Feed aggregator

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

The X-T50 is Fujifilm's mid-range mirrorless camera, which trades in some of the X-T5's higher-end features for a film simulation dial. We're still hard at work on our full review, but have put together a gallery of photos taken with our production sample.

Out-of-camera JPEGs will be using Fujifilm's standard 'Provia' profile unless otherwise noted.

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

Buy now:

$1399 at Amazon.com$1399 at B&H Photo$1399 at Adorama

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.

Pixel 9 Pro

Image: Google

Today, Google announced its newest Pixel smartphones at the company's Made by Google event: the Pixel 9, Pixel 9 Pro, Pixel 9 Pro XL, and the Pixel 9 Pro Fold.

The Pixel line has historically pushed the limits of mobile photography by leveraging computational photography solutions, like HDR+ and Night Sight, to raise the bar for smartphone image quality. The Pixel 9 series continues this tradition but also includes new features made possible by AI technology.

The Pixel 9 series at a glance:

Pixel 9 Pixel 9 Pro Pixel 9 Pro XL Pixel 9 Pro Fold Screen size

6.3" (15.8cm)

6.3" (15.8cm) 6.8" (17.3cm) 8" (20.3cm) Main (wide) camera

• 50MP, F1.68
• 25mm equiv.

• 50MP, F1.68
• 25mm equiv.

• 50MP, F1.68
• 25mm equiv.

• 48MP, F1.7
• 25mm equiv

Ultra-wide camera

• 48MP, F1.7
• 12mm equiv.

• 48MP, F1.7
• 12mm equiv.

• 48MP, F1.7
• 12mm equiv.

• 10.5MP, F2.2
• 11mm equiv.

Telephoto camera

• 48MP, F2.8
• 105mm equiv.

• 48MP, F2.8
• 105mm equiv.

• 10.8MP, F3.1
• 105mm equiv.

Starting price $799 $999 $1099 $1799

All four Pixel 9 models make extensive use of AI, not only for photo and video but for things like Google's integrated Gemini AI technology. In this overview, we'll focus primarily on camera hardware and imaging technology.

Pixel 9 Pro Image: Google

For the first time, the Pixel 9 Pro will be available in two sizes: the Pixel 9 Pro features a 6.3" screen, while the Pixel Pro 9 XL employs a larger 6.8" screen. Google claims the Super Actua OLED displays are the best yet on a Pixel device, maintaining high pixel densities (495 and 486 PPI, respectively) while measuring up to 15% thinner and sporting a peak brightness of 3000 nits. Aside from different screen sizes, the Pixel 9 Pro and Pixel 9 Pro XL are based on identical hardware.

The Pixel 9 Pros include a triple rear camera system. The main (wide) camera is built around a 50 MP Type 1/1.31 (9.8 x 7.35mm) sensor with a 25mm equivalent F1.68 lens, similar to the main camera on the Pixel 8 Pro. The 0.5x ultra-wide camera, which also supports macro shooting, uses a 48MP Type 1/2.55 sensor (5.6 x 4.2mm), which is a bit smaller than the ultra-wide sensor on the Pixel 8 Pro, but its faster F1.7 aperture makes up for the difference. Meanwhile, the 5x telephoto camera utilizes a 48MP type 1/2.55 (5.6 x 4.2mm) sensor with an F2.8 lens, the same as the Pixel Pro 8. The wide and ultra-wide cameras include optical and digital image stabilization.

Google claims the three cameras can deliver "optical quality" results at five different focal lengths (0.5x, 1x, 2x, 5x, 10x) thanks to multi-camera mosaicing. Like the Pixel 8 Pro, the new models include multi-zone LDAF (laser detect autofocus) for better focus in low-light conditions.

The Pixel 9 Pro and Pixel 9 Pro XL have a triple rear camera system with wide, ultra-wide and telephoto lenses.

Image: Google

For selfies, the front-facing camera now uses a 42MP sensor, up from 10.5MP on the 8 Pro, and features an expanded 103° FOV (approximately 17mm equivalent). Google says the new selfie camera improves light sensitivity by up to 30%.

The Pro models also provide access to Google's pro camera controls, including focus, shutter speed and ISO settings.

The Pixel 9 Pros can capture video at up to 4K/60p, but Google says it will be possible to upscale this to 8K/30p using its enhanced Video Boost mode, which re-processes video clips in the cloud using Google's servers. In addition, the new models include Dual Exposure on the wide cameras for improved HDR footage, improved Night Sight video, and Google's Super Res Zoom, which allows extended zooming in video for the first time.

Hardware upgrades include Google's Tensor G4 processor and 16GB of RAM, up from 12GB on the 8 Pro, which should help support the phone's AI features. With fast charging, Google claims the battery can be charged to 70% in 30 minutes.

The Pixel 9 Pro starts at $999, the same price as the Pixel 8 Pro, and the Pixel 9 Pro XL starts at $1099. Both Pixel 9 Pro models include seven years of OS and security updates and a free year of the Google One AI Premium plan, which supports enhanced AI functionality and includes 2TB of online storage.

Pixel 9 Image: Google

The Pixel 9 shares the same dimensions as the Pixel 9 Pro, including its 6.3" display. However, it uses Google's Actua display rather than the Super Actua display found on the Pro. Google claims the new display is 35% brighter than the Pixel 8, with a peak brightness of 2700 nits.

Like its predecessor, the Pixel 9 includes a dual rear camera system, foregoing the telephoto lens. It utilizes the same 50MP main camera and 48MP ultra-wide cameras found on the Pixel 9 Pro, improving on the 12MP ultra-wide camera used in the Pixel 8. It also includes single-zone LDAF for low-light focusing. Like the Pixel Pro 9, the main camera includes optical and digital image stabilization. Additionally, it supports Super Res Zoom up to 8x and claims "optical quality" results up to a 2x zoom.

The Pixel 9 inherits the 10.5MP selfie camera found on the Pixel 8 Pro, and gains autofocus for sharper selfies.

Like the Pro models, the Pixel 9 includes Google's new Tensor G4 processor. It has 12GB of RAM, a 50% increase. Google says the phone achieves 20% longer battery life than its predecessor and can run up to 100 hours when using Extreme Battery Saver mode. According to Google, it can charge 55% in about 30 minutes.

The Pixel 9 starts at $799 and includes seven years of OS and security updates.

Pixel 9 Pro Fold Image: Google

Google claims the Pixel 9 Pro Fold is the "thinnest foldable" smartphone available and that its 8" screen is the largest display on a smartphone. It says the new main display is 80% brighter than the original Pixel Fold, though it reuses the same 6.3" outer screen as the original Pixel Fold. It includes a new hinge that opens flat.

As its 'Pro' name would imply, the Pixel 9 Pro Fold includes a triple camera system. However, it's not the same camera system found on the Pixel 9 Pro models. The main camera uses a 48MP sensor with a 25mm equivalent lens and an F1.7 aperture. The ultra-wide camera utilizes a 10.5MP sensor with an 11mm equivalent lens, and the telephoto camera uses a 10.8MP sensor with 5x optical zoom, supporting up to 20x Super Res Zoom.

The Pixel 9 Pro Fold includes a new feature called Made You Look, which takes advantage of the phone's rear screen. When used, it puts an animated figure on the screen facing the subject to get their attention, which should make photographing children easier.

The Pixel 9 Pro Fold starts at $1799.

New photo features

It's not surprising that many of the Pixel 9 series' new photo features are based on AI technology.

Magic Editor

Last year, Google introduced its Magic Editor feature, which enabled users to do things like remove subjects or change the sky. Now, it has added a couple more AI tricks.

Autoframe does more or less what it sounds like: It allows the phone to reframe your photo and suggest the best crop. However, in addition to being able to crop in, Autoframe can also expand an image's crop to include "more of the scene" by adding new AI-generated content outside the frame.

Magic Editor also includes a new feature called Reimagine, which uses AI to modify your photos based on criteria or descriptions you provide, such as changing the green leaves on a tree to fall colors. Using it is as simple as tapping an element you want to change in your image and typing a short description of what you wish Reimagine to do.

Add Me

Have you ever been that person who's never in a photo because you're always behind the camera? Add Me offers a fix. After taking a group photo, you can trade places with someone and have them take a picture of you in the same setting. Add Me will merge both images and include the photographer in the group shot.

"Have you ever been that person who's never in a photo because you're always behind the camera? Add Me offers a fix."

It's possible to combine Add Me with Google's Best Take feature, which lets you choose each person's best expression from a group of similar photos to create a composite that makes everyone in the group happy.

Add Me will be released as a preview feature on the Pixel 9 series.

Panorama with Night Sight

Panorama mode now incorporates Night Sight technology to capture better low-light panoramic photos. It also adds the ability to pause while panning.

Pixel Screenshots

Have you ever scrolled through your photo library looking for an elusive screenshot with valuable information? Pixel Screenshots will organize all of your screenshots into one place and use AI to index the contents including text and images, making it easier to find that random piece of information hiding between photos from your vacation.

AI detection in photos

Despite adding several generative AI features to its photo ecosystem, Google says the new Pixel phones will make it easier for users to determine when images they see online were created using AI.

When viewing an online image, a user can circle it and use the 'About this image' feature to get more information about the photo. Google says it will show information "when available" to indicate whether AI created an image, though it hasn't yet clarified what information needs to be available to do so.

Summer may be a relatively slow time for camera releases, but that doesn't stop accessory makers from coming out with new products to fill new niches, round out their lineups, or even just put a spin on existing models. We've rounded up a few recent releases that caught our eye.

Image: SmallRig A colorful cage

Today's first accessory is one that many video shooters will be familiar with: the SmallRig camera cage. By themselves, they're nothing new, but later this week, the company will hold a "cage color customization event" to let people buy a cage that's been treated with a colorful finish (hat tip to PetaPixel for the news). Orders will open up on Wednesday, August 15th, and the company's website lets you register to get a notification when that happens.

Whether or not you sign up, you'll probably have to be very quick and lucky to get one: SmallRig says it'll only sell 100 units on a first come, first served basis. And while the nine metallic finishes may be available in every color of the rainbow (and then some), you can only get them applied to 16 of the cages SmallRig makes.

The good news is that the colorful versions won't cost anything extra over the regular ones if you happen to have one of the supported cameras. That does raise the question of what the business sense is for this program, especially given that SmallRig is only selling 100 of them, but at least a few people will have a fun piece to wrap their cameras in.

Manfrotto's expanding its BeFree Advanced lineup

The BeFree Advanced AS carbon fiber.

Image: Manfrotto

Manfrotto is adding a few new models and options to its lineup of BeFree Advanced tripods. The first is the BeFree Advanced AS, a tripod the company says is aimed at professional photographers using mirrorless systems. It supports a payload of up to 9 kg (19.84 lbs).

While the regular BeFree Advanced uses an Arca-compatible plate, you have to use a lever and a safety catch to remove the plate or mounted accessory. The AS' head uses an adjustable friction mount instead, which lets you directly attach L-brackets, camera cages, and telephoto lens collar mounts to it (provided they have Arca attachment points).

The head also has a "panoramic knob" that Manfrotto says will let you keep the camera level while rotating it to help get a cleaner stitch when you're creating wide images. There are three versions of the BeFree Advanced AS: you can get the aluminum version with either twist or lever locks for $199 or a carbon fiber one with twist locks for $289.

Manfrotto also announced the GT Pro 3-way tripod, which it says is aimed at "travel hybrid creators" who shoot photos and video. It can hold 6 kg (13.2 lbs) and has two handles, a fluid drag system for pan and tilt control, and a half-ball leveling system. The aluminum version costs $329, and the carbon fiber one is $429.

You can also now buy the BeFree GT Pro tripod legs separately if you want to attach your own ball head to them using a standard 3/8th-inch thread. They have a maximum payload of 12 kg (26.46 lbs) and cost $199 for the aluminum version and $299 for the carbon fiber one.

Buy Now BeFree Advanced AS Aluminum $199 at B&H $199 at Adorama BeFree Advanced AS Carbon $289 at B&H GT Pro 3-way Carbon $429 at B&H $429 at Adorama Tilta's new travel tripods Image: Tilta

Tilta's $299 VT05 is a four-section, lever-lock travel tripod with a fluid head. It's made of carbon fiber and includes an Arca plate, an adjustable handle and rubberized feet that cover the metal spikes you'll want if you're shooting outdoors.

At 2 kg (4.41 lbs) for the head and carbon fiber legs, it's certainly not the lightest tripod in the world (Peak Design's substantially more expensive carbon fiber travel tripod only weighs around 1.27 kg / 2.81 lbs), but it's also far from the heaviest set of sticks out there. You can also detach the center column and flip it upside-down if the thing you're shooting is low to the ground.

Buy Now $299 at B&H

Speaking of being low to the ground, the company also announced a small tabletop tripod called the BT03. At $89, the carbon fiber and aluminum tripod has two-section legs with twist locks, a ball head with an Arca quick-release plate, and a maximum height of around 350mm (13.7").

Image: Tilta

There's also the BT03E, which is the same tripod with a removable extender bar that adds around 200mm (8") to the height and $9 to the price. Both models are available in grey, white, or green.

With a head payload rating of 3 kg (6.61 lbs), the BT03 is better suited to phones and smaller mirrorless setups than giant video rigs, though using the extender bar brings that up to 5 kg (11 lbs) according to Tilta's spec sheet.

Tilta is offering a 10% discount for pre-ordering the tripods through its site until August 21st.

When you use DPReview links to buy products, the site may earn a commission.Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

The Sigma 24-70mm F2.8 DG DN II Art is a second-generation fast standard zoom lens for E-mount and L-mount cameras.

We photographed this sample gallery about three months ago during a trip to Japan, but we wanted to shoot with a second copy of the lens to ensure representative results. Now that we've had an opportunity to do so, we can finally publish this colorful gallery. As with other trips we've taken to Japan over the past couple of years, rain was a constant theme, so be on the lookout for umbrellas.

View the Sigma 24-70mm F2.8 II sample gallery

Note: 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.

Image: Kodak Alaris

Kodak Alaris, the company that markets and sells Kodak photographic film, and its Kodak Moments printing and kiosk business, has been sold to Kingswood Capital Management, a Los Angeles-based private equity firm.

We don't usually cover mergers and acquisitions, but we felt that the story of how Kodak's film business ended up passing through the hands of the UK Government's Pension Protection Fund would make an interesting Film Friday story.

It all dates back to 2012, when Eastman Kodak, the Rochester, New York-based company most people picture when they think about 'Kodak,' entered Chapter 11 bankruptcy. Chapter 11 refers to a section of the US bankruptcy laws that provides a mechanism for companies to restructure under court supervision so that they can try to continue to pay their creditors rather than simply going bust.

Eastman Kodak exits the consumer photo business

As part of this process, Eastman Kodak decided to sell-off several of its businesses, including its 'Personalized Imaging and Document' division that included its consumer-facing photo film business, to the pension fund of its former UK employees. The fund was owed $2.8B by Eastman Kodak, and taking ownership of the consumer photo businesses was seen as the most effective way of addressing that debt.

A new UK-based company, Kodak Alaris, was created to act as the owner of all these assets, with the Kodak Moments branding created for the consumer photo printing and kiosk business and Kodak Professional covering its photo film and paper sales.

Kodak Alaris was set up in the UK in 2013, becoming owner of the former Eastman Kodak Perzonalized Imaging and Document business, which included document processing, photo printing kiosks, specialist printing servies and photographic paper and film.

Meanwhile, Eastman Kodak emerged from Chapter 11 in 2013, focused on commercial imaging markets including "commercial printing, packaging, functional printing and professional services". The "professional services" part of this description includes selling cinema film and large-format film for industrial applications and aerial photography. But although Eastman Kodak still owns the manufacturing facilities, it's Kodak Alaris that owns the rights to sell 'Kodak' photo film.

As owner of the Kodak name, Eastman Kodak went through a period of licensing the brand quite extensively, including to JK Imaging for the creation of digital cameras, and to a company that wanted to rent you a bitcoin miner under a familiar name.

UK Pension Protection Fund

By 2020, Kodak Alaris wasn't able to fully support its liabilities to the former employees' pension scheme, despite the sale of its paper and chemical division, so the pension scheme and its assets (including Kodak Alaris) were adopted by the UK Government's Pension Protection Fund (PPF).

Earlier this month, PPF said that since this point Kodak Alaris had been "restructured and has subsequently performed well, leading to our decision to sell the business."

Its purchase by Kingswood Capital, which also owns consumer businesses such as furniture/decor/food retailer World Market, ends the unusual situation of film shooters funding the retirement payments of former workers of collapsed UK companies.

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

As part of our ongoing testing of Canon's EOS R5 II, we've been getting a sense of what its video looks like and how it's sampled from the camera's sensor.

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

As you might expect, the 8K video is extremely detailed as is the 4K/30p 'HQ' footage derived from it. The line-skipped 4K video in standard mode is much less detailed, though it's worth bearing in mind that the test targets on a technical chart will show those differences much more prominently than they'd appear in moving footage.

We also shot some of the camera's 8K Raw footage in both 30p Raw and 60p Raw Lite forms. These also appear very detailed though would need more sharpening and contrast to be applied for them to match the out-of-camera, gamma-encoded H.265 output. Here we've just used Final Cut Pro's built-in Canon Log 2 LUT to bring them to a workable Rec.709 state, without applying any further processing.

Unfortunately, for those that were hoping for 4K derived from this 8K/60 capture, the camera's 4K SRaw option appears to be line-skipped. Its readout rate is the same as for 8K/60, so there's no rolling shutter reduction to be had for that line-skipping, just a reduction in detail (and file size).

Rolling shutter rates Resolution Frame Rate Mode Rolling shutter rate (ms) 8K (1.89:1) 59.94 Raw Lite

12.8

29.97 Raw 17.3 29.97 H.265 12.8 8K 16:9) 29.97 H.265 12.8 4K (1.89:1) 59.94 Raw 12.8 29.97 Raw 17.3

119.9

59.94

29.97

H.265 7.2 29.97 H.265 HQ 12.8 4K (16:9) 29.97 H.265 7.2 29.97 H.265 HQ 12.8

Our tests suggest the EOS R5 II creates its video from three different readout modes: none of them nearly as fast as the camera's e-shutter mode in stills, but all quick enough that rolling shutter is rarely going to be something you have to worry about. Interestingly the 30p Raw and SRaw modes appear to be read out more slowly than the 60p modes, which we'd guess is a way to reduce temperature build-up, but most of the camera's 10-bit gamma encoded modes are shot at the higher speed.

We will keep an eye on temperature performance as we use the camera more.

Western Digital has announced that it's working on the "world’s first" 8TB SD card during the 2024 Future of Memory and Storage Conference, according to a press release. It will be released under the SanDisk brand name.

The company has said remarkably little about the card: there's no mention of a price, release date, or an idea of where it'll fall in its lineup. However, it seems unlikely that you'll actually be able to buy it any time soon: earlier this year, Western Digital said 4TB cards wouldn't be coming until 2025. We've reached out for more info and will update this article if we hear back, but if cards with half the capacity are still a year out, you probably shouldn't hold your breath for this one.

Western Digital's press release also doesn't include any speed ratings for the card beyond a vague "UHS-I," though that's enough to show that it won't be the best pick if you're looking for massive storage capacity for 8K video shot with your Canon EOS R5 II or a7RV.

SD card speed ratings are a bit of a mess, but without the second row of pins that UHS-II provides, the card almost certainly won't have a video rating above the 30 MBps V30. Even the EOS R5 II's most basic 8K settings require over twice that bandwidth.

That does raise the question of how many people really need that much storage in a single card, especially given how long it'd take to fill it up. But even if it's only useful for people with niche use cases (or data hoarder tendencies), it's still exciting to see SD card manufacturers pushing the format's capabilities. That's especially true as competing standards like CFexpress are gaining ground in some high-end cameras, though it seems like those will retain the speed crown for the foreseeable future.

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

Ricoh has announced the G900 II and G900 II SE, two new rugged compact cameras primarily designed for industrial applications.

The two new models are the latest waterproof and dust-resistant cameras in a series that dates back to the Ricoh RDC-100G in July 1999. Both models are designed to be much more rugged than conventional waterproof compacts and can tolerate sodium hypochlorite, ethanol, or liquid chlorine dioxide disinfectants, allowing use in medical production settings.

Both cameras remain waterproof to a depth of 20m (65.6ft), shockproof from a height of 2.1m (6.8ft), able to withstand 100kg force (220 lb force) and temperatures down to -10°C (14°F). Both models are equipped with GPS, with the SE variant adding Wi-Fi, Bluetooth and NFC.

Both cameras feature password locking of the camera or specific features and menus, with the option on the Wi-Fi-enabled 'SE' model for access to be controlled by an administrator over company intranet, keeping firmware up to date and synchronizing the clock on multiple cameras to the server's time. Both cameras can also now be used as webcams, via USB, delivering up to 1080/30 streams from worksites, using popular web meeting software.

We've asked Ricoh for more details about any other differences between the Mark II models and their 2019 predecessors. Both cameras use the same 20MP Type 1/2.3 (29mm²) sensors and have 6.5GB of internal memory, allowing its use without an SD card, to increase security. As before they include a series of industry-specific options either internally or via bundled software, allowing barcode reading and the association of note data with images.

The G900 II and G900SE II will be available from late August and early September at recommended prices of $799 and $899, respectively.

Ricoh Imaging announces two new heavy-duty, industrial cameras

The RICOH G900 II and RICOH G900SE II are waterproof, dustproof, shock- and chemical-resistant for use at demanding jobsites

PARSIPPANY, New Jersey, August 7, 2024 — Ricoh Imaging Americas Corporation today announced the RICOH G900 II and RICOH G900SE II, two new heavy-duty, industrial cameras designed to be highly resistant to water, dust, shock and chemicals, for use at demanding jobsites in industries including construction, manufacturing, disaster relief and healthcare.

The RICOH G900II and the RICOH G900SE II offer outstanding and dependable performance in harsh conditions. They are waterproof to a depth of 65.6 feet (20 meters) for up to two hours of continuous operation and highly resistant to chemicals. Compact and lightweight, the cameras incorporate a protective reinforced glass element to the front surface of the lens and a number of protectors at crucial parts of the body. They’re dustproof, shockproof against falls of 6.8 feet (2.1 meters), cold-resistant to temperatures as low as 14°F (-10°C), and crushproof against weights of up to 220 pound-force (100 kilogram-force).

Both cameras are equipped with a back-illuminated, 20.0-megapixel CMOS image sensor that delivers sharp, clear, high-resolution images, even at a super-high sensitivity of ISO 25600.

| Keeping data secure |

In addition to outdoor applications at civil engineering, construction and disaster relief sites, the RICOH G900 II and RICOH G900SE II can also be used in a wide range of indoor industries. Security features including a password-protected camera lock function make them ideal for use at high-security workplaces. The successor to the RICOH G900SE, announced in 2019, the RICOH G900SE II has enhanced security features, including system data management functions in connection with intranet systems, ideal for use at infrastructure and utility facilities, road maintenance and public institutions including local governments, police, and fire stations.

The RICOH G900SE II features other premium functions including support for Bluetooth® and wireless LAN connections, and compatibility with NFC cards. It assures wireless, high-speed data transmission of captured images with a broader choice of devices and supports security- enhanced Enterprise Wi-Fi systems.

| Simplified data management and workflow from anywhere |

The RICOH G900 II and RICOH G900SE II feature a Camera Memo function that reduces workload and simplifies data management, enabling users to attach a text or audio file to an image and enables users to browse compatible reference images like building plans blueprints on the camera’s monitor. When used in combination with Barcode Scanning mode, barcode information can be attached to the camera memo data. The camera’s EX2 application software can be used to integrate image categorizations and file names into the camera memo data, reducing the post-shooting workload. All data can then be exported as an XML file for easy integration into databases.

When connected to a computer, both the RICOH G900 II and RICOH G900SE II can function as a web camera for real-time streaming of Full HD-resolution at 30 frames per second. When combined with its high-power, six-LED ring light unit and macro shooting capability, detailed, enlarged views of small items can be shared during virtual meetings.

The RICOH G900 II and RICOH G900SE II have a host of advanced and user-friendly features to facilitate shooting at a variety of worksites including a GPS module that attaches GPS data to captured images, a transparency guide that enables users to use a previously captured image as a template for capturing a new image with identical composition, an electronic level to check the camera’s horizontal and vertical inclination, 6.5GB of built-in memory, and 4K-resolution video recording capability.

| Pricing and Availability |

The RICOH G900 II will be available late August at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $799.95.

The RICOH G900SE II will be available in September at www.us.ricoh-imaging.com and via Ricoh Imaging’s industrial partners for a manufacturer’s suggested retail price of $899.95.

Ricoh G900 II / G900SE II specifications  Ricoh G900 IIRicoh G900SE IIPriceMSRP$799$899Body typeBody typeCompactBody materialCompositeSensorMax resolution5184 x 3888Image ratio w:h1:1, 4:3, 3:2Effective pixels20 megapixelsSensor size1/2.3" (6.17 x 4.55 mm)Sensor typeBSI-CMOSColor spacesRGBImageCustom white balanceYesImage stabilizationDigital onlyUncompressed formatNoFile format

• JPEG

Optics & FocusFocal length (equiv.)28–140 mmOptical zoom5×Maximum apertureF3.5–5.5Autofocus

• Contrast Detect (sensor)
• Center
• Tracking
• Single
• Continuous
• Face Detection
• Live View

Autofocus assist lampYesDigital zoomYes (8.1X)Manual focusYesNormal focus range50 cm (19.69″)Macro focus range1 cm (0.39″)Number of focus points9Screen / viewfinderArticulated LCDFixedScreen size3″Screen dots1,040,000Touch screenNoScreen typeTFT LCDLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed1/4 secMaximum shutter speed1/4000 secExposure modes

• Program

Scene modes

• Auto Picture
• Program
• HDR
• Movie
• High Speed Movie
• Digital Microscope
• Interval Shooting
• Interval Movie
• Surf & Snow
• Digital SR
• CALS
• Watermark
• Firefighting
• Skew Correct
• Text
• Zoom Macro
• Remove haze
• Depth of field composition

Built-in flashYesFlash range5.50 m (with Auto ISO)External flashNoFlash modesFlash on, flash offDrive modes

• One-shot
• Self-timer
• Continuous
• Burst
• M continuous
• S continuous
• Remote control
• Auto bracketing

Self-timerYesMetering modes

• Multi
• Center-weighted
• Spot

Exposure compensation±2 (at 1/3 EV steps)AE Bracketing±1 (3 frames at 1 EV steps)WB BracketingNoVideography featuresFormatMPEG-4, H.264MicrophoneStereoSpeakerMonoStorageStorage typesInternal + SD/SDHC/SDXC cardStorage included6.5GBConnectivityUSB USB 3.0 (5 GBit/sec)USB chargingYesHDMIYes (micro-HDMI)Microphone portNoHeadphone portNoWirelessBuilt-InWireless notesSupports FlashAir SD cardsRemote controlYes (O-RC1 Waterproof Remote Control)PhysicalEnvironmentally sealedYesDurabilityWaterproof, ShockproofBatteryBattery PackBattery descriptionDB-110 lithium-ion battery & USB chargerBattery Life (CIPA)340Weight (inc. batteries)242 g (0.53 lb / 8.54 oz)245 g (0.54 lb / 8.64 oz)Dimensions118 x 66 x 33 mm (4.65 x 2.6 x 1.3″)Other featuresOrientation sensorYesTimelapse recordingYesGPSBuilt-inGPS notesIncludes e-Compass

Image: Blackmagic Design

Blackmagic Design has unveiled a significant update to its popular Blackmagic Camera app for iOS, which provides a suite of video-oriented tools for shooting video on iOS devices.

The headline feature of Blackmagic Camera 2.0 is its support for multi-camera workflows. This capability allows a single iPhone or iPad to function as a controller for multiple iPhone cameras connected via a wireless or wired network.

In multi-camera setups, users can utilize a multi-view interface to monitor and control each device. This includes precise adjustments for focus, zoom, frame rate, shutter angle, white balance, and lens selection. The update also supports 1080/100p capture on the iPhone 15 Pro and introduces batch copy or delete functionalities within the media tab.

Expanding its versatility, the update extends support to iPads, leveraging the larger screen real estate to display up to nine camera feeds simultaneously.

When used with an iPad, Blackmagic Camera 2.0 allows users to monitor and control up to nine iPhone cameras.

Image: Blackmagic Design

These new features build upon an already robust app, which already boasted essential tools such as focus peaking, zebras, false color, LUT support, manual camera control, and Apple Log gamma support (available on iPhone 15 Pro models).

With the introduction of multi-cam support, Blackmagic Camera 2.0 positions itself as a competitor to Apple’s subscription-based Final Cut Pro for iPad, which offers the capability to monitor and control up to four iPhone cameras when paired with Apple’s free Final Cut Camera app.

Blackmagic Camera 2.0 is compatible with a wide range of iPhones and iPads, including standard, Mini, Air, and Pro models equipped with Apple’s A12 Bionic or newer processors. It requires iPadOS 17.0 or later and is available for download on the Apple App Store.

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

We've just receieved a reviewable Canon EOS R5 Mark II, so took it straight into our testing studio.

Buy now:

$5399 at Amazon.com$4299 at B&H Photo$4299 at Adorama

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.

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

The EOS R5 II gives very much the result you might expect: it's essentially indistinguishable from its predecessor in terms of detail. It can't quite match the resolving power of Sony's 61MP a7R V, but it's consistent with it most direct peer: the Nikon Z8.

The similarities persist as the light levels drop: at moderate ISOs it's consistent both with its predecessor and its peers and perhaps a touch noisier at very high ISOs. Not enough that you're ever likely to notice.

Dynamic range

In what's becoming a familiar story, there appears to be a trade-off between speed and dynamic range on the EOS R5 II's sensor. If you underexpose to protect highlights in your image, then try to make use of the shadows, by brightening them (which is the main mechanicsm by which you're most likely to really push at the limits of a large sensor camera's DR), you'll find your shadows are noisier than those of the EOS R5.

And, comparing shots taken at the same exposure but differing ISOs, you can see that you need to apply more amplification to overcome this read noise, than you did with the original EOS R5. It's not until you get to ISO 800 that the image starts to match the performance you get by shooting at ISO 6400, which suggests that, if this is a dual coversion gain design, it's switching to its high gain mode at a higher ISO (The EOS R5 switched over at ISO 400).

Buy now:

$5399 at Amazon.com$4299 at B&H Photo$4299 at Adorama

Notably, there's an appreciable noise cost to be paid for switching to electronic shutter mode, which means it'll underperform the Nikon Z8 (at least in terms of DR) when used it its fast modes. That reduction in dynamic range doesn't appear to be accompanied by a significant reduction in image quality in most tones of the images, though: even at high ISOs, the difference in most of the tonal range is marginal.

The Olympus XZ-2, with its clicking command dial and touchscreen control panel offered a good level of control in a small body. Sadly, despite the fast lens, its small sensor struggled as the light levels fell.

I'm going to do something I would usually refrain from doing: I'm going to propose a camera I think manufacturers should make. This is probably a fool's errand: even I you sidestep the pitfall of asking for the impossible - a 24-120mm F2 zoom the same size, weight and price of a kit zoom, or 'this camera but without video, for less money' - I still risk the solipsism trap of assuming the thing that I desire is something other people want, too.

But despite the many ways in which this is probably just wishful thinking, I still really wish someone would make an affordable enthusiast compact. A camera that's engaging to shoot with and that takes pretty good photos but that doesn't aim to be an exclusive, premium model.

Is there a market?

There are three main things that make be believe there might be a market for such a camera. The most obvious is the success of the Fujifilm X100 VI and Leica D-Lux8, both of which remain difficult to obtain because demand has outstripped their respective makers' expectations. It's worth noting these are exactly the sorts of premium products that I'm trying to avoid, and that we don't know how ambitious those sales expectations were.

Although I was never convinced that their image quality benefit over a regular compact was proportionate to their extra size and cost, Canon's G-series was for many photographers the travel camera of choice. I'd love something a little smaller but with similar levels of direct control.

The second piece of supporting evidence is the popularity of older compacts with a younger audience. Just as film cameras have experienced a revival among younger users buying second-hand equipment, there appears to be a surge of interest in older compacts from a generation of users who want a device more engaging than their smartphones. And if Ricoh believes it's worth developing the Pentax 17 to address these film users, why not an engaging compact for people who want something dependable that isn't dependant on decade-old batteries?

Xiaomi's Photography Kit is an add-on grip and battery that connects to its 14 Ultra smartphone, adding a command dial and photographic controls. It makes a surprising difference to the experience of shooting with a phone.

Finally, it's worth experiencing something like the Xiomi Photography Kit, an add-on grip with shutter button, zoom rocker and command dial that attaches to a Xiomi smartphone (not available in North America, sadly). Using this for even a few moments really drives home the idea that direct control points can make you feel more engaged and involved with the photographic process.

What should the camera be?

For me, the most important factors should be an engaging shooting experience and decent image quality. That needn't mean X100-style dedicated control dials, but should have a tactile and responsive means of setting expsoure: not like the vague, free-turning ring around the lens of an RX100.

And while I think think image quality is important, I think it's worth being willing to make some compromises: there's no point trying to squeeze an APS-C-or-larger sensor in there if it makes the camera too big, the price too high or the lens range too limited. A Type 1 sensor delivers smartphone-like image quality without the need for complex multi-shot composite imagery and also allows the camera to stay sensibly small.

Beyond that, it's a question of balancing price and utility. If there are savings to be had by using an older sensor, that's fine: I don't need Stacked CMOS speed or cutting-edge video. Likewise if there's an existing lens that can be re-used to keep development costs down, then I'm all for it. Canon, Sony and Panasonic all have short, bright standard zooms for Type-1 (13.2 x 8.8mm) sensors in their back catalogue, and presumably Nikon still has its patents for what would have been the DL.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Sony's color in particular has come a long way since the original RX100, but I remember getting back from a trip to the UK and being stuck by how much better the images from its larger sensor looked than with previous compacts. So if I could get that experience from a camera that was fun to shoot with...

Ideally the camera would have a viewfinder, and I could live with a 2.69M dot panel if that helped save any costs. But if the parts budget means having to choose between a viewfinder and a two-way tilting rear LCD, I could probably live with either.

How low can you go?

Ultimately, even in the realms of wish-fulfillment, it's difficult to identify major cost-cutting opportunities without starting to seriously limit the camera's appeal. Just cutting out video risk alienating a cohort of would-be buyers that would help fund its development, so every other cut corner such as omitting Wi-Fi or opting for less extensive dust and moisture resistance risks narrowing the target market too far.

But I still think there's a gap between smartphones and fully-fledged mirrorless cameras. Something pocketable and fun, rather than something trying to be cutting-edge. If it's possible, I'd love a photo-focused compact with hands-on controls priced, ideally with the latest processor at its heart, with a list price under $750 and that ends up selling for a bit less than that. Who's with me?

Earlier this year, DPReview editors journeyed to Yokohama, Japan, to attend the CP+ camera expo, the industry's own trade show. CP+ is not only a showcase for the latest photography gear but also a rare opportunity to engage with industry executives and thought leaders.

As in previous years, we thought it would be beneficial to share insights from our discussions with senior executives from nearly every major camera and lens manufacturer. Here are some of the key trends and themes that emerged from both formal and informal conversations with industry leaders.

The camera market: stability with caution

The consensus is that the camera market continues to stabilize after years of contraction. Most companies expect sales to remain stable, with potential for some growth in the coming years.

However, caution is still in the air. Sigma CEO Kazuto Yamaki observed, "For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years."

Most camera companies see the 'creator' market as a growth opportunity and are making products targeting these users, like the Sony ZV-E1 pictured above.

Photo: Richard Butler

Video remains a significant growth driver, with demand increasing even among still photographers, and manufacturers see video as essential for attracting and retaining customers. The coveted 'creator' market, comprised of (mostly) younger users who have yet to establish brand loyalties, is also seen as a crucial demographic for growth.

The ascendancy of AI

When camera companies discuss AI, they're typically referring to AI derived from machine learning. This technology has been enhancing cameras for several years, particularly in the form of subject identification and tracking. These capabilities will continue to gain speed and accuracy, but manufacturers are exploring other ways to refine camera functionality through AI, such as training cameras to understand scene context to predict and prioritize subjects.

We've already witnessed examples of these next steps. Nikon's Auto Capture automatically captures photos or videos based on criteria like subject, distance or motion. Canon's sports-specific Action Priority AF modes attempt to predict the most important subject in the frame based on the type of action in the scene.

AI in cameras is most frequently associated with subject recognition, but manufacturers are finding other uses. Case in point: Tamron is using AI technology to improve image stabilization in lenses.

Image: Tamron

Additionally, some manufacturers suggested they plan to use AI to refine image processing algorithms, resulting in more precise and realistic rendering of photos, and to support more efficient post-processing workflows.

We also learned that Tamron is using AI to improve image stabilization by analyzing camera movement during video shooting and using this data to predict camera shake better. Some camera manufacturers also indicated an interest in using AI to enhance lens performance and functionality.

"Tamron is using AI to improve image stabilization"

Notably, no manufacturers have hinted that they want to incorporate technologies like generative AI, content removal tools, or anything of the sort into their cameras. On the contrary, several indicated that they see this as a differentiating factor between cameras and smartphones, with dedicated cameras allowing users to retain complete control over the creative process.

Enhanced support for video workflows

Consumer expectations for video quality have surged, influenced by the high-quality content they see around them. Yusuke Adachi of Nikon's Imaging Business Unit noted, "Customers have become very discerning thanks to video streaming platforms such as Netflix or Amazon Prime, where they see beautiful content and want to live up to that high level of expectation." In response, manufacturers have raced to boost video specifications in recent years, with nearly all enthusiast or professional cameras now capable of capturing high-quality video.

Manufacturers are now more aggressively working to provide video-specific tools and workflows to address the needs of video shooters. Features like video waveforms and dedicated video menus are becoming more common, and connectivity options like Frame.io, which allows real-time upload to the cloud and multi-user collaboration, are finding their way into more cameras. Companies also told us that video requirements are increasingly influencing lens design.

Video-specific functions like waveform monitors used to be niche tools on mirrorless cameras but are becoming more common as more camera manufacturers work to address the needs of video users.

Photo: Dale Baskin

This focus on video also benefits photographers. "Video has had a significant impact on still image functions like high-speed capture and high frame rates, so video functions can be leveraged for imaging solutions," Mr. Adachi from Nikon explained.

Finally, if you require any other evidence that camera companies are investing in video, see Nikon's acquisition of RED Digital Cinema.

Integration with smartphones

The days when camera companies viewed mobile devices as competition are over. Now, they seek synergy.

The industry recognizes the need to improve smartphone integration with cameras. Mr. Adachi of Nikon observed, "One of the pain points for customers is the workflow of sharing a photo they take with a camera and loading it onto their social media accounts. There are multiple steps that a customer needs to go through: taking a photo, sending it to the smartphone, and then handing it off to a social media account are too many steps for them. That’s the area where we can actually make an improvement and where we should make an improvement."

Panasonic's Lumix Lab app allows you to create custom LUTs and embed them directly into your camera's menus.

There's now a renewed focus on streamlining data flow between cameras and smartphones and enhancing mobile device integration. Panasonic's Lumix Lab app is illustrative of this, offering a relatively seamless solution for transferring content between camera and smartphone while also enabling users to manage camera functions – specifically, adding custom LUTs directly to camera menus – via the app. We'll likely see more examples of such integration in the future.

Executives highlighted that improved integration is critical to persuading more people to use dedicated cameras. Toshiyuki Tsumura, Director of Panasonic's Imaging Business Unit, told us, "We recognize that camera smartphone apps are becoming one of the most important workflows, especially for young creators. Smartphones are excellent when it comes to the workflow of taking pictures and sharing them immediately, but cameras are superior when it comes to the quality of the work."

Account Executive Full-time, Remote (US)

We're seeking a highly motivated and knowledgeable Account Executive with a deep passion for the photo and video industry to own strategic partnerships and advertising solutions for DPReview.com. As an individual contributor, this role is a unique opportunity to leverage your expertise in partnership development, marketing, or sales within the photo/video industry to build relationships with top brands, create impactful partnerships and campaigns that resonate with our vibrant community, and drive revenue growth.

A deep understanding of the photo and video industries is essential to building authentic relationships with our client base and the communities they reach. If you're deeply involved in the photography and videography space and have a proven track record of building lasting relationships and partnerships and driving revenue growth, we want to hear from you!

Click here to contact us about this position

Job Responsibilities

Relationship Building: Establish and nurture strong relationships with key stakeholders at camera and lens manufacturers, accessory brands, and other relevant players in the industries we cover.

Sales Strategy: Develop and execute a comprehensive sales strategy to achieve revenue targets, including identifying and prioritizing high-potential clients.

Campaign Development: Collaborate with brands to create compelling and effective advertising campaigns that resonate with DPReview's audience.

Product Expertise: Stay up-to-date on the latest trends, products, and technologies in our industry to inform client conversations and campaign strategies.

Market Analysis: Analyze market trends and competitor activity to identify opportunities and inform sales strategies.

Performance Tracking: Monitor campaign performance, provide insights and recommendations to clients, and optimize campaigns for maximum impact.

Basic Qualifications

Industry Experience: 5+ years of B2B sales experience, with a proven track record in the photography or consumer electronics industries.

Technical Knowledge: Strong understanding of traditional and digital advertising solutions , including display, video, and native advertising.

Relationship Skills: Exceptional interpersonal and communication skills, with the ability to build rapport and trust with clients at all levels.

Market Acumen: Deep knowledge of the photography and consumer electronics market, including key players, trends, and customer preferences.

Independent Drive: A results-oriented self-starter with a demonstrated ability to achieve and exceed sales targets.

Preferred Qualifications

Photography Enthusiast: A passion for photography and prior exposure to the photo and video communities.

Agency Experience: Prior experience working in an advertising agency or media sales environment.

CRM Expertise: Proficiency with CRM tools for sales tracking and forecasting.

Click here to contact us about this position

From left to right: Tetsuji Kiyomi, Yasuhiko Shiomi, Go Tokura, Tetsushi Hibi

Photo: Dale Baskin

"In the past, we categorized the user bases as professionals, high-end amateurs, and entry-level users," explains Go Tokura, Executive Vice President, Head of Canon's Imaging Group and Chief Executive of its Imaging Business Operations. "We still believe that professional users are going to be the leaders in the camera market. These users are prioritizing features that require less manpower, and also devices and equipment that is lighter."

However, he calls out one new market segment that camera companies must contend with.

"In addition to the three traditional user bases, there’s now a new group of users: creators. These users want more casual equipment that doesn’t just capture photos but is also able to process and share them. We also see a lot more demand from these users for better video capabilities. We believe that this group of users will become very important to the camera market as a whole," he states.

We met with Tokura and other Canon executives, including Tetsuji Kiyomi, Deputy Chief Executive of Imaging Business Operations, Tetsushi Hibi, Unit Executive of Canon's IMG Optical Business Unit, and Yasuhiko Shiomi, Unit Executive of Canon's IMG Development Unit, earlier this year at the CP+ expo in Yokohama, Japan. They provided insight into the current state of the camera market, discussed the company's plans for 3D imaging and machine learning, and touched on Canon's philosophy toward third-party lens support.

According to Tokura, the camera market has been stable, but with an increasing shift to mirrorless products like the Canon EOS R6 II, above.

Photo: Dale Baskin

"For the last few years, we have seen that the interchangeable lens camera market has been progressing at the size of six million units per year, and we are finding that every year, there’s an increased ratio of mirrorless lenses," says Tokura. "Out of these six million units, the fact that the proportion has shifted towards mirrorless products is a very healthy change."

He believes the trends are a good omen for the industry and remains enthusiastic about the future.

"I think that users are changing their behavior and are taking more pictures and videos to share, and I think this expansion of how imaging is being used is a good sign for the imaging market," he remarks.

He points out that over the past year, Canon has seen trends consistent with users' priorities, including increased demand for video and the continued shift to mirrorless hardware. But, he adds, "A third trend that we anticipate happening is the switch from 2D to 3D, and I expect that to be a very important trend going forward."

3D imaging

3D imaging can be a polarizing topic. Depending on when you were born, it may prompt memories of anything from 3D movies viewed through red and blue glasses with sharks jumping off the screen to more recent attempts at rolling out 3D TVs. However, Canon is bullish on 3D technology and believes it has growth potential.

"We’re sure that the imaging world is expanding from 2D to 3D, VR [virtual reality], MR [mixed reality], and AR [augmented reality], comments Kiyomi. "This trend is sure to happen in the camera industry as a whole, not just for consumers but in the B2B market as well. What consumers will see is the [3D] deliverable, and we are the camera manufacturer that can enable the creation of these 3D deliverables to consumers."

Canon is investing in 3D technology, such as VR, MR and AR, including the recently announced RF-S 3.9mm F3.5 STM Dual Fisheye lens.

Image: Canon

It's not just talk. For at least the past couple of years, Canon has prominently featured 3D imaging technology in its booth at the annual CP+ Expo, including hardware and software for creating 3D content. Kiyomi believes Canon is uniquely positioned to provide creators with the entire workflow of tools for 3D deliverables.

"As a camera manufacturer, we have a role in creating a camera system that enables 3D images. Currently, we only have one 3D lens*, but in order to address this trend, we are going to expand our system for 3D and XR to more affordable levels. With 2D photos, once you take the image, you don't need to do any other processing; you can see it right away. In the case of 3D, VR, MR, etc., you need to have some kind of processing in place in order to see it, and you need to have devices to view it. This is an area where we can play a role, so in that respect, we think there is a business opportunity for us out there."

*Editor's note: after our interview, Canon announced a second 3D lens, the RF-S 3.9mm F3.5 STM Dual Fisheye lens.

Machine learning and AI

It's difficult to talk about camera technology in 2024 without acknowledging the importance of AI. Like most camera manufacturers, Canon has leaned extensively on AI technology based on machine learning to improve camera performance, particularly for subject recognition and tracking. However, Shiomi suggests this technology will continue to improve.

"In the realm of autofocus, we have been using deep learning technologies for subject recognition. So far, this recognition has focused on 'identifying types' of human faces, animals, vehicles, etc," he notes. "In the future, we want to make greater use of deep learning technologies to recognize more complex movements and state changes, so we’re looking to improve AF further."

Canon has used machine learning technology – what it calls 'deep learning' – to expand the capabilities of its autofocus system, including sport-specific Action Priority AF modes on the new EOS R1 and EOS R5 II.

Photo: Dale Baskin

Our conversation occurred before Canon's recent announcement of the EOS R1 and EOS R5 II cameras, but we can't help but think that Shiomi was channeling those new models when making this statement. Both include a new Action Priority AF mode trained on specific sports that is designed to recognize the most important subject in the frame, such as differentiating between a basketball player driving to the basket with the ball and the player defending them just inches away.

However, that's not all. "We’re also using deep learning technologies for image processing. We want to reproduce the real image more precisely and realistically, and we want to use deep learning technologies to further advance that," he adds.

The third-party lens question

Canon has indicated in the past that it's open to third-party requests to make autofocus lenses for the RF system, though, until recently, we haven't seen examples of this in the real world. Kiyomi explains Canon's philosophy.

"We're having deeper communication with the third-party lens manufacturers compared to a year before. The background to having this deeper communication with the third parties is that we have already launched more than 40 RF lenses in the course of six years. So, we have quite a versatile lineup already. So that's the reason why we are progressing with collaboration with the third-party manufacturers," he tells us.

In April, Sigma announced it would be offering six of its DC DN APS-C lenses in Canon's RF-mount.

Image: Sigma

We've recently seen movement on this front. Just a few weeks after our interview, Tamron and Sigma announced plans to release APS-C lenses in Canon's RF-mount, suggesting that Canon may be easing restrictions on third-party manufacturers.

Canon understands that the availability of third-party lenses concerns some potential customers, and the point has undoubtedly been driven home during a busy week of talking to the media.

"That’s the most frequent question we have had today!" acknowledges Tokura with a slightly wearied grin.

This article is based on an interview by Dale Baskin and Richard Butler at the CP+ expo in Yokohama, Japan.

Sling TV Blue offers cord-cutters a wealth of live channels for an affordable price, but you may need to bring your own antenna.

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

Tamron has announced the 28-300mm F4-7.1 Di III VC VXD, a stabilized superzoom lens for Sony full-frame E-mount cameras.

It's a third of a stop slower than the most recent DSLR version of the lens (the 2014 PZD version), yet is slightly larger and slightly heavier. It uses a "VXD" voice-coil linear motor and VC stabilization system, though Tamron doesn't quote a figure for its effectiveness (which presumably varies depending on the camera it's mounted on).

The lens features 20 elements in 13 groups, including one XLD extra-low dispersion and one LD low dispersion element. It also uses Tamron's BBAR-G2 (Broad-Band Anti-Reflection Generation 2) coatings to minimize ghosting and flare.

Minimum focus distance is 0.19m (7.5") at the wide end and 0.99m (39") at the tele end, giving a 1:2.8 maximum reproduction ratio at 28mm, rising to 1:3.8 at the 300mm end.

It weighs 610g (21.5oz), is 126mm (5") long at its shortest, and 77mm () in diameter. It accepts 67mm filters.

Price and availability

The 28-300mm F4-7.1 Di III VC VXD will be available from the end of August at a recommended price of $899.

Press Release:

TAMRON Announces the Launch of the 10.7x All-in-One Zoom Lens

28-300mm F/4-7.1 Di III VC VXD (Model A074)

Commack, NY – Tamron announces the launch of the 28-300mm F4-7.1 Di III VC VXD (Model A074), a 10.7x all-in-one zoom lens for Sony E-mount full-frame mirrorless cameras on August 29, 2024, at $899 USD / $1,199 CAD.

The TAMRON 28-300mm F4-7.1 VC is an all-in-one zoom lens for Sony E-mount full-frame mirrorless interchangeable lens cameras. This lens covers a broad focal length range from 28mm wide-angle to 300mm telephoto with superior imaging performance. It achieves a zoom ratio of 10.7x with a length of just 5” (126mm) and weighs only 21.5 oz. (610g). The lens is equipped with the VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism, enabling it to focus quickly and accurately throughout the entire zoom range. The lens also features TAMRON’s VC (Vibration Compensation) mechanism to ensure sharp hand-held images when shooting at the 300mm telephoto end and in low-light conditions. With an MOD (Minimum Object Distance) of 7.5” (0.19m) and a maximum magnification ratio of 1:2.8 at the wide end, the lens allows users to enjoy the world of wide macro photography. It includes a Focus Set Button and a connector port for the dedicated TAMRON Lens Utility™ software independently developed by TAMRON to expand the scope of expression for still images and video. The lens features Moisture-Resistant Construction, and the front element has a protective Fluorine Coating. The new 28-300mm F4-7.1 VC lets users take photos in an extremely wide range of situations with just one lens.

Product Highlights

1. 10.7x zoom lens for full-frame mirrorless cameras that covers the focal length range from 28mm wide-angle to 300mm telephoto

The greatest feature of the 28-300mm F4-7.1 VC is its 10.7x zoom focal length range. In response to users stating that 200mm is not quite long enough at the telephoto end for an all-in-one zoom lens, TAMRON has extended the focal length to 300mm. Exceptionally portable, the lens features a highly compact design. This single lens allows shooting in everyday life and during travel, including landscapes, snapshots, portraits and sports photography. It's an extremely versatile lens that lets users take photos in any situation of any subject without changing lenses.

2. Outstanding imaging performance

This new TAMRON zoom has an optical construction of 20 elements in 13 groups. It includes one XLD (eXtra Low Dispersion) lens element and an LD (Low Dispersion) lens element to efficiently control aberrations such as chromatic aberration. The BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating suppresses ghosting and flare, producing clear images even in backlit conditions. It boasts best-in-class image quality as an all-in-one zoom lens for full-frame mirrorless interchangeable lens cameras.

3. Lightweight and compact lens body

Despite covering a 10.7x focal length range from 28mm wide-angle to 300mm telephoto, the lens is very compact, with a length of only 5” (126mm) and a weight of 21.5 oz. (610g). Small and versatile, it can be casually carried anywhere, and users are unlikely to tire even after long hours of shooting. It's ideal for people who want to carry a smaller camera bag. Additionally, the lens makes it easy to frame accurately when shooting still and moving images while zooming in and out, such as sports and wildlife, and is designed to be comfortable to use.

4. Equipped with VXD, TAMRON’s top-class linear motor focus mechanism

The 28-300mm F4-7.1 VC is equipped with the VXD autofocus drive that includes TAMRON’s premium linear motor focus mechanism to ensure that the focus is attained quickly and accurately throughout the 10.7x zoom range. Upending the stereotype of all-in-one zoom lenses having slow autofocus, its nimble operation allows users to capture more fleeting photo opportunities. The quietness supports photography and videography in conditions that require silence.

5. TAMRON’s proprietary VC mechanism

Although it's compact, the 28-300mm F4-7.1 is equipped with TAMRON’s proprietary VC mechanism that lets users take steady photos, especially at the 300mm telephoto end of its broad 10.7x range. VC effectively suppresses camera shake that often occurs when shooting in the telephoto range or under low-light conditions, thereby helping users take sharp photos without a tripod.

6. Proprietary software tool TAMRON Lens Utility for lens function customization and firmware updates

7. High convenience and operability

• 67mm filter size, same as most other TAMRON lenses for mirrorless cameras
• Focus Set Button for assigning camera function and TAMRON Lens Utility function
• Enhanced overall lens design for user-friendly operation
• Zoom Lock mechanism

8. Protective features (Moisture-Resistant Construction and Fluorine Coating)

9. Compatible with many camera-onboard features and functions, including Fast Hybrid AF and Eye AF

This product is developed, manufactured, and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation. Tamron 28-300mm F4-7.1 Di III VC VXD specification Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length28–300 mmImage stabilizationYesLens mountSony E, Sony FEApertureMaximum apertureF4–7.1Minimum apertureF22–40Aperture ringNoNumber of diaphragm blades9Aperture notesCircular apertureOpticsElements20Groups13FocusMinimum focus0.19 m (7.48″)Maximum magnification0.36×AutofocusYesMotor typeLinear MotorDistance scaleNoDoF scaleNoPhysicalWeight610 g (1.34 lb)Diameter77 mm (3.03″)Length126 mm (4.96″)Zoom methodRotary (extending)Power zoomNoZoom lockYesFilter thread67 mm

When you use DPReview links to buy products, the site may earn a commission.Nikon Zf vs Z6III

When the Nikon Zf arrived we speculated that a Z6 III might be a very similar camera but in a different body. In reality the distinction has ended up being much more profound, with the Z6III gaining a much faster sensor that boosts its capabilities in a number of ways.

But both cameras have the same pixel count and not-disimilar pricing. So we thought we'd take a look at Nikon's two enthusiast full-framers to help you decide whether the classic controls or the next-generation sensor ends up being more appealing for your photography.

Buy now:

$3096 at Amazon.com$2497 at B&H Photo$2497 at Adorama Hardware differences

Both cameras feature the latest Expeed 7 processor, which brings with it a raft of new features including subject recognition autofocus, the 3D Tracking mode we've always found hugely useful and options such as multi-shot high resolution modes, which we haven't.

The biggest underlying difference between the two cameras is their sensors: the Zf has the 24MP BSI CMOS sensor that underpinned the Z6 II and Z6 (and most other cameras around the $2000 mark) whereas the Z6III uses what appears to be a 'modded' version of the chip.

It's a design that Nikon called "Partially Stacked" that features more complex high-speed readout circuitry stacked onto the edges of the chip, allowing significantly faster readout than the previous generation of sensor. This faster readout promises a more usable electronic shutter mode, a wider selection of video modes and more frequent updates for the AF system to utilize.

Buy now:

$1996 at Amazon.com$1997 at B&H Photo$1997 at Adorama Handling/controls

The other fundamental difference between the two cameras is the control logic. The Zf has dedicated dials for shutter speed, ISO and exposure compensation, whereas the Z6III has a contemporary twin-command dial control system.

The difference ends up being less significant than you might expect, as the Zf also has twin command dials and an exposure mode control, so could be used in a similar manner to the Z6III if you prefer (though that somewhat reduces the point of buying a retro-styled camera).

The Zf has five customizable buttons, while the Z6III has eleven, which may be a factor if you regularly want quick access to modes and functions that don't have controls by default. Oddly neither camera lets you quickly change the 'Auto ISO minimum shutter speed' setting, but instead persist with Nikon's inexplicable system of letting you define the minimum ISO the camera can use.

Viewfinder/handling

The more expensive Z6III has a nicer viewfinder than the one in the Zf. It's a 5.76M dot panel, giving a resolution of 1600 x 1200px, rather than the 1280 x 960px resolution of the Zf's finder. It's also a higher brightness panel that's better able to simulate HDR images and shows less of a brightness difference compared with the real world. Both EVFs have matching 0.8x magnification and 21mm eyepoints, which suggests the use of similar finder optics.

The Z6III more modern design affords it license to have a significantly larger, hand-shaped hand grip than the Zf. Nikon promotes the optional silicone hand grip for the Zf made by accessory company SmallRig, which adds Arca-Swiss tripod compatibility and makes the camera more comfortable to use for extended periods but still isn't as ergonomic as the Z6III's grip.

Neither camera has a focus mode button or swtich on the front panel as Nikon DSLRs and the Z8 and Z9 have, and both have fully articulated rear LCDs, despite their otherwise differing design philosophies.

Speed (stills)

For stills shooters, the most obvious benefit of the faster sensor in the Z6III is that it can shoot at faster burst rates. The electronic shutter can deliver Raws at up to 20 frames per second in Continuous High, or 60fps JPEGs in a dedicated C60 mode. By contrast, the Zf has a C30 JPEG burst mode and its top Raw shooting speed is 11fps.

Both cameras offer a pre-burst option, whereby the camera starts buffering images when you half-press the shutter. When you fully press the shutter, up to one second's worth of these buffered images are saved. The main difference is that this one second is up to 60 full-frame JPEGs on the Z6III, whereas it's 30 frames on the Zf. The Z6III also has the option to save up to 120 frames in the 11MP C120, which uses an APS-C region of the sensor.

Autofocus

Both cameras gain the latest AF systems that we first saw in the Z9. This means subject-recognition autofocus that extends across a broad range of subjects: People, Animals, Vehicles, Airplanes. There's also an Auto mode that will detect the first three of these subject types.

Neither camera has yet recieved the dedicated 'Bird' AF mode from the Z9, that is designed to be better at recognizing birds in a wider range of actions and poses, and in front of complex backgrounds.

Both cameras also include 3D Tracking, an AF mode that behaves like the one on Nikon's DSLRs, and that is becoming the standard means of subject tracking on mirrorless cameras. This lets you position an AF target and the camera will track whatever's under that target when you initiate focus. If you release the shutter button the AF point reverts to where you last set it. This mode can be combined with subject recognition, meaning you can choose which subject you want the camera to track, or target something other than a recognized subject, meaning you don't have to constantly disengage subject recognition.

Nikon says the Z6III's autofocus performance is better than that of the Zf, but we've not yet shot the two cameras in enough conditions to confirm this.

Video

The faster sensor in the Z6III provides it with video capabilities superior to those of the Zf, not just in terms of outright specs but in the reduced rolling shutter effect it exhibits in all its footage.

So, while the Zf can shoot 4K/30p taken from 6K capture, the Z6III can deliver 4K/60p from 6K footage. The Zf has to crop in to an APS-C region to give 4K/60. The Z6III can also capture 6K/60 Raw footage or 5.4K/60 as ProRes or H.265, all from the full width of the sensor. Its APS-C crop allows 4K/120 capture. The Zf has no N-Raw options and its resolution tops out at UHD 4K.

The Z6III also boasts a full-sized HDMI socket, rather than the Micro HDMI one on the Zf, which just makes it significantly more dependable to work with, if you're outputting any of its video.

However, there are reports that Raw footage, which can use some of the very deep shadow regions captured by the sensor, can exhibit a distracting flickering effect. We've not yet had a chance to check how significant an issue this is and will check as part of our full review.

Media / battery life

The only other major difference between the two cameras is the types of media the two cameras take. The Zf, with its more basic video specs and slower shooting rate features a UHS-II SD card slot and a UHS-I Micro SD slot, which places limits on how much the second slot can be used for. By contrast, the Z6III accepts UHS-II SD as its slower medium and CFexpress Type B/XQD as its faster storage. The mixed slots on both cameras help maximise compatibility with whatever cards you already have, but the mismatched speeds on both mean you recognizably end up with a fast and a slow slot, and need to plan accordingly.

Both cameras offer a choice of using the second slot as overflow, backup, to write Raw to one and JPEG (or HEIF in HLG mode) to the second, or JPEG/HEIF to the first and a more compressed version or smaller and more compressed version to the second slot.

In terms of batteries, both use the EN-EL15c battery and deliver the same battery life rating (360 shots per charge) when used with their EVFs, despite the Z6III's higher resolution, and the Z6III rated 10 shots per charge higher than the Zf, when the LCD is used.

Buy now:

$3096 at Amazon.com$2497 at B&H Photo$2497 at Adorama Summary

When the Nikon Z6III was released, we saw comments asking for a "photography-focused" model. Well it already exists, in the form of the Zf.

That's perhaps a little unfair, as the Zf is also a pretty capable video camera, but, putting that to one side, Nikon now gives you a choice of whether you want a fast sensor and all the things it brings (faster bursts, more responsive live view and AF and better video), or are happy with the already capable sensor from the Z6 II, combined with the latest processor and the features it brings.

Of course the differences run deeper than this: there's also a decision to be made about the way you want your camera to handle and operate. The Zf offers classic looks and dedicated control dials, whereas the Z6III gives a larger hand grip, more custom buttons, a nicer viewfinder and a single, unified (though customizable) way of controlling the camera.

Buy now:

$1996 at Amazon.com$1997 at B&H Photo$1997 at Adorama

To a large extent it comes down to a matter of taste: we were impressed with the Zf and the early signs are that the Z6III is a significantly more capable camera than its predecessor. So which do you want? a pocket powerhouse that will support you across an incredibily broad range of shooting situations or a classically-styled camera that does everything the Z6 II did, and more?

Despite being on the market a little longer, the price gap between them is still roughly the $500 difference between their official list prices. This means opting for the $2000 Zf gets you that bit closer to having an extra lens to play with.

When you use DPReview links to buy products, the site may earn a commission.Nikon Zf vs Z6III

When the Nikon Zf arrived we speculated that a Z6 III might be a very similar camera but in a different body. In reality the distinction has ended up being much more profound, with the Z6III gaining a much faster sensor that boosts its capabilities in a number of ways.

But both cameras have the same pixel count and not-disimilar pricing. So we thought we'd take a look at Nikon's two enthusiast full-framers to help you decide whether the classic controls or the next-generation sensor ends up being more appealing for your photography.

Buy now:

$3096 at Amazon.com$2497 at B&H Photo$2497 at Adorama Hardware differences

Both cameras feature the latest Expeed 7 processor, which brings with it a raft of new features including subject recognition autofocus, the 3D Tracking mode we've always found hugely useful and options such as multi-shot high resolution modes, which we haven't.

The biggest underlying difference between the two cameras is their sensors: the Zf has the 24MP BSI CMOS sensor that underpinned the Z6 II and Z6 (and most other cameras around the $2000 mark) whereas the Z6III uses what appears to be a 'modded' version of the chip.

It's a design that Nikon called "Partially Stacked" that features more complex high-speed readout circuitry stacked onto the edges of the chip, allowing significantly faster readout than the previous generation of sensor. This faster readout promises a more usable electronic shutter mode, a wider selection of video modes and more frequent updates for the AF system to utilize.

Buy now:

$1996 at Amazon.com$1997 at B&H Photo$1997 at Adorama Handling/controls

The other fundamental difference between the two cameras is the control logic. The Zf has dedicated dials for shutter speed, ISO and exposure compensation, whereas the Z6III has a contemporary twin-command dial control system.

The difference ends up being less significant than you might expect, as the Zf also has twin command dials and an exposure mode control, so could be used in a similar manner to the Z6III if you prefer (though that somewhat reduces the point of buying a retro-styled camera).

The Zf has five customizable buttons, while the Z6III has eleven, which may be a factor if you regularly want quick access to modes and functions that don't have controls by default. Oddly neither camera lets you quickly change the 'Auto ISO minimum shutter speed' setting, but instead persist with Nikon's inexplicable system of letting you define the minimum ISO the camera can use.

Viewfinder/handling

The more expensive Z6III has a nicer viewfinder than the one in the Zf. It's a 5.76M dot panel, giving a resolution of 1600 x 1200px, rather than the 1280 x 960px resolution of the Zf's finder. It's also a higher brightness panel that's better able to simulate HDR images and shows less of a brightness difference compared with the real world. Both EVFs have matching 0.8x magnification and 21mm eyepoints, which suggests the use of similar finder optics.

The Z6III more modern design affords it license to have a significantly larger, hand-shaped hand grip than the Zf. Nikon promotes the optional silicone hand grip for the Zf made by accessory company SmallRig, which adds Arca-Swiss tripod compatibility and makes the camera more comfortable to use for extended periods but still isn't as ergonomic as the Z6III's grip.

Neither camera has a focus mode button or swtich on the front panel as Nikon DSLRs and the Z8 and Z9 have, and both have fully articulated rear LCDs, despite their otherwise differing design philosophies.

Speed (stills)

For stills shooters, the most obvious benefit of the faster sensor in the Z6III is that it can shoot at faster burst rates. The electronic shutter can deliver Raws at up to 20 frames per second in Continuous High, or 60fps JPEGs in a dedicated C60 mode. By contrast, the Zf has a C30 JPEG burst mode and its top Raw shooting speed is 11fps.

Both cameras offer a pre-burst option, whereby the camera starts buffering images when you half-press the shutter. When you fully press the shutter, up to one second's worth of these buffered images are saved. The main difference is that this one second is up to 60 full-frame JPEGs on the Z6III, whereas it's 30 frames on the Zf. The Z6III also has the option to save up to 120 frames in the 11MP C120, which uses an APS-C region of the sensor.

Autofocus

Both cameras gain the latest AF systems that we first saw in the Z9. This means subject-recognition autofocus that extends across a broad range of subjects: People, Animals, Vehicles, Airplanes. There's also an Auto mode that will detect the first three of these subject types.

Neither camera has yet recieved the dedicated 'Bird' AF mode from the Z9, that is designed to be better at recognizing birds in a wider range of actions and poses, and in front of complex backgrounds.

Both cameras also include 3D Tracking, an AF mode that behaves like the one on Nikon's DSLRs, and that is becoming the standard means of subject tracking on mirrorless cameras. This lets you position an AF target and the camera will track whatever's under that target when you initiate focus. If you release the shutter button the AF point reverts to where you last set it. This mode can be combined with subject recognition, meaning you can choose which subject you want the camera to track, or target something other than a recognized subject, meaning you don't have to constantly disengage subject recognition.

Nikon says the Z6III's autofocus performance is better than that of the Zf, but we've not yet shot the two cameras in enough conditions to confirm this.

Video

The faster sensor in the Z6III provides it with video capabilities superior to those of the Zf, not just in terms of outright specs but in the reduced rolling shutter effect it exhibits in all its footage.

So, while the Zf can shoot 4K/30p taken from 6K capture, the Z6III can deliver 4K/60p from 6K footage. The Zf has to crop in to an APS-C region to give 4K/60. The Z6III can also capture 6K/60 Raw footage or 5.4K/60 as ProRes or H.265, all from the full width of the sensor. Its APS-C crop allows 4K/120 capture. The Zf has no N-Raw options and its resolution tops out at UHD 4K.

The Z6III also boasts a full-sized HDMI socket, rather than the Micro HDMI one on the Zf, which just makes it significantly more dependable to work with, if you're outputting any of its video.

However, there are reports that Raw footage, which can use some of the very deep shadow regions captured by the sensor, can exhibit a distracting flickering effect. We've not yet had a chance to check how significant an issue this is and will check as part of our full review.

Media / battery life

The only other major difference between the two cameras is the types of media the two cameras take. The Zf, with its more basic video specs and slower shooting rate features a UHS-II SD card slot and a UHS-I Micro SD slot, which places limits on how much the second slot can be used for. By contrast, the Z6III accepts UHS-II SD as its slower medium and CFexpress Type B/XQD as its faster storage. The mixed slots on both cameras help maximise compatibility with whatever cards you already have, but the mismatched speeds on both mean you recognizably end up with a fast and a slow slot, and need to plan accordingly.

Both cameras offer a choice of using the second slot as overflow, backup, to write Raw to one and JPEG (or HEIF in HLG mode) to the second, or JPEG/HEIF to the first and a more compressed version or smaller and more compressed version to the second slot.

In terms of batteries, both use the EN-EL15c battery and deliver the same battery life rating (360 shots per charge) when used with their EVFs, despite the Z6III's higher resolution, and the Z6III rated 10 shots per charge higher than the Zf, when the LCD is used.

Buy now:

$3096 at Amazon.com$2497 at B&H Photo$2497 at Adorama Summary

When the Nikon Z6III was released, we saw comments asking for a "photography-focused" model. Well it already exists, in the form of the Zf.

That's perhaps a little unfair, as the Zf is also a pretty capable video camera, but, putting that to one side, Nikon now gives you a choice of whether you want a fast sensor and all the things it brings (faster bursts, more responsive live view and AF and better video), or are happy with the already capable sensor from the Z6 II, combined with the latest processor and the features it brings.

Of course the differences run deeper than this: there's also a decision to be made about the way you want your camera to handle and operate. The Zf offers classic looks and dedicated control dials, whereas the Z6III gives a larger hand grip, more custom buttons, a nicer viewfinder and a single, unified (though customizable) way of controlling the camera.

Buy now:

$1996 at Amazon.com$1997 at B&H Photo$1997 at Adorama

To a large extent it comes down to a matter of taste: we were impressed with the Zf and the early signs are that the Z6III is a significantly more capable camera than its predecessor. So which do you want? a pocket powerhouse that will support you across an incredibily broad range of shooting situations or a classically-styled camera that does everything the Z6 II did, and more?

Despite being on the market a little longer, the price gap between them is still roughly the $500 difference between their official list prices. This means opting for the $2000 Zf gets you that bit closer to having an extra lens to play with.

Lens manufacturer TTArtisan has teased plans to release its newest autofocus lens for full-frame cameras, the AF 75mm F2, in September. The company did not disclose technical specifications or indicate what mounts will be available; its other full-frame autofocus lens, the AF 32mm F2.8 Z, is made for Nikon Z-mount cameras.

More significantly, TTArtisan says that the company will focus on developing AF lenses in the future and plans to release two or three additional AF lenses by the end of 2024.

In addition to the full-frame AF 32mm F2.8 Z, TTArtisan currently manufactures APS-C autofocus lenses for Sony E-mount, Fujifilm X-mount, and Nikon Z-mount. Expanding its range of full-frame AF lenses could be particularly beneficial for Nikon users as it would expand the number of third-party lens options for Z-mount.

We have requested additional information from TTArtisan about the AF 75mm F2 and will update this article as soon as we receive any new details.

In addition to teasing the new AF 75mm F2, TTArtisan announced that it would release a silver version of its AF 27mm F2.8 lens, an APS-C lens for E-, X-, and Z-mounts, on August 12. According to the company, the AF 27mm is its best-selling model, noting that it sold 800 units the day it was released.

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

The Sigma 50mm F1.4 DG DN is one of three Sigma lenses to receive firmware updates to enable 120fps shooting on the Sony a9 III.

Image: Sigma

Late last week, Sigma announced firmware updates for three lenses, including the 50mm F1.4 DG DN, the 105mm F2.8 DG DN Macro, and the 14-24mm F2.8 DG DN. Firmware updates for lenses don't typically grab the headlines, but this particular update caught our attention for one notable reason: it enables these lenses to shoot at up to 120fps on the Sony a9 III.

Historically, Sony has limited third-party lenses to a maximum shooting speed of 15fps on its Alpha mirrorless cameras. So, a firmware update that allows for 120fps capture with third-party lenses is interesting.

However, it's worth noting that the update comes with some limitations. First, 120fps shooting is not available when using continuous autofocus; it's limited to AF-S and manual focus modes only. Second, this improved performance appears limited to the a9 III, as no other Sony bodies are mentioned in the release notes.

It's unclear whether the lack of autofocus is due to a technical limitation or another restriction. DPReview has contacted Sigma and Sony for comment and will update this article if we receive additional information.

The new firmware updates are available now through Sigma's firmware downloads page.