintain the subject's position in the frame and correct for motion.

The camera also has dedicated movie scene modes for "close-up demos," where the autofocus will override face detection if you hold something up close to the camera and one that applies a skin-smoothing effect to the output.

There are mic and headphone sockets to enable high-quality audio capture, along with Canon's multi-function hot shoe connector, which allows the use of audio accessories and a range of flashguns. The camera has an in-lens shutter, which should allow flash sync across its shutter speed range. There's also a built-in 3EV neutral density filter to allow the use of video-appropriate shutter speeds when shooting in bright light.

For now, the PowerShot V1 is only being released in Japan, China, Korea, Hong Kong and Taiwan, with the company saying it will be available in late April 2025. Our first chance to get our hands on it will be at the CP+ trade show in Japan next week.

Canon PowerShot V2 specifications Body typeBody typeCompactSensorEffective pixels22 megapixelsSensor photo detectors24 megapixelsImageWhite balance presets6Custom white balanceYesImage stabilizationOpticalImage stabilization notes5.0EV correction (center)CIPA image stabilization rating5 stop(s)Optics & FocusFocal length (equiv.)16–50 mmOptical zoom3.1×Maximum apertureF2.8–4.5Normal focus range5 cm (1.97″)Screen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots1,040,000Viewfinder typeNonePhysicalWeight (inc. batteries)426 g (0.94 lb / 15.03 oz)Dimensions118 x 68 x 53 mm (4.65 x 2.68 x 2.09″)

Image: Apple

Apple has announced its latest iPhone in an expansion of the iPhone 16 lineup. The iPhone 16e is the lineup's cheapest model, essentially serving as a replacement for the budget-focused iPhone SE, though at a not as budget-friendly price. While the 2022 iPhone SE started at $429, the iPhone 16e is available for pre-order for $599. Even though it's not exactly cheap, it is $200 less than the standard iPhone 16.

The iPhone 16e features the latest A18 chip and the brand new Apple C1 modem. It is the first iPhone to use a modem developed by Apple itself, which Apple has been trying to do for years. The 6.1-inch OLED display is the same size as the standard iPhone 16, so those hoping for the return of a smaller model are out of luck. Apple also killed off the iPhone's Touch ID interface with the 16e, instead relying on the Face ID-enabled notch.

While Apple built the iPhone 16e with plenty of new and advanced technology, as a budget model, it naturally comes with compromises to keep the price relatively low. Unfortunately, the camera system on the 16e seems to take the biggest hit with only a single rear facing camera.

A sample from the iPhone 16e's 48MP Fusion camera.

Photo: Apple

Most smartphones these days feature a multi-camera array on the back of the phone. These offer a range of focal lengths and individual sensors that serve specific purposes so that users aren't reliant on low-quality digital zoom. Apple, though, opted for a "two-in-one camera system" on the iPhone 16e. The base of that system is a 26mm equivalent F1.6 Fusion camera capable of 24MP photos. The Fusion portion of the name refers to the fact that it combines two cameras into one. So, that same lens enables a 2x telephoto camera, which is simply digitally converted from the wider offering, resulting in a 52mm equivalent F1.6.

Portrait mode on the iPhone 16e.

Photo: Apple

Both of the rear facing cameras offer optical image stabilization. As is expected for smartphone cameras these days, they rely on computational photography and provide access to Apple's Night mode and Portrait mode. Beyond the 2x telephoto offering, the phone offers 10x digital zoom. The front of the phone features a standard 12MP F1.9 selfie camera. For video, the iPhone 16e promises "stunning videos" in up to 4K resolution with Dolby Vision up to 60 fps.

Naturally, Apple still promises excellent image quality across the board. It certainly is a significant step up from the iPhone SE, which only offered a single 12MP main camera and no Dolby Vision video. Additionally, the iPhone 16 and 16 Plus both feature a 48MP Fusion camera, which provides excellent results despite the reliance on what is effectively virtual zoom. The 16 and 16 Plus, though, have the addition of an ultra wide camera as well. That is not the case on the 16e, so users will be more limited on the new model.

For those who want a smartphone camera for capturing for memories and to serve as, well, a phone, the iPhone 16e is certainly a worthy device. But photography enthusiasts or those looking to get the most out of their smartphone camera will likely be a bit disappointed and limited by the camera setup.

Though it doesn't seem possible, Photoshop is turning 35 today. Naturally, the powerful photo editing platform has undergone much growth and change since its launch in 1990. To celebrate the milestone and the inspiring stories of those who use Photoshop, Adobe has announced a new content series on YouTube with Adobe's Russel Preston Brown, Sr. Principal Designer as host. Brown is the longest-standing employee to date at Adobe, having worked for an incredible 40 years at the company.

The inaugural episode features a conversation between Brown and Joel Grimes, a professional photographer who has been recognized as a Canon Legend Photographer and a Top Pro Elite Photographer by FJ Westcott. Their conversation explores how far photography has come in the past few decades and how Photoshop has evolved over the years. The pair discusses the transition from film to digital and how tools in Photoshop evolved from analog techniques. "Going from film to digital was very painful, but I had the greatest revelation I’ve ever had in photography – that is, I’m just an artist with a set of tools," Grimes explains in the video. "There’s no definition that’s going to bind me to one way of doing something."

The conversation is interesting, even covering where the name Photoshop came from. But at nearly 30 minutes long, you'll want to be sure to set aside some time to sit down and watch.

Along with the video, Adobe has shared a blog post highlighting key Photoshop milestones over the years, "from the release of Photoshop 1.0 in 1990 and its pivotal contributions to Hollywood, to the product’s ongoing evolution through the 2000’s and what’s still to come."

Photo: GoPro

Rumors have been swirling for quite some time, but GoPro has finally officially (and quietly) announced an update to the Max 360, its 360-degree action camera. It first released the original GoPro Max 360 in 2019, so it was quite overdue for an update. Unfortunately for fans of the camera, a five-year wait didn't result in any groundbreaking changes and the updates are very minor. The fact that it shares the exact same name as the previous model is perhaps a hint that there isn't much new going on.

GoPro's blog post announcing the news only dedicated two sentences to the actual camera: "The 5.6K spherical camera now comes with a MAX Enduro Battery and an upgraded mounting system, making it compatible with all standard ¼-20 tripod mounts. All for only $349.99 MSRP." That's it.

The new Max 360 will feature the folding mounting fingers found on recent GoPro Hero Black cameras and a standard tripod mount. It will also use the larger-capacity Enduro Battery, though GoPro doesn't provide any details as to the expected battery life. The rest of the hardware, including its 5.6 K resolution, remains the same as the 2019 model.

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Instead of focusing on hardware, GoPro prioritized software changes via the GoPro Quik app. One of the benefits of shooting 360-degree video is greater editing flexibility; indeed, GoPro is leaning on that. The Quik app will offer AI-Powered Object Tracking. You will be able to pick a subject, and then the app will use AI to keep that subject in view and in focus for the entirety of the clip. It should make editing footage from the camera much faster and easier than manually adjusting framing as a subject moves around the 360-degree field of view.

The Quick app will also take advantage of all the data the camera captures to create new camera effects, such as backflips, barrel rolls and more, with only a tap. Plus, you can set your view where you want it using Reframe if you want manual control over the 360-degree footage. Those who prefer desktop editing will also be able to take advantage of the "magic of Reframe" with a new GoPro Reframe plugin for Adobe Premiere Pro and After Effects.

Photo: GoPro

"MAX never misses—and that’s why it’s the go-to 360 camera for the world’s most creative athletes, adventurers and content creators. Getting ‘the shot’ has never been this easy," says GoPro Founder and CEO, Nicholas Woodman. "And with the Quik App’s new 360 editing experience, featuring AI-powered Object Tracking and simplified but powerful editing tools, it’s never been this easy or fun to edit your 360 content into amazing sharable moments."

GoPro added that more 360-degree editing tools are in the works. "And this is just the beginning,” Woodman adds. “We’re excited to launch powerful new app features on an ongoing basis to keep taking the GoPro 360 experience further and further this year." Hopefully, that investment in 360 will eventually turn into a truly updated camera, though at least GoPro is catching up with editing tools already available for Insta360 users.

Photo: GoPro

It isn't clear whether these software updates will benefit existing Max 360 users. Given that the changes are in the GoPro Quik app, it seems likely they will, though GoPro hasn't specified.

Perhaps the biggest change for the Max 360 is the price. It originally sold for $500. Luckily, GoPro is dropping the price of the 2025 model to $350. It is available for purchase as of today through GoPro's website.

Buy now: $350 at GoPro

Image: Insta360

Insta360 released its highly popular Flow 2 Pro smartphone gimbal a month ago with an impressive list of features and tools. Unfortunately for Android users, though, those features were specific to iPhone users, leaving them unable to take advantage of the powerful stabilizer. Now, though, Insta360 has announced a new accessory, dubbed the AI Tracker, that unlocks the Flow 2 Pro for Android phones.

The Insta360 AI Tracker uses a dedicated camera to enable tracking no matter the operating system or app.

Image: Insta360

Insta360 calls the Flow 2 Pro AI Tracker "the ultimate add-on to take your mobile content to the next level." The company designed the device to enable support across Android phones along with a greater number of apps. That means that even iPhone users benefit from this little accessory. To accomplish greater compatibility, the AI Tracker features a dedicated camera. It connects to the gimbal using a USB-C connection, allowing it to track subjects independently no matter what phone is attached to it or what app is being used to record.

The AI Tracker relies on Insta360's AI tracking algorithms. As the product's name suggests, it uses AI recognition to keep subjects framed, even if there are obstructions or multiple subjects. The AI system also works on cats and dogs. Plus, it enables hand gestures to activate tracking, just like iPhone users have access to on the Flow 2 Pro.

The Insta360 AI Tracker also features an integrated light with adjustable brightness and color temperature.

Image: Insta360

This little accessory also has a built-in LED light, offering three brightness levels and three color temperature settings for greater control over how you light your subject. It is a simple plug-and-play device that can be used without adjusting any settings.

The Flow 2 Pro AI Tracker is available as of February 17. If you already own the Flow 2 Pro, you can purchase the AI tracker as a standalone accessory for $40. If you want to buy the AI tracker with the Flow 2 Pro, you'll have to wait a little longer. Insta360 says that the AI Tracker Bundle is "soon-to-launch" for $179, though didn't provide a specific date.

Buy now: $40 at Insta360

Image: DJI

DJI has announced its latest smartphone gimbal, which is available in two varieties. The Osmo Mobile 7 is the more affordable option for casual users, while DJI designed the Osmo Mobile 7P for pro-level users. Both models are compact and lightweight and offer one-step unfolding, Apple Watch control, an integrated extension rod and a built-in tripod, just like their predecessor. However, there are some noteworthy changes as well.

Image: DJI

Interestingly, DJI did away with the side wheel on the Osmo Mobile 7, even though it was a new feature on the Osmo Mobile 6. In its place is what appears to be a more simple rocker. DJI kept the side wheel on the Osmo Mobile 7P, however. It promises more cinematic control, offering the ability to adjust focal length, smooth zoom control, and manual focus. Additionally, a long press of the side wheel enables control over the fill light, including brightness and color temperature.

Both models of the new gimbal feature DJI's seventh-generation three-axis stabilization and ActiveTrack 7.0, which DJI calls its "most advanced tracking technology." When paired with the DJI Mimo app, the Osmo Mobile 7 and 7P will automatically adjust to track subjects, even in crowds or when working with active subjects. It can also detect multiple subjects, allowing users to lock onto one or switch between subjects with a tap.

The new Multifunctional Module adds a fill light and extra controls.

Image: DJI

The Osmo Mobile 7P gets the added benefit of the new Multifunctional Module. With this new tool, users can access robust tracking with their phone's native camera, live streaming apps or another camera app. It attaches to the gimbal with a magnetic clip and enables hand gestures to take photos, start or stop recording, activate tracking or stop intelligent tracking. Additionally, the Multifunctional Module includes integrated light control, allowing users to change color temperature and brightness. It can also function as a microphone receiver through its USB-C port while providing extra power to your phone.

While the Osmo Mobile 7 doesn't come with the Multifunctional Module, it is compatible with the new accessory and is available for purchase separately.

Both the Osmo Mobile 7P and 7 promise up to 10 hours of battery life. That is quite the boost from the 6 hours and 24 minutes of battery life promised by the Osmo Mobile 6.

The DJI Osmo Mobile 7 and 7P are available for purchase starting today for $89 and $149, respectively.

Buy now: $89 at DJI

Press release:

DJI Delivers Next-Level Intelligent Smartphone Photography with Osmo Mobile 7 Series

New Flagship Phone Gimbal Features Seventh Generation DJI Stabilization Technology and ActiveTrack 7.0 Technology

February 18, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Mobile 7 Series. This new generation of phone gimbal takes three-axis stabilization and intelligent tracking to new heights. Both the Osmo Mobile 7P and Osmo Mobile 7 feature DJI’s seventh-generation stabilization, ActiveTrack 7.0 technology¹, and a range of intelligent features for capturing cinematic-quality footage on a smartphone.

“From award-winning filmmakers to short-form content creators, DJI continues to expand our ecosystem of creative camera technologies and push the industry forward,” said Ferdinand Wolf, Product Experience Director at DJI. “With the Osmo Mobile 7 Series’ latest advances in intelligent tracking and camera stabilization, capturing beautiful, professional content with a smartphone has never been easier.”

The Osmo Mobile 7P features a more powerful three-axis smartphone stabilizer that maintains the lightweight, portable, and robust tracking capabilities of the Osmo Mobile 6. With the new Multifunctional Module¹, creators can easily track subjects and it includes integrated light control with multiple color temperature and brightness levels. When the Multifunctional Module functions as a microphone receiver, its USB-C port can be connected to your phone to deliver high-quality audio transmission while also providing extra power. It is also easy to set up thanks to the quick one-step unfolding, integrated extension rod, and built-in tripod.

The Osmo Mobile 7 is the lightest gimbal in its class, weighing about 10 ounces (approximately 300 g). Like the Osmo Mobile 7P, it features a compact design and is easy to use, but at a more entry-level price. It also allows for quick unfolding, a built-in tripod, one-step storage, and can support the Multifunctional Module (sold separately).

Power of the Multifunctional Module

The Multifunctional Module allows creators to easily track subjects using their smartphone’s native camera, live streaming apps, and other camera apps. It can accurately maintain focus in a crowd or reacquire a subject if they re-enter the frame after leaving briefly. The module can be easily attached to the gimbal with a simple magnetic clip and controlled using hand gestures1 to take photos, start or stop recording, activate tracking, or adjust a composition.

• Showing your palm to the module starts or stops intelligent tracking.
• Making a “V” gesture takes a photo. It can also start or stop video recording.
• Making a “Double L” gesture with two hands adjusts a subject’s framing.

ActiveTrack 7.0: Smarter Than Ever

When paired with the DJI Mimo app1, the Osmo Mobile 7 Series can use ActiveTrack 7.0. As DJI’s most advanced tracking technology, ActiveTrack 7.0 enables the gimbal to adjust to track subjects and follow their movements automatically, even in a crowded or active environment. Smart Capture allows the gimbal to detect multiple subjects, and users can direct the gimbal to lock onto one subject or switch to a different subject with a simple tap. Smooth tracking enables the gimbal to pinpoint the shooter’s preferred focus accurately and maintains continuous tracking even if the subject is obscured or moving rapidly.

Other Standout Features

• Side Wheel for More Cinematic Control: Creators can adjust the focal length for a more flexible composition and a smoother zoom or switch to a manual focus. Additionally, a long press enables control over the fill light, making it easy to adjust brightness and color temperature, thus simplifying your shooting experience.
• Compatible with Apple Watch1: Using the DJI Mimo app, creators can use their Apple Watch as a smart remote for the gimbal, remotely controlling their shoot and camera feed.
• Up to 10 hours of operational time¹.

Price and Availability

DJI Osmo Mobile 7 Series is available to order from store.dji.com and authorized retail partners, with shipping starting today, in the following configurations:

Osmo Mobile 7P retails for $149.

Osmo Mobile 7 retails for $89.

Accessories available include:

• DJI OM Magnetic Quick-Release Mount
• DJI Mic Mini Transmitter
• DJI OM 7 Series Tracking Kit
• DJI OM Grip Tripod

DJI Care Refresh

DJI Care Refresh, the comprehensive protection plan for DJI products, is now available for Osmo Mobile 7P and Osmo Mobile 7. Accidental damage is covered by the replacement service, including natural wear, collisions, and water damage. For a small additional charge, you can have your damaged product replaced if an accident occurs.

DJI Care Refresh (1-Year Plan) includes up to 2 replacements in 1 year. DJI Care Refresh (2-Year Plan) includes up to 4 replacements in 2 years. Other services of DJI Care Refresh include official warranty, international warranty service and free shipping. For a full list of details, please visit https://www.dji.com/support/service/djicare-refresh.

For more information, please refer to https://www.dji.com/osmo-mobile-7-series.

1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to https://www.dji.com/osmo-mobile-7-series.

I shot this photo back in 2006 during a snowshoe trip sponsored by The Mountaineers, a Seattle-based outdoor organization that I've been a member of for many years, using my first DSLR, the Canon EOS 20D, along with my brand new Sigma 18-50mm F2.8 EX DC lens. It was the first time I had either out in winter conditions, and they both passed the test with flying colors.

Photo: Dale Baskin

Our February Editors' photo challenge is now open for submissions.

The theme for February is 'Winter Games', so show us your winter photos! Whether it's classic winter sports, building a snowman, or just enjoying the year's coldest season, we want to see what winter fun looks like through your lens.

Our favorite images will be featured on the DPReview homepage later this month.

Are you in the southern hemisphere? No worries – this challenge is open to photos taken at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story! (Hint: the caption for the photo above is a good example.)

Photos can be submitted between Sunday, February 16, and Saturday, February 22 (GMT).

Visit the challenge page to read the full rules and to submit your photos for consideration.

Enter the February Photo Challenge

Images: Viltrox, Seagate, Nanlux

Welcome to the weekend everyone! For this accessory roundup, we're going to look at some new lights, especially small SSDs, and more. But first, as always, the deals.

High performance, low(er) prices

If you want a Canon camera that's extremely competent at shooting sports, but that's not quite as expensive as the sports/action flagship EOS R1, the EOS R3 can now be had for $500 off its MSRP.

Buy now:

Buy at Amazon.comBuy at B&H PhotoBuy at MPB Photo: Richard Butler

If you prefer single-grip cameras that are still about as capable as they come, the venerable Nikon Z8 is on sale again for $600 off.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Viltrox's lightsaber Image: Viltrox

Many readers will be familiar with Viltrox's lenses, but the company is also active in the lighting space. It recently announced the K90 RGB light stick, which is more or less exactly what its name implies: a 97cm tube that can output up to 30W of light in a wide variety of colors. While the lights – which come in a two pack – can be used in a traditional lighting setup, they're also interesting as practicals that you can see in the photo or video itself.

The K90 has a built-in battery that charges via USB-C, which Viltrox says should be able to run the lights at full power for around 70 minutes. It features on-body controls, as well as compatibility with the company's app.

Buy at Amazon For the tablet fans Image: Wacom

Pen tablets can be a great tool for editing your photos, and giving your wrists a break from using a mouse. And, in case you missed it, Wacom has just updated its flagship Intuos Pro tablets to improve the controls, pen, and aspect ratio – the new version is a better match for today's 16x9 displays. If you want a deeper drive, we covered the launch in its own article, which you can read here.

$380 at B&H Small SSDs Image: Seagate

High-performance, portable SSDs are nothing new, but the latest generation is taking the concept even further. Seagate's new "Ultra Compact SSD" lives up to its name by being about the size of an old-fashioned flash drive. However, it can store up to 2TB of data, and will let you access it at up to 1,000MBps via its USB-C 10Gbps interface. It's also compatible with Android and iOS devices, which could be useful for those looking to record using the iPhone's highest-end codecs and frame rates, which require an external drive.

Buy at B&H Image: Planck

Phone recording is top of mind for the Planck SSD, which is designed to sit flush against the bottom of your phone, instead of protruding popsicle stick-style like the Seagate. The specs are similar to the Ultra Compact SSD, but the Planck does come with a bit of a caveat. It's currently being sold via a Kickstarter campaign, which means there's no guarantees that you'll actually get one should you decide to back the project. We always advise taking caution around crowdfunded products, especially ones from less established brands.

Light Rain Image: Godox

If you want to be able to light a scene no matter what the conditions, you now have more options than ever – provided you work at a movie studio, or have the same funding as one. Both Nanlux and Godox have released new lights that promise to put out a ton of light while also being weatherproof.

Besides its IP65 weather resistance rating, the Godox P1200R Hard Pro is a relatively standard 1200W RGB light panel. It promises flicker-free light, controllability via a variety of standards, including an app, and a relatively compact build given the amount of light it's designed to put out.

Image: Nanlux

The Nanlux Evoke 5000B, is a 5200W spotlight that also supports a weather resistance rating – IP66, this time – but it has a new trick up its sleeve. The company claims that it's the only light in its class that supports adjusting both its color temperature and its green/magenta values.

Neither light is aimed towards photographers, or priced for anyone other than serious professionals – the Godox is around $5300, while the Nanlux will run you $14,800 – but they do show what's possible with today's technology. With any luck, we'll start to see similar features start to trickle down to more consumer-focused lights.

Pro Kit

We sometimes like to include videos or essays that aren't necessarily accessories, but that offer some insights or knowledge about the art of photography. This week's entry is a YouTube video by Kym Illman, where he goes over what gear he uses to professionally shoot F1 races.

Getting a look at someone's camera bag is always a fun experience, and can help inspire some changes to your own setup. However, it becomes even more interesting when that person is a working pro – it's a perspective we don't always get to see, so cheers to Illman for sharing his knowledge and gear.

Read last week's accessory roundup

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

Cosina's latest offering is shrinking things down for M-mount. The Voigtländer Color-Skopar 35mm F3.5 Aspherical VM manual focus lens is just 14mm (0.5in) thick, meaning it barely sticks out from the lens mount. It also only weighs 99g (3.5oz). The slim, lightweight design design combined with the 35mm focal length makes it an ideal option for street or travel photography.

While such a thin design allows for a discreet shooting experience, it does limit room for both a focusing and aperture ring. As a manual-focus lens, it is important to have an easy way to change focus. As a result, Cosina opted for a focusing lever instead of a ring, making it easier to adjust focus despite the limited real estate.

A screenshot from the announcement video shows how to use the focusing lever.

Image: Cosina

Cosina still managed to include a filter thread, making the lens compatible with 34mm filters. It also comes with a dedicated hood. The retro-looking lens is made of brass and is available in either black or silver finishes. Its optical design comprises six elements in four groups. It features 10 aperture blades.

Cosina didn't provide an exact date for availability but says it will arrive in March 2025. The expected retail price is listed at ¥102,000 ($670 at the time of writing) for silver and ¥105,000 ($689) for black.

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

Tokina has announced that its first super wide-angle zoom lens designed exclusively for mirrorless cameras will be coming to Fujifilm X-mount. The company initially released the atx-m 11-18mm F2.8 for Sony APS-C cameras in 2022. The Fujifilm version is identical in all but subtle ways to the E-mount model, though it will result in a 16.5-27mm equivalent field of view on Fujifilm cameras.

Beyond the distinct equivalent fields of view, the differences between the two mounts are extremely small. The X-mount model weighs ever so slightly less, at 320g (11.3oz) versus the 335g (11.8oz) E-mount version. The only other change is that the Tokina text is blue on the new mount, as opposed to the white text found on the E-mount model.

Image: Tokina

Otherwise, the lenses share the same optical design and features. Like the original, Tokina promises "impressive resolution" across the zoom range, along with high contrast and low distortion. It designed the compact zoom as a hybrid lens, offering precise autofocus in both still and video modes. It provides a minimum focusing distance of 0.19m (7.5in), making dramatic wide-angle images possible.

The new model offers full compatibility with Fujifilm cameras. That includes image stabilization, MF Assist mode, eye detection and optical corrections. It will be available for $599 beginning on March 14.

Press release:

Tokina atx-m 11-18mm F2.8 X worldwide sales date announcement

Feb 14, 2025

Kenko Tokina Co., Ltd. is proud to announce the sales release of the Tokina atx-m 11-18mm F2.8 X lens for Fujifilm APS-C size mirrorless cameras.

Sales will commence on March 14, 2025.

Overview

The Tokina atx-m 11-18mm F2.8 X is the first super wide angle zoom lens in Tokina's product line-up designed exclusively for mirrorless cameras. It features a fast f/2.8 aperture throughout the zoom range, and a 11-18mm (17-27mm in 35mm equivalent) zoom stored in a compact and lightweight body for hybrid users who shoot stills and video.

The atx-m 11-18mm F2.8 X performs impressive resolution from the wide to tele end of the zoom. This lens boasts high contrast and low distortion, and quick and precise AF response in still and video modes. It is fully compatible with Fujifilm camera functions.

With its compact design, versatile focal length and optical quality, the Tokina atx-m 11-18mm F2.8 X is the perfect gear for shooting landscape, group photos, environmental portraits, architecture, astrophotography, automobile photography, street snaps, documentary videos and vlogging.

Highlighted Features

• 11-18mm super wide angle zoom for dynamic video or landscape, architecture and astrophotography genres.
• Fast f/2.8 aperture throughout the zoom range for shallower depth-of-field, and 9 blades rounded diaphragm for soft bokeh background.
• Compact and lightweight design to carry while traveling, or attaching to gimbals.
• 2 aspherical and 2 super low-dispersion glass elements suppress chromatic aberrations.
• Superb resolution with rich color reproduction, low distortion and low light fall-off.
• Short minimum focusing distance to create unique wide-angle images with perspective effect.
• Full compatibility with Fujifilm cameras, including Image Stabilization, AF+MF, MF Assist mode, Eye Detection and optical corrections.
• Micro USB port (Type B) for firmware updates.

Photo: Harman Photo

Harman has announced a new 35mm film, expanding the options for analog photographers looking for unique colors. The United Kingdom-based company produces film under the Harman Photo, Ilford Photo and Kentemere brands, making a range of products for analog photographers. The company's latest film, Red 125, takes things to the more unique end of the spectrum, much like Lomography's Redscale offering. It says this release builds on the 2023 launch of Phoenix 200 and is "part of the company's long-term colour journey."

Red 125 is a professionally finished ISO 125 redscale film. Redscale is the effect of shooting through the back of color film, exposing the red-sensitive layer first. “By doing this you are exposing your image through the film’s base and the red sensitive layer first, creating amazing results primarily consisting of reds, oranges and yellows," explains Giles Branthwaite, Sales & Marketing Director. It's not a look for everyone or every situation, but can be a fun option to play with. “The high red sensitivity and lack of anti-halation layer make our Phoenix emulsion the perfect candidate for converting into a redscale film,” adds Branthwaite.

Harman Technology explains that the film is "backed by the recent announcement of significant capital investment in both operational and research & development functions, sales from this film will continue to be reinvested to support a roadmap of future colour films." It's exciting to hear that more new emulsions could be in the works.

Photo: Sue Evans / Harman Photo

Harman made Red 125 to offer a fair amount of flexibility. It says it has a usable exposure range of EI 50-400, but suggests shooting between EI 100-200. The look can change depending on the exposure and colors in a scene, ranging from "strong 'apocalyptic' looking bright orange and red tones to more subtle orange and green tones with delicate shadows."

The company explains that under-exposure results in coarser grain with more prominent shadows and deeper reds. In comparison, over-exposure produces fine grain, brighter, more contrast-heavy images with varying tones. Normal exposure results in more consistent orange tones with softer shadows.

Harman Red 125 uses a DX-coded cassette, so capable cameras can read relevant information about the film automatically. It also uses standard C41 processing, making it easy to develop.

The new film is available today through a range of retailers. You can find out more and find retailers at the Harman Photo website.

Buy now: $14 at B&H Sample photos Photo: Alex Doran / Harman Photo Photo: Michelle Parr / Harman Photo Photo: Sue Evans / Harman Photo

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

Updated: February 14, 2025

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.

Our Recommendations

• Best camera around $2,000: Nikon Z6III
• A close second: Canon EOS R6 II
• Best camera under $2,000: Nikon Zf
• The compact option: Sony a7C II
• The do-anything traveler: OM System OM-3
• Best for vlogging: Sony ZV-E1
• A fixed lens option: Fujifilm X100VI

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:

$2429 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. A close second: Canon EOS R6 II

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

Photo: Dale Baskin

Buy now:

$2249 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. 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:

$2349 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. 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:

$1959 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?

The Sony a7 IV is tough to recommend in 2025. Its viewfinder, ergonomics, and full mechanical shutter, are improvements over the a7C II, 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 paying 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 APS-C?

There are a couple of high-end APS-C cameras priced around $2000 that are 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 to full-frame models, but also let you have much smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

The Fujifilm X-T5 gives you access to a wide range of lenses, including some value options and a healthy selection of fun prime lenses. It also has a retro style with a refined shooting experience, which is helped by Fujifilm's habit of including aperture rings on many of its lenses. Its autofocus and video aren't up with the best cameras in this guide, but it's a camera we really like if you want a compact kit.

The do-anything traveler: OM System OM-3

20MP Four Thirds Stacked CMOS sensor | 2.36M dot EVF 0.69x magnification | IP53-rated weather sealing

Photo: Mitchell Clark

Buy now:

$159 at Amazon.com What we like:

• Very fast shooting with low rolling shutter
• Controls put best features front-and-center
• Excellent battery life

{RoundupContent:omsystem_om3 section=cons}

The OM System OM-3 is a 20MP Micro Four Thirds camera with a Stacked sensor capable of shooting up to 50fps with continuous autofocus.

The OM-3 is well-suited to traveling, as the Micro Four Thirds system lets you use especially compact lenses, and its Stacked sensor gives it fast autofocus, incredible burst rates for shooting even the fastest subjects, and the ability to use computational modes to adapt to a wide variety of situations. It also sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.

It has plenty of customizable buttons, though no AF joystick or grip. Its color dial and computational photography button put key features front-and-center. The OM-3 is a great little camera that packs a lot of technology and features into a classic-looking body. The subject recognition and tracking autofocus modes work well, though it can struggle to predict a subject's movement. It supports pre-capture, has very little rolling shutter, and can shoot up to 50fps with continuous autofocus when paired with specific lenses. Image quality is good, and can be improved with easily accessible computational multi-shot modes. The JPEG colors are good and can be customized extensively, and the Raws are relatively flexible. The OM-3 is a stylish camera that can go anywhere, and is fast enough to shoot almost any subject. Its autofocus is reliable, though not class-leading, and its viewfinder is on the small side, but its compact design and lenses make it appealing for travel.

Read our full review of the OM System OM-3

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Other Four Thirds cameras

The OM-3 shares most of its DNA with the OM System OM-1 II, though the latter is a little larger thanks to its inclusion of a better viewfinder and handgrip. Both are similar to the Panasonic G9II, though it's substantially larger, sharing its body with the full-frame S5II. All are Micro Four Thirds, which could be a tough sell given the sensor sizes people usually expect at this price. However, they may be worth considering if you're excited by computational photography features like handheld high-resolution multishot, 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:

$2169 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:

$1155 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.

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

Nikkor Z 35mm F1.2 | F1.2 | 1/2000 sec | ISO 64

Photo: Richard Butler

We've had a chance to get our hands back on Nikon's new Nikkor Z 35mm F1.2 S, in better weather this time.

Nikon promotes 'environmental portraits' as one of the key uses for the lens, so we took the opportunity to shoot some, in a variety of lighting conditions. We shot at wider apertures than we'd typically use, to make it easier to see what the F1.2 maximum aperture allows the lens to do.

The lens is a pre-production sample, so we've only been allowed to publish out-of-camera JPEGs. We turned all the camera corrections off and confirmed that the camera wasn't correcting distortion or vignetting behind the scenes, so we can be confident they give a realistic impression of how the lens behaves.

We've added 20 new samples to the end of the gallery.

Nikon Nikkor Z 35mm F1.2 S pre-production sample gallery

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

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Photo: MriyaWildlife / iStock / Getty Images Plus via Getty Images

To the delight of many, Zeiss posted an exciting teaser to its dedicated camera lens Instagram account. The post promises some "owlsome news" with a note that something is landing soon, suggesting a new lens is likely coming soon.

Click here to see the post on Instagram

This teaser comes as welcome news, as there was speculation in 2023 that the company had left the photography industry. After all, it last released a lens (the Zeiss Otus 100mm F1.4) in 2019. Six years is ages in the photography and tech worlds, so it is reasonable to question the company's dedication to photography. Zeiss denied the report, saying it "has not withdrawn from the photo lens market. But we have to face the facts. In the first months of the pandemic, the global market declined significantly and irreversibly. And companies have to adapt."

A statement to DPReview in June 2023 clarified what it meant by adapting, explaining that "this means that the overall market situation after the pandemic led to lower sales. Nevertheless, this does not change our commitment to our photo products." Even still, no product announcements came, and Zeiss fans were left without anything new.

Now, though, the Instagram post, which was spotted by Mirrorless Rumors, shows that Zeiss may have meant what it said in 2023, and it will be returning to the photography lens market. Of course, as expected for a teaser, details are incredibly slim. The photo in the post showcases an owl (likely in the Otus genus if we connect the dots), and the caption says it was captured with the Otus 85mm F1.4, a decade-old offering. The "owlsome news" furthers the owl theme.

Given all the owl mentions, it seems safe to guess that the new lens will join the Otus lineup. The existing Otus lenses – 55mm F1.4, 85mm F1.4, 28mm F1.4 and 100mm F1.4 – were all made for DSLR cameras, so it also seems likely that this will be the first Otus mirrorless lens. CP+ in Japan – which is usually ripe with product announcements – begins in just two weeks, so we may not have long to wait for additional details.

Photo: Wacom Wacom's Intuos Pro drawing tablets are a staple for many creatives, but they haven't had much of a design refresh for over a decade. The last model was even getting a bit long in the tooth, as it was released in 2017. That's no longer the case, though, as Wacom has introduced a completely redesigned Intuos Pro lineup. The company went for a full refresh, both inside and out.

The most obvious change is the updated button structure. On past Intuos Pro tablets, the buttons and touch-sensitive wheel were on the side of the device, which could lead to accidental button presses. It also meant left-handed folks had to adjust settings. Now, Wacom has moved those buttons to the top of the tablet, putting them out of the way and making it easier for left-handed and ambidextrous users.

Photo: Wacom

Wacom also did away with the touch wheel, replacing it with mechanical dials. The medium and large sizes provide two dials, while the small size features one. These dials offer tactile control, which means greater precision when scrolling through tools and actions. Like the buttons, they are customizable, so you can set them to whatever settings or tools you use most frequently. The buttons also got a refreshed look with a round design.

The rearrangement of physical controls allowed Wacom to increase the active drawing area and adjust to a 16:9 aspect ratio. On the medium size, the active area is increased from 224 x 148 mm (8.7 x 5.8 in) on the 2017 model to 263 x 148 mm (10.4 x 5.8) on the 2025 version.

Despite the increased drawing area, all three sizes are smaller and slimmer than past models. For comparison, the 2017 medium measures 338 x 219 x 8 mm (13.2 x 8.5 x 0.3 in), while the 2025 medium is 291 x 206 x 4-7 mm (11.5 x 8.1 x 0.16-0.28 in). The new model features a sloping design (hence the range provided for thickness), which is intended to provide be more ergonomic.

Photo: Wacom

Finally, Wacom updated the included stylus, moving to the Wacom Pro Pen 3. This is the same stylus that ships with the Wacom Cintiq Pro and Movink display tablets. It is a highly customizable option, thanks to the inclusion of different grip and button configurations and adjustable weight. Should the Stylus Pen 3 not be to your liking, this is the first time Wacom has used "dual pen technology." That means users can utilize older Wacom Pro Pens (such as the Pro Pen 2) or a stylus that uses EMR technology from Pilot, Lamy or Staedtler.

The Intuos Pro comes in three sizes.

Image: Wacom

The new Intuos Pro tablets will be available sometime in the spring. Wacom didn't provide a specific date, but they are available for pre-order now. They are priced at $250 for the small, $380 for the medium and $500 for the large.

Pre-order now: $380 at B&H

Press release:

Wacom Redesigns its Flagship Intuos Pro Pen Tablet to Deliver an Exceptional Workflow

The new Intuos Pro brings Wacom's most accurate pen performance and all new levels of efficiency to the latest creative workflows.

Portland, OR February 12, 2025 The premium digital tablet familiar to the desks of the world’s top illustrators, photo editors, videographers and 3D sculptors is now in perfect harmony with today’s high end creative applications thanks to its updated design featuring tactile controls and the industry defining Pro Pen 3.

Less Work, More Flow

Creative workflows are part work and part flow. The work requires a combination of operating complex software controls and processes. The flow is the act of creation. The new Intuos Pro is designed to help artists accomplish their work as quickly and intuitively as possible so they can immerse themselves in the creative flow. The newest Wacom Intuos Pro remains true to its heritage as the preeminent tablet for anyone accustomed to professional workflows. In fact, it has been the industry standard for so long, its precursor, the Intuos 3, was sent to space to support astronauts on the space station as they adjusted to microgravity.

The new Intuos Pro integrates Wacom’s exceptional Pro Pen 3 technology, the same technology in the Cintiq Pro displays. Because each artist’s workflow is as unique as their style, the Pro Pen 3 is designed to be customizable to each artist’s preferences from the grip with programmable buttons for shortcuts, and, because this is Wacom’s pro line of products, it includes interchangeable grips and buttons that can be reconfigured depending on the user’s ergonomic needs. Like all Wacom pens, the Pro Pen 3 needs no charging or batteries. Featuring two different nibs, including a rubber nib which is slip-resistant to optimize precision and, when combined with the improved textured surface, decreases wear.

“As software evolves, the need for precision increases. When we started to redesign our flagship product, we began with the foundation of precision,” said Koji Yano, Senior Vice President, Wacom Branded Business. A new chip set boosts performance while slimming down its form factor. To satisfy the precision needs of 3D sculptors, photo and video editors, and ensure accuracy in the work by minimizing the chance for unintentional movements and input, Wacom moved the ExpressKeys and touch buttons to the top of the tablet and added two dials to the medium and large Intuos Pro, and one dial to the small size. These dials offer artists tactile feedback and can be used by left-handed and right-handed people without adjustment. The tablet’s dials and ExpressKeys come pre-configured and are easily customized to the preferred shortcuts specific to the creative applications in each artist’s workflow. This new form factor has been designed to better facilitate flow while ensuring accuracy in the work.

Working Where the Creativity Leads

Because professional artists need flexibility, the new Intuos Pro is designed to be portable and work seamlessly with the software and operating system of individual artists. The Intuos Pro comes in three sizes, all of which have a larger drawing area at a 16:9 ratio to match today’s display sizes. Despite the increased active area, all three sizes are smaller and slimmer than past generations of the Intuos Pro, making it easy to bring along when traveling between remote work locations or offices, and taking up less desk space while the thinner profile enables the most fluid hand and wrist motions to date. The small size is perfect for the artist on-the-move, it weighs approximately 8 ounces (about 240 g) with a dimension of 215 mm (about 8.5 in) x 163 mm (about 6.4 in) and active area of 187mm (about 7.4 in) x 105 mm (about 4.1 in). The medium and large are designed for artists who enjoy a larger canvas or who manage workflows across several monitors.

All models are Bluetooth enabled with a wireless operating time of up to 16 hours. Artists can connect up to three devices, one wired device using a USB, and two wireless devices, and they can toggle between devices using a mechanical switch on the tablet. The Intuos Pro works with both Windows and Mac operating systems and with nearly all creative applications, so artists can both create their art, and navigate through their daily tasks. For those who prefer a pencil-like feel or thicker barrel, Wacom has partnered with several pen manufacturers, such as Staedtler, Lamy and Dr. Grip, for a broad range of styluses that will work without additional set up.

In addition to the Intuos Pro tablet and Pro Pen 3, artists will receive free trials of Clip Studio Paint, MASV and Capture One software. Wacom will also include access to Wacom’s own software Yuify, which is designed to secure authorship for artists. Yuify works with popular software, including Clip Studio Paint, Adobe Photoshop and Rebelle 7, and allows artists to embed a micromark in their work. This micromark is persistent through screenshotting or downloading, maintaining the link between the artist and their art. The Intuos Pro, like all of Wacom’s pro products, also grants access to Wacom Bridge, which facilitates pen and touch input between local and remote machines for improved professional collaboration.

The Intuos Pro will be available in spring of 2025 at the Wacom eStore, Amazon, Best Buy and B&H. The three sizes will cost $249.95 for the small, $379.95 for the medium and $499.95 for the large.

For more information and the full technical specifications, please visit wacom.com.

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

Updated February 13, 2025

Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so you'll be prepared to capture whatever you run into.

We've also tried to select relatively small cameras so they don't interfere with your trip, though it's worth touching briefly on lens size. If you choose a system with a Four Thirds or APS-C sensor, you'll be able to use lenses that are lighter and more compact than their full-frame counterparts. Full-frame sensors, however, offer the potential for even better image quality, so it's worth considering whether portability or image quality matters more to you and doing some research on what types of lenses you'd like to use and how big the full-frame versions are.

Our recommendations

• Portable full-frame: Sony a7CR
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-T50 with 16-50mm F2.8-4.8
• The ready-for-anything option: OM System OM-3
• The stylish travel companion: Nikon Zf
• The classic choice: Fujifilm X100VI
• Best pocketable travel camera: Ricoh GR III

Portable full-frame: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:

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

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus. The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our full Sony a7CR Review

See the Sony a7CR studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. All-round compact capability: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

Buy now:

$1398 at Amazon.com$1398 at B&H PhotoBuy at MPB What we like:

• Front and rear command dials
• Excellent AF in stills and video
• 4K/120p capture (with crop)

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

Read our full Sony a6700 review

See the Sony a6700 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The great travel kit: Fujifilm X-T50 w/ 16-50mm F2.8-4.8

40MP APS-C BSI CMOS sensor | In-body image stabilization rated to 7EV | 6.2K 10-bit video recording

Photo: Richard Butler

Buy now:

$1399 at Amazon.com$1399 at B&H PhotoBuy at MPB What we like:

• Great JPEG colors with a profile control dial
• Full-featured auto mode
• Compact and light

What we don't:

• Autofocus tracking can struggle to keep up
• Tiny viewfinder
• Small battery

The Fujifilm X-T50 is a 40MP, APS-C image-stabilized mirrorless camera aimed at beginners.

The X-T50 can be purchased with Fujifilm's excellent 16-50mm F2.8-4.8 kit lens, which provides a versatile focal length for travel and should be able to keep up in darker environments. Fujifilm also sells a wide variety of relatively fast, compact primes.

The X-T50 has dials for important exposure settings, and a small but useful grip. Its rear screen can tilt up or down. Its joystick and some buttons can be awkward to use, but the film simulation dial encourages the use of one of the camera's key features. Its autofocus can recognize and accurately track several subject types, but its general tracking isn't the most reliable. Its 8fps mode isn't particularly fast. The X-T50's controls and auto mode make it great for beginners, who can expect it to keep up with them as they grow. More experienced shooters will appreciate Fujifilm's robust lens selection.

Read our full Fujifilm X-T50 review

See the Fujifilm X-T50 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The other APS-C options

If you're looking for an APS-C camera that's even smaller than the X-T50, the Fujifilm X-M5 may be worth considering. It's substantially cheaper, though it's easy to see where the company has saved money: it uses a lower-resolution 26MP sensor, which isn't stabilized, and there's no EVF. It does have the same film simulation dial and autofocus subject recognition modes, though, so those tradeoffs may be worth it if size or price are your top priority.

The Nikon Z50II is also a strong all-around contender, but its lens selection isn't as strong as Sony or Fujifilm's, nor does it have a stabilized sensor. However, it does have solid autofocus performance, a viewfinder, and a sub-$1000 price point.

Buy now:

$899 w/ 15-45 at Amazon.com$799 at Adorama$799 at B&H Photo The ready-for-anything mirrorless: OM System OM-3

20MP Four Thirds Stacked CMOS sensor | 2.36M dot EVF 0.69x magnification | IP53-rated weather sealing

Photo: Mitchell Clark

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Very fast shooting with low rolling shutter
• Controls put best features front-and-center
• Excellent battery life

What we don't:

• Small, low-res EVF
• Subject detection separate from tracking AF
• 8-bit 4K footage softer than Log option

The OM System OM-3 is a 20MP Micro Four Thirds camera with a Stacked sensor capable of shooting up to 50fps with continuous autofocus.

The OM-3 is well-suited to traveling, as the Micro Four Thirds system lets you use especially compact lenses, and its Stacked sensor gives it fast autofocus, incredible burst rates for shooting even the fastest subjects, and the ability to use computational modes to adapt to a wide variety of situations. It also sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.

It has plenty of customizable buttons, though no AF joystick or grip. Its color dial and computational photography button put key features front-and-center. The subject recognition and tracking autofocus modes work well, though it can struggle to predict a subject's movement. It supports pre-capture, has very little rolling shutter, and can shoot up to 50fps with continuous autofocus when paired with specific lenses. The OM-3 is a great little camera that packs a lot of technology and features into a classic-looking body. It can shoot full-width 4K footage at 60fps, though its 8-bit modes have less detail than the 10-bit Log or HLG modes. It has very little rolling shutter, and microphone and headphone jacks. The OM-3 is a stylish camera that can go anywhere, and is fast enough to shoot almost any subject. Its autofocus is reliable, though not class-leading, and its viewfinder is on the small side, but its compact design and lenses make it appealing for travel.

Read our OM System OM-3 review

See the OM System OM-3 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The other Micro Four Thirds options

OM System's OM-5 is substantially cheaper than the OM-3, though you give up the speed, USB-C port and advanced subject recognition autofocus, as well as a few of the computational modes. It is, however, slightly more compact if space is at a premium in your pack.

The Panasonic Lumix G9 II has similar capabilities as the OM-3, but in a larger body. That bulk does come with dual card slots and more video features, but the weather sealing likely won't be as good as OM System's.

Buy now:

$1519 at Amazon.com$1898 at Adorama$1898 at B&H Photo The stylish travel companion: 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:

Buy at Amazon.com$1997 at B&H PhotoBuy at MPB 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 classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion. However, like with the a7CR, many of the full-frame lenses available for it will greatly increase its size and weight.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention when you're out and about in an unfamiliar setting.

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 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 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 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 review of the Nikon Zf

See the Nikon Zf studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best pocketable travel camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The Ricoh is a pocketable compact with a large APS-C sensor.

Photo: Barney Britton

Buy now:

$1,066 at B&H Photo $1,066 at Adorama What we like:

• Excellent image quality
• Good controls and ergonomics
• Truly pocketable

What we don't:

• Short battery life
• No built-in flash
• Sluggish AF in low light

The Ricoh GR III HDF is the latest entry in the company's series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. This version is almost identical to the regular GR III, but swaps the built-in ND filter for a highlight diffusion one, which can be activated to give photos a dreamy look.

It's not the most flexible camera, but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with. Unfortunately, most GR III models are currently difficult to buy, as they're out of stock or unavailable almost everywhere.

The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The GR III focuses swiftly and accurately in good light, but it slows significantly as light levels drop. There's also a Snap Focus option, where the user can preset a focus distance the camera 'snaps' to with a full press of the shutter button. The GR III's battery life is disappointing, at a rated 200 shots per charge. "Offers direct control and excellent image quality in a pocketable camera"

Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.

The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.

Read our Ricoh GR III review

See the Ricoh GR III studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Other compacts

Canon has recently announced that it plans to increase its production of compact cameras, citing an increasing number of orders for the PowerShot G7 X III, which has a 24 – 100mm (equiv.) zoom lens. While that camera's autofocus system isn't as reliable as the one found on the more expensive Sony RX100 VA, it includes a modern USB-C charging port and a touchscreen, which make it a decent travel companion if you prefer a zoom lens instead of a fixed one.

The Leica D-Lux 8 features a larger sensor than the G7 X III – it uses up to up to 83% of the area of a Four Thirds (17.3 x 13 mm) sensor, while the G7 X III has a Type-1 (13.2 x 8.8 mm) sensor – and has a photo-focued interface that we particularly like. However, its slow zoom, only decent image quality and substantial price tag make it hard to recommend to all but the most Leica-faithful.

The classic choice: 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:

$2159 at Amazon.com$1599 at Adorama$1599 at B&H Photo What we don't:

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

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. 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.

It's not smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

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.

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers.

Read our Fujifilm X100VI review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why you should trust us

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.

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

Nikon has announced the Nikkor 28-135mm F4 PZ, a lens geared toward professional video shooters, and the company's first full-frame power zoom lens. It's the latest result of Nikon's increased focus on video, best exemplified by its purchase of Red Digital Cinema in March of 2024.

The lens comprises 18 elements in 13 groups, with three ED elements, four aspherical elements and one aspherical ED element. It has a "Meso Amorphous" coating to reduce ghosting and flaring and a fluorine coating to repel oil and water from the front element. Its aperture has nine blades. It's not optically parfocal but can use the autofocus system to maintain focus while zooming. The focus ring on the lens is also compatible with follow-focuses if you prefer to pull focus manually.

The 28-135mm can accept 95mm screw-on filters, though given its target audience, it seems just as likely its users will opt for matte box-mounted filters. It weighs 1210g (2.67lb) with the removable tripod foot, and Nikon says its center of gravity won't move around much while zooming, which will be a big plus to those using it on a gimbal. It has a matched pair of programmable buttons.

Photo: Nikon

The lens has a power zoom lever, which can be used to adjust its focal length. Nikon says you'll be able to adjust the lens' zoom speed depending on the effect you're going for. You'll also be able to use a physical ring on the lens to control the focal length, and you can customize its rotation direction.

The video-first design is a first for Nikon's Z-mount lenses. Nikon is pitching the lens to people who shoot documentaries, sports, news and commercial video, and it's likely not a coincidence that it's being announced alongside the introduction of Z-mount Red cameras. While the company's cinema-focused bodies aren't generally used for most of those genres, it's another clear signal that Nikon is taking video very seriously right now – with the Z9 getting the ability to shoot using shutter angle instead of speed, it'll likely be just a good a match for this lens as a Z-mount V-Raptor.

The 28-135mm F4 PZ will be available in April and will retail for $2599.

Press Release:

One lens, infinite possibilities: Nikon releases the NIKKOR Z 28-135mm f/4 PZ power zoom lens for professional videographers

Cinematic NIKKOR Quality Plus All of Your Most Commonly Used Focal Lengths in a Single Versatile Lens

MELVILLE, NY (February 12, 2025)- Today Nikon Inc. announced the release of the NIKKOR Z 28-135mm f/4 PZ, a full-frame power zoom lens for the Nikon Z mount made especially for video professionals. Featuring a truly versatile focal range, a customizable power zoom function1, precise manual controls and agile handling, this is the first dedicated NIKKOR Z lens that is designed to empower small-footprint productions and solo videographers with a lightweight cinematic tool that fulfills numerous roles.

The first thing that grabs your attention is the appearance of this lens– the pronounced yellow ring around the bayonet and the bold typography on the barrel stand out, indicating its rightful place in a production environment. The NIKKOR Z 28-135mm f/4 PZ looks different than other NIKKOR Z lenses, incorporating an updated design and precise controls made to augment the workflow of cinematographers and videographers, with maximum flexibility.

“There is a long history of professional cinematographers in Hollywood and beyond using NIKKOR lenses to bring their vision to life, and the new NIKKOR Z 28-135mm f/4 PZ builds upon this legacy, going a step further to provide exceptional versatility meeting the needs for today’s solo filmmakers,” said Fumiko Kawabata, Sr. Vice President of Marketing and Planning, Nikon Inc.

The NIKKOR Z 28-135mm f/4 PZ is a power zoom lens that spans many of the most commonly used focal lengths, from a wide 28mm for establishing shots, to 135mm for close-up/telephoto coverage. It also covers everything in between, from interviews to events, live or spot news, sports and more. The NIKKOR Z 28-135mm f/4 PZ gives videographers superior operability and functionality in situations that require agility, such as when shooting corporate content, documentaries, or on-location coverage, when reshoots just aren’t an option.

The NIKKOR Z 28-135mm f/4 PZ offers precise control, letting the user smoothly zoom throughout the focal range, but also offers a choice of 11 different zoom speeds2 to match a specific creative style and vision. The lens is superbly balanced, minimizing shifts in the center of gravity that occur with zooming. This lets the user shoot with confidence, even when constantly using the power zoom feature on a gimbal. The NIKKOR Z 28-135mm f/4 PZ also supports a variety of video accessories such as follow-focus controllers, matte boxes and more to help videographers capture the footage they want on location, as well as offering remote control capabilities using a computer or smartphone.

Thanks to the superior NIKKOR Z optical performance, this lens enables users to capture beautiful full-frame, high-resolution 8K video. The lens uses Nikon’s best anti-reflection coating, a Meso Amorphous Coat, to significantly reduce ghosting and flares, while the optical formula is optimized for video with a design that minimizes focus breathing. Additionally, the inclusion of a stepping motor (STM) ensures fast and accurate autofocusing.

Primary Features of the NIKKOR Z 28-135mm f/4 PZ

• The NIKKOR Z 28-135mm f/4 PZ supports a convenient 28-135mm range of focal lengths, allowing for a variety of compositions without changing lenses.
• When used with the Nikon Z8/Z9, Hi-Res Zoom can be used for an angle of view equivalent to that of the 270mm focal length with 4K video recording. Additionally, from 135mm-270mm, the zoom is effectively parfocal.
• The lens supports dynamic close-ups with a minimum focus distance of just 13.3 in (0.34 m) in the 28mm to 50mm range and 22.4 in (0.57 m) in the telephoto range.
• Zooming speed can be selected from 11 speeds and assigned to the zoom lever or one of the camera’s Fn buttons.
• Zoom ring angle and direction of rotation can be customized to suit individual preferences.2
• Synchro mode enables simultaneous optical zoom and Hi-Res Zoom using a single control with video recording.3
• Professional video accessories, including matte boxes and follow focus systems are supported.
• Adoption of an internal zoom mechanism allows for comfortable zooming without concern for shifts in the center of gravity that may upset the balance of the camera-lens setup, especially useful when using a gimbal.
• Adoption of Meso Amorphous Coat, Nikon’s best anti-reflection coating, significantly reduces ghosts and flares.
• Adoption of a stepping motor (STM) ensures fast and accurate autofocusing.
• Optimized for video recording with a design that suppresses focus breathing.
• Support for linear MF drive enables smooth focusing.
• Comes with a rectangular HB-116 lens hood that helps users control the amount of light entering the lens for less ghosting and flares. A filter adjustment window allows users to adjust circular polarizing and variable ND filters while the hood is attached.
• Zooming can be controlled remotely from a computer, smartphone, or tablet using NX Tether, SnapBridge, or NX Field.
• Customizable L-Fn buttons are positioned on the side and top of the lens for convenient operation of assigned functions, even when shooting in vertical (portrait) orientation.
• Nikon’s fluorine coat applied to the front lens element effectively repels dust, water droplets, grease, and dirt.
• Designed with consideration for dust and drip-resistance.4

Price and Availability

The new NIKKOR Z 28-135mm f/4 PZ lens will be available in April 2025 for a suggested retail price of $2599.95* .The lens will also be available as part of a bundle with the new RED KOMODO-X Z Mount camera. For more information on these products, please visit RED.com. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.

1. The camera must be running the latest firmware to use some functions.

2. Firmware may require updating before using this feature. See the product page for compatible cameras. We plan to add support for some models with a future firmware update.

3. Control ring operation is not supported.

4. Thorough dust and drip-resistance is not guaranteed in all situations or under all conditions.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon Nikkor Z 28-135mm F4 PZ specifications

Image: Red

Red Digital Cinema is bringing Nikon's Z-mount to its Komodo-X and V-Raptor X cinema cameras. Originally, the cameras launched with Canon's RF mount, which will still be available as an option, but now that Nikon owns Red, it's not a surprise to see its mirrorless mount making its way onto the company's cameras.

The mount has one major difference compared to the one found on Nikon's mirrorless cameras: it features a positive locking mechanism, which is generally standard for these types of cameras. Besides the new mount, the cameras are the same as their RF counterparts.

The Z-mount provides access not only to a range of native glass – including the new video-focused Nikkor 28-135mm F4 PZ – but to an ecosystem of adapters as well. The mount's shallow flange distance gives it compatibility with a wide range of lens types, from older Nikon F lenses to Sony E lenses and more.

Image: Red

As it does for the RF mount versions of its cameras, Red plans to sell PL adapters for its new Z-mount cameras, which will let you use a wide array of professional cinema lenses. The Z to PL pack, which includes an adapter and support brackets, will cost $1500, or $3500 for a version with a built-in electronic ND filter. Based on the packs available for RF mount, the filter will provide 2-7EV of light reduction, controllable in 1/4, 1/3, or full-stop increments. The PL adapter packs for each camera will ship in "spring 2025."

While cameras like the Nikon Z8 and Z9 are very capable at shooting video, especially as the company continues to add video features via firmware updates, the Red cameras are designed for the most demanding use cases. Both feature global shutters and a range of professional I/O, such as SDI, V-Lock battery interfaces and Timecode ports. The Komodo-X can shoot at up to 6K at 80fps, while the V-Raptor X can produce 8K footage at up to 150fps. They're also adorned with several threaded mounting points for attaching all sorts of accessories, such as monitors, EVFs and more.

The Z-mount versions of the cameras will cost the same as their RF-mount counterparts, with the Komodo-X Z mount coming in at $6995 and the V-Raptor X Z mount costing $29,995. Both are available immediately. If you currently own an RF Komodo or Raptor, you can send it to Red for a Z-mount conversion, which will cost $1595 or $1695, respectively.

RED DIGITAL CINEMA’S V-RAPTOR [X] AND KOMODO-X CAMERA SYSTEMS EXPAND CAPABILITIES WITH POWERFUL NIKON Z MOUNT

FOOTHILL RANCH, Calif. (Feb. 12, 2025 at 8p.m. PACIFIC TIME)—RED DIGITAL CINEMA® announced today that its groundbreaking V-RAPTOR [X] and KOMODO-X camera systems will also now be available with Nikon’s premier Z Mount, providing filmmakers with ultimate flexibility in lens choice and a complete capture solution from lens to sensor to codec.

“This marks the beginning of RED and Nikon's collaborative products and it is the exciting first step in a new Z Cinema Series,” said RED Digital Cinema CEO Keiji Oishi. “By integrating the Z Mount, RED is providing more lens choices than ever before, empowering filmmakers with greater artistic flexibility. This development grants filmmakers the versatility of Nikon’s innovative Z lineup and PL options, as well as access to F Mount glass and many popular vintage lenses.”

With a shallower flange depth and a wider diameter, the Nikon Z Mount enables lens designs with higher sharpness and superior aberration control. The Z lenses can deliver unrivaled low-light performance and edge-to-edge detail as well as autofocus performance on both the V-RAPTOR [X] and KOMODO-X cameras.

Key Features, Pricing and Availability

RED’s V-RAPTOR [X] Z MOUNT, recognized for its unmatched low-light performance, dynamic range, resolution, high frame rates, and industry-leading 8K VV global shutter large format sensor, is available for a suggested retail price of $29,995.

RED’s KOMODO-X Z MOUNT features a 6K S35 global shutter sensor and frame rates at 6K 80P and 4K 120P, all in a form factor measuring only 4x4x5 inches and 2.6 lbs. The KOMODO-X Z MOUNT is available for a suggested retail price of $6,995.RED is also announcing all-new Z to PL Adapter Packs, which provide a robust PL mount solution and added flexibility for V-RAPTOR [X] Z MOUNT and KOMODO-X Z MOUNT shooters. Currently, there are four different Z to PL Adapter Pack options available, with shipments starting in spring 2025:

Z to PL Adapter Pack Options Suggested Retail Price RED V-RAPTOR Z to PL Adapter Pack $1,500 RED V-RAPTOR Z to PL with Electronic ND Adapter Pack $3,500 RED KOMODO Z to PL Adapter Pack

$1,500

RED KOMODO Z to PL with Electronic ND Adapter Pack $3,500

Both the RF and the all-new Z mount versions of the V-RAPTOR [X] and KOMODO-X cameras, and Z to PL adapter packs are available now on RED.com or through RED Premium Dealers.

RF Mount Transition

Filmmakers now also have the option to convert their RF mount versions of the V-RAPTOR [X] and KOMODO-X cameras to the all-new Z Mount systems. This transition costs $1,695 for the V-RAPTOR [X] and $1,595 for the KOMODO-X.

Trade-In Program

RED is excited to announce the return of its trade-in program, now available for the latest generation of RED cameras, including the new Z Mount models. Customers can trade in their existing RED DSMC, RAVEN, SCARLET-W, DSMC2, or RANGER cameras and receive a credit towards the purchase of a new, eligible RED V-RAPTOR XL [X] Pack or RED V-RAPTOR Pack [X] Pack with either the new Z Mount or RF Mount. For more information on the trade-in process and eligibility, please visit RED.com.

“We are committed to providing filmmakers with limitless possibilities for realizing their desired vision, and the fusion of RED and Nikon’s robust technologies and expertise will generate even more advanced tools, enhancing our filmmaking community’s creative capabilities,” added Oishi.

For more information on the V-RAPTOR [X] and KOMODO-X Z MOUNT camera systems, visit RED.com or RED Premium Dealers. Filmmakers can also visit the RED Studios Hollywood store location or any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products.

To learn more about the latest RED technologies, visit www.RED.com or follow RED on Instagram (@REDdigitalcinema) or X (@RED_Cinema).