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It's been a few years since Adobe started testing Content Credentials in Creative Cloud apps, and a year since the company announced it'd use them to mark images generated by its Firefly AI. If you're unfamiliar, Content Credentials aren't just about AI; they're also pitched as a secure way to track how images were created and edited in the hopes of slowing down the spread of misinformation. Adobe bills the system as a "nutrition label" for digital content.

At Adobe's MAX conference, we got to sit down with Andy Parsons, Senior Director of the Content Authenticity Initiative at Adobe, and ask him some questions about Content Credentials. Given the opportunity, it also seemed like a good time to check in with the system.

Content Credentials on the Web

Earlier this year, Adobe began rolling out support for adding Content Credentials to your photos in Adobe Camera Raw, Lightroom, and Photoshop. These features are still currently in Early Access or Beta. There's also a Content Credentials verification site that anyone can use to inspect image, video and audio files to see if they have Content Credentials attached or if they've been watermarked with a link to Content Credentials.

However, the company is also looking to make the tech available even to people who don't use its products. This month, it announced a private beta for a Content Authenticity web app. The site lets people who have joined via waitlist upload a JPEG or PNG and attach their name and social media accounts to it after verifying ownership of those accounts by logging in to them. After the person attests that they own the image or have permission to apply credentials to it – there's currently no way to verify that's actually true – it lets them download the image with Content Credentials attached. The tool also lets you attach a piece of metadata, asking companies not to use your image for training AI.

Adobe doesn't aspire to store every content credential in the universe

"From the beginning, before we wrote the first line of code for this tool, we asked creators in the Adobe ecosystem and outside the Adobe ecosystem what they wanted to see in it," said Parsons. "We got a lot of feedback, but we haven't finished this. So the private beta is meant to last a few months, during which we'll collect more feedback."

The system also adds an invisible watermark to the image that links to the credentials stored on Adobe's servers. If someone tries to strip that information out of the image or takes a screenshot of it, it should be recoverable. If someone alters the image, the credentials will theoretically disappear, and the image will no longer be verified as authentic.

"Photoshop users don't want a watermark that somehow changes the look or adds noise to an image that has it. So we did a lot of work to make sure that this was noise-free, that it works with images of very different resolutions and different kinds of color content," Parsons said.

The site is an example of how Content Credentials can work, but if the technology becomes widespread, there'll likely be many more like it. "Adobe doesn't aspire to store every content credential in the universe," Parsons said. "That's why an interoperable standard is so critical. Getty Images could host its own content credential store. Adobe has ours. Someone else could do this on the blockchain; it's really up to the specific platform."

Storing content credentials doesn't require as much storage as it may seem. "We don't store your image; we're not building a massive registry of everyone's content. We store just that 1KB or so of cryptographically signed metadata. And anyone can do that."

Attached Content Credentials are one of the signals Meta looks for when generating its 'AI Info' labels on Facebook, Instagram, and Threads.

Image: Meta

Some websites have also started using Content Credentials to provide additional context for images and videos. According to Parsons, Meta uses Content Credentials as a signal when applying the "AI Info" label it uses for Instagram, Facebook, and Threads.

YouTube has also begun using Content Credentials to label videos posted on its site. If someone uses a camera or app that attaches credentials to a video and doesn't make any edits to it, the video will receive a "Captured with a camera" label meant to certify that what you're seeing is an unaltered version of what the camera captured.

Adobe also recently released the Adobe Content Authenticity extension for the Chrome browser, which surfaces Content Credentials on any site if it detects images that have them attached. "I think of it as sort of a decoder ring," said Parsons. "Once you install the decoder ring, you can see all the invisible stuff on the web."

The Chrome extension can pick out images with Content Credentials, even if the site they're hosted on doesn't natively tag them.

He anticipates that, someday, the extension won't be necessary and that the information it provides will be more broadly available. "Of course, it really belongs in web browsers and operating systems," he said. "I do anticipate a fair amount of work in the next 12 months going into browser support from folks like Microsoft and Google and others. That's really the big next step."

A not-so-seamless experience

We ran into some strange behavior when testing these tools, though the issues were limited to how they were being displayed – or rather, not displayed – on the web. We added an AI-generated element to two images using Photoshop, then exported and uploaded them to Instagram.

The Content Credentials inspection site properly identified the images as having been edited and showed the changes we'd made. Instagram, however, only added the "AI Info" option to one of them and not the other, despite them having gone through the same chain. The label never showed up when the same images were posted to Threads. When we opened the images on Instagram, Adobe's Chrome extension said there were no images on the page with Credentials attached, though it's worth noting that the tool is still in beta.

We were eventually able to see a history of the edits made to this image after screenshotting it from Instagram, re-uploading it to the verification site, and clicking the "Search for possible matches" button, but that's not exactly a seamless experience.

Adobe's verification site successfully recovered the credentials after we hit the "Search for Possible Matches" button. However, there's clearly still a long way to go before sites can reliably use Content Credentials to provide information about an image's providence or to identify images that were made or altered using AI image generation. That's certainly a bit disappointing, as photographers and artists hoping to use the system to watermark images uploaded to social media as their own can't necessarily rely on it yet.

It's also worth noting that our test was essentially the best-case scenario; we made no efforts to hide that AI was used or to remove the Content Credentials. But while it does show cracks in the ecosystem, Content Credentials not showing up on an image that should have them is a much better outcome than if they had showed up on an image that shouldn't.

New Cameras with Content Credentials

During Adobe Max, Nikon announced that it's bringing Content Credentials to the Z6III at some point next year. During a demo at Adobe Max, images taken with the Z6III had credentials attached verifying the time and date they were taken and information about the ISO, shutter speed, and aperture used.

Currently, it seems like the function will be limited to professional users, such as photojournalists.

What's left to do?

Despite the ecosystem improvements, there's absolutely still work to be done on Content Credentials. When we tested the system in July, we found a surprising lack of interoperability between Lightroom / ACR and Photoshop, and the issue still persists today. If you make edits to an image in Lightroom or ACR, then open it in Photoshop and save the file with Content Credentials, there won't be any information about what you did in ACR or Lightroom. You can work around this by saving the file from Lightroom or ACR as a PNG or JPEG and then opening that in Photoshop, but obviously, that's not an ideal workflow.

That watermarking durability guarantee is important

The tools for incorporating Content Credentials into video are even less mature. Parsons says there are some third-party tools starting to support the metadata, such as streaming video players, and that Adobe is working on applying the invisible watermarks to videos as well. "For us, that watermarking durability guarantee is important. And we'll have video with that – I can't put a date on it, but that's something that we're very focused on. Same for audio."

Then there's the issue of cameras. Even if you have a camera that theoretically supports Content Credentials, such as several of Sony's flagships or the Nikon Z6III, you almost certainly can't use them. Both companies currently treat it as a feature exclusively for businesses, governments and journalists, requiring special firmware and licenses to enable it.

To be fair, those entities are generally the ones producing images where Content Credentials will be the most important. Most photographers' work doesn't require the same level of transparency and scrutiny as images released by law enforcement agencies or photojournalism wire services. However, in an age where news is increasingly documented by regular people using their cell phones, the feature will have to become available to average consumers at some point to have any hope of gaining traction.

I don't think anybody cares how secure a picture of my cat is.

One camera manufacturer is letting people use Content Credentials out of the box: Leica. Its implementation also uses special hardware, similar to Apple's Secure Enclave or Google's Titan chips, which are used to store biometrics and other sensitive data, instead of relying on software. Nikon's Z6III also features hardware support for Content Credentials, unlike the Z8 and Z9. In reference to the information stored on Apple's chip, Parsons said, "Three-letter agencies in the U.S. government don't have access to that, neither does Apple in this case. So that's the vision that we have for cameras." According to him, "If you want ultimate security and a testament to the fact that the camera made a particular image, we'd prefer to see that as a hardware implementation."

He did, however, re-iterate that there are times when that level of security isn't necessary. "If you are the NSA or a government or somebody working in a sensitive area... Maybe somewhere where your identity could be compromised, or you'd be put in harm's way as a photojournalist, you probably do want that level of security. And certain devices need to provide it. Think about a body-cam image versus my picture of my cat. In the former case, it's probably very important because that's likely to see the scrutiny of a court of law, but I don't think anybody cares how secure a picture of my cat is."

Content Credentials and other authenticity systems are only part of building trust in an age of generative AI and widespread misinformation campaigns. "This is not a silver bullet," Parsons said. "It's not solving the totality of the problem. We know from many studies that many organizations have done in many parts of the world that people tend to share what fits their worldview on social media. In many cases, even if they know it's fake. If it fits your point of view and you want to further your point of view, it almost doesn't matter."

"This is not a silver bullet"

Instead, Parsons views Content Credentials as one of the tools people can use when deciding to trust certain sources or pieces of content. "If somebody receives an image that someone has deliberately shared, you know, misinformation or deliberate disinformation, and can tap on that nutrition label and find out for themselves what it is, we think that fulfills a basic right that we all have."

The Leica M Edition 70 kit, with platinum-plated Leica M-A film rangefinder camera, Summicron 50mm F2 ASPH lens, film winder and film canister.

Image: Leica

Leica, which this year is celebrating the 70th anniversary of the first M-series rangefinder camera, has announced a limited edition platinum-plated "Edition 70" film camera set.

The Leica M Edition 70 kit comprises a platinum-plated M-A film rangefinder (the model that most closely resembles the original M3), a Leica APO-Summicron-M 50 f/2 ASPH. lens and a film winder, along with a film canister containing a roll of monochrome film. The set, of which 250 will be made, will cost $22,995 and will be available from "selected" Leica stores.

The Leica M Edition 70 with its platinum-plated camera and lens.

Image: Leica

Although its press release talks in terms of an "investment in the future of analogue photography," it also acknowledges that the kit is likely to appeal to collectors, as well as photographers. A standard black M-A with APO-Summicron lens would set you back $15,190 but the Leicavit fast winder included with the special edition appears not to be available.

For those of us whose budgets don't quite stretch that far, Leica has also announced a $50 coffee table book celebrating the history of the M series, including photos and essays by users of the series. The book "Leica M" will be available from Nov 5th. An exhibition covering seven decades of the M series will begin a day later at the company's headquarters in Wetzlar, Germany.

Press release:

70 years of Leica M: Tradition, Perfection, and Innovation – Leica Camera celebrates the anniversary of the Leica M-System

Teaneck, October 24th, 2024. Iconic and more vibrant than ever: The introduction of the Leica M3 exactly seven decades ago, marked the beginning of the M-System, a milestone in the history of photography that continues today. Launched in 1954, the Leica M3 set new standards with its unique rangefinder, since then the M-System has continuously evolved over the following decades. The legendary Leica M6 featured integrated exposure metering; additional Leica MP models were specially tailored for press photography; the Leica M9 was the first digital full-frame mirrorless camera; and the M (Typ 240) was notable for having a CMOS sensor and for being the first series-produced model without a window for illuminating the viewfinder frames.

The Leica M Monochrom revolutionized digital black-and-white photography, and the Leica M-D was the first digital M to offer a genuine analog experience with the removal of the back display. The current model, the Leica M11, allows direct access to the battery and features a Triple Resolution sensor with a resolution of 60, 36 and 18 megapixels. The Leica M-System has remained both highly compatible and future-proof; for example, the Leica M11-P is the world’s first camera capable of verifying the authenticity of digital images thanks to the Content Authenticity Initiative (CAI). This focus on essential features, combined with Leica’s impeccable craftsmanship, ensures quality and consistency – values central to the brand’s core identity. “The quality and craftsmanship of the materials, the sense of precision in every movement, the soft click of the shutter release and the visual clarity of the viewfinder all combine to create an experience that goes far beyond just taking pictures”, says Mark Shipard, Head of Design, Leica Camera AG.

The Leica M camera has long been a favorite among esteemed photographers, who use it for more than just photojournalism and documentary work. In fact, an M is always described as a medium for expressing artistic freedom and individual vision. Countless significant moments have been captured thanks to the Leica M, and their poignancy has been highlighted through powerful, culturally influential photographs. Leica Camera is honored to celebrate seven decades of the Leica M, a tool that is deeply woven in the history of humanity.

“The beauty of the Leica M is that it is so small and therefore discreet and handy to use. Even when people see me using it, they don’t get scared. They don’t see me as a paparazzo – they see me as an artist”, says street photographer Matt Stuart, who was born in London, England.

The limited special edition: “Leica M Edition 70”

The “Leica M Edition 70” was produced as an exclusive special edition to mark the anniversary. This is a unique collector’s item – not just for discerning purists. With a limited release of only 250 sets, the platinum-plated special edition combines classic elegance with precision craftsmanship. It features the iconic design of the legendary Leica M3 created with the manufacturing standards of today. Equipped with a Leica M-A camera, Leica APO-Summicron-M 50 f/2 ASPH. lens, a Leicavit M fast winder and a film container which includes monochrome film, the “Leica M Edition 70” is not only a wonderful homage to the history of the Leica M-System, but also a perfect investment in the future of analogue photography. The combination of timeless design and tried-and-tested craftsmanship, and luxurious platinum coating makes the edition set a coveted item for discerning photographers and collectors.

The “Leica M Edition 70” will be available in selected Leica Stores in 2025. The retail price is $22,995.00.

The anniversary book: “Leica M”

The “Leica M” book is being published in honor of the first 70 years of the Leica M-System. The history of the Leica M-System is presented over more than 250 pages and features insightful essays, legendary photographs, rarely seen archival material and an overview of the Leica M- Cameras produced to date. The result is an impressive homage, that vividly portrays the complexity and many layers of the Leica M-System’s development over 70 years.

“This book is also a huge ‘thank you’ to all the people who worked with the M and on the M: photographers, employees, customers, and friends of what we call ‘the Leica family,’” sums up Dr. Andreas Kaufmann, Chairman of the Supervisory Board of Leica Camera AG.

The “Leica M” book will be available globally in Leica Stores, the Leica Online Store, the LFI (Leica Fotografie International) Online Store, and select authorized dealers starting on November 5th, 2024. The retail price is $50.00.

The anniversary exhibition

The Leica M-System has been inspiring photographers for seven decades with its exemplary aesthetics, compact design, manual operation, precise optics and unique image quality. On November 6th, 2024, an extensive special exhibition opens to the public at Leica Camera AG’s headquarters in Wetzlar, featuring historic Leica M-Camera models and exciting insights into its production history with original documents and iconic photographs. Visitors will be able to experience the history of photography and enjoy an impressive presentation of the Leica M- System’s path from 1954 to the present day.

For more information on “70 years of Leica,” visit: leica-camera.com/70-years-m

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

Lomography, the company behind many retro-inspired film cameras and film stocks, has announced the Lomo'Instant Wide Glass, which it claims is the world's sharpest instant camera.

The Lomo'Instant Wide Glass features a 90mm (∼35mm equiv. in full-frame terms) F8 lens featuring multi-coated glass elements. The lens can be stopped down to a fixed F22 aperture for greater depth of field, and it has a close focus distance is 0.3m (1ft).

The camera includes programmable aperture and shutter modes, manual exposure compensation and flash controls, and supports multiple and long exposures. It has a built-in flash, but a PC-sync connection allows the camera to be used with an external flash.

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

Included accessories include Lomography's Splitzer attachment, a remote control lens cap, which features a shutter release button and timer switch, and colored gel filters.

According to the company's press materials, "the camera is well-suited for capturing detailed portraits or expansive editorial shots." Leaning into its claim about being the world's sharpest instant camera, it says, "It captures even the finest details – down to the tiniest freckle on a model's face."

The Lomo'Instant Wide Glass is available now at a retail price of $279.

Buy now:

$279 at Lomography

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

Updated: Nov 24, 2024

$1500 or the equivalent in your local currency is a lot to spend on a camera, especially when you're just starting out. However, if you can spare the funds, it's the price bracket where cameras start to get really good. You can expect powerful but easy-to-use autofocus systems, cameras that make it easier than ever to learn the craft of photography, and even some more advanced and capable options.

The biggest decision will likely be whether to go with a full-frame camera – a name that comes from their sensors being the same size as a frame of 35mm film – or a camera with a smaller APS-C or Micro Four Thirds sensor. Full-frame cameras have the highest potential image quality, but to get the most out of them, you'll have to buy full-frame lenses, which tend to be bigger, heavier and more expensive than similar APS-C lenses covering the same range.

Essentially, choosing a sensor size comes with trade-offs between size, price, and image quality, as well as features. If you spend $1,500 on a full-frame camera, you'll be getting one of the most stripped-down models, whereas a similarly-priced APS-C camera will be packed to the gills with features and capabilities.

After extensive use, the following cameras would be our picks in this price range:

Our picks:

• Best camera for under $1500: Canon EOS R8
• Enjoyable to shoot with: Nikon Z5
• Most versatile option: Sony a6700
• The affordable kit: OM System OM-5

Best camera for under $1500: Canon EOS R8

24 MP full-frame CMOS sensor | 4K/60p 10-bit video recording | 8 fps burst shooting

The EOS R8 is one of the most affordable ways to gain the image quality benefits of a full-frame sensor. Lens availability is a concern, but it's a capable and enjoyable camera to use.

Photo: Richard Butler

Buy now:

$1499 at Amazon.com$1499 at Adorama$1499 at B&H Photo What we like:

• Great image quality
• Very good AF subject detection and tracking
• Good starting price

What we don't:

• No in-body image stabilization
• Short battery life
• No AF joystick

The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.

The EOS R8 has a comfortable grip and twin dials, giving a good level of direct control. There aren't many buttons so more committed users may want to move up to the EOS R6 II, rather than rely on the quick menu for changing settings. Autofocus is the R8's strong suit: tracking and subject detection are simple to use and very effective. There's no AF joystick, so you'll have to use the touchscreen or select a subject and recompose. Battery life is very limited for an entry-level full-frame camera, though it can charge over USB, at least. "If you're partial to Canon and are new to full-frame mirrorless, the EOS R8 is a great place to start your photographic journey." The R8 shoots attractive video, including 4K footage at up to 60p. The lack of in-body stabilization means you'll need a stabilized lens or a tripod to get the best results. Photos are on par with more expensive full-frame cameras, with great high ISO performance, detail-preserving noise reduction, and Canon's pleasing JPEG colors. The 40 fps burst mode is prone to rolling shutter distortion, reducing its usefulness for capturing action. The EOS R8 offers the image quality and many of the features of Canon's more expensive models but battery life, viewfinder resolution and lack of sensor stabilization are part of the price you pay for that. The RF mount is still fairly new so it's worth researching your lens options before buying, but an adapter allows the use of EF DSLR lenses if you have them.

Read our full review of the Canon EOS R8

See the Canon EOS R8 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. Enjoyable to shoot with: Nikon Z5

24MP full-frame sensor | In-body image stabilization | 4K/30p video

The Nikon Z5's view and autofocus aren't as good as those of the Canon EOS R8 but it can be nicer to use in some regards, not least thanks to its larger battery and high-res viewfinder.

Photo: Dan Bracaglia

Buy now:

$1296 at Amazon.com$1396 at Adorama$1396 at B&H Photo What we like:

• Excellent image quality
• Superb build quality
• Effective image stabilization

What we don't:

• 4K video has heavy crop
• Heavy-handed high ISO noise reduction
• Noticeable rolling shutter

We also really liked the Nikon Z5, which sells for around the same price as the Canon.

The Nikon Z5 is among the most affordable entry-level full-frame cameras ever released. It sports a stabilized 24MP CMOS chip with on-sensor phase detect AF, packed inside a robust, best-in-class body. "The Z5 is good for anyone seeking a well-priced, stills-oriented full-frame mirrorless camera"

Its autofocus isn't quite as reliable as the R8's and its video is nowhere near as good, but if anything we find it a slightly more enjoyable camera to actually use and it offers in-body image stabilization, which the Canon lacks. It has a higher resolution viewfinder and a joystick for positioning its autofocus point, which makes a surprisingly big difference to usability. It also offers significantly better battery life than the Canon, which is another nice-to-have feature.

Read our full Nikon Z5 review

See our Nikon Z5 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 full-frame cameras we considered

The Nikon Z6 II is essentially a slightly upgraded Z5. It's priced just outside the scope of this article but will almost certainly go on sale for around $1500 or less throughout the year. If you're serious about video the EOS R8 is still the better pick, but if you just want to shoot uncropped 4K/30p occasionally, the Z6 II may be worth considering.

We also considered the Sony a7 II, which is still available at some very tempting looking prices. This isn't the bargain it might seem. The a7 II was launched in late 2014 and cameras have come a long way since then. Sony has updated the autofocus, menus and ergonomics of the a7 series significantly since the launch of the a7 II, and has adopted a much larger battery, all of which are worth spending more money to gain. Sony's E-mount has the widest selection of lenses of any mirrorless system, but we'd recommend saving for an a7 III instead of buying the a7 II these days.

Most versatile option: Sony a6700

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

The Sony a6700 combines all-round stills and video capabilities with class-leading autofocus. The standard 16-50mm kit zoom's not great, though.

Photo: Richard Butler

Buy now:

$1398 at Amazon.com$1398 at Adorama$1398 at B&H Photo 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 an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters.

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. Autofocus on the a6700 offers class-leading subject detection and tracking capabilities. Combined with a dedicated ‘AI’ processor, it effectively tracks subjects around the frame even when shooting at the maximum 11 fps burst shooting rate. "Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." Image quality is very good in JPEG or Raw. JPEG colors are pleasing to the eye, though sharpening can be a bit aggressive. Base ISO noise levels are consistent with other modern APS-C models but in low light it exhibits a little more noise. 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. Other APS-C cameras worth considering

Fujifilm's X-T50 is a good choice for beginner photographers thanks to its easily accessible auto mode, well-rounded specifications, and film simulation dial to encourage you to experiment with the look and feel of your images. It's also available with Fujifilm's 16-50mm F2.8-4.8 kit lens, which is much more capable than the typical kit lens and is compatible with the rest of the robust X-mount lens ecosystem. However, its autofocus tracking performance isn't as strong as Sony's or Canon's.

The Canon EOS R7 is also an excellent option, providing a high-resolution sensor, great autofocus, and the ability to shoot at up to 15fps. Sigma has also recently started making APS-C lenses for RF mount, giving those who want to go beyond the kit lens more options, though there's still no particularly great telephoto option for sports and wildlife photographers.

The affordable kit: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

The OM-5 offers a smaller, more rugged alternative to APS-C or full-frame cameras.

Photo: Brendan Nystedt

Buy now:

$1299 w/ 12-45mm F4.0 at Amazon.com$999 at Adorama$1299 w/ 12-45mm F4.0 at B&H Photo

Even smaller than APS-C are Four Thirds sensors. The Micro Four Thirds system uses a sensor one quarter the size of that in 'full-frame,' which means there'll be an appreciable image quality hit in many situations and it'll be harder to achieve the blurry backgrounds that full-frame can give. The flipside, though is a significantly smaller system for which some of the lenses are much less expensive.

What we like:

• Attractive JPEG output
• Selection of clever photo features
• Excellent image stabilization
• IP53 rating supports claims of weather sealing

What we don't:

• AF tracking is disappointing
• Image quality is behind larger sensor cameras

The OM System OM-5 is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera. And while most cameras in this list are $1500 on their own, you can easily get the OM-5 and a lens while still staying within that budget.

The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price. It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick. "Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different" Image quality is good for its sensor size, with attractive JPEGs and flexible Raw files. A 12-shot handheld high-res mode lets it punch above its weight if your scene has relatively little movement. Excellent image stabilization expands the camera's working range, and unique features like Live ND mean you rarely need a tripod. The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects. The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.

Read our OM System OM-5 review

See the OM System OM-5 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. 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. Image: Insta360

Insta360 has announced the Ace Pro 2, its newest action camera and successor to its Ace Pro model. Although similar in appearance to its predecessor, the Ace Pro 2 includes some notable upgrades.

The Ace Pro 2's camera is built around a Type 1/1.3 (9.6 x 7.2mm) image sensor, which can capture up to 8K video or 50MP photos. Insta360 claims the camera can deliver up to 13.5 stops of dynamic range. The camera is co-engineered by Leica and includes a Summarit-branded F2.6 lens with a 157° FOV (13mm equiv).

In video mode, the Ace Pro 2 can capture up to 8K/30p (16:9) or 4K/60p (4:3 or 16:9) using Insta360's Active HDR technology or up to 4K/120p or 1080/240p without Active HDR and supports both the H.264 and H.265 codecs. For photos, the camera supports both JPEG and DNG Raw capture.

Image: Insta360

Other recording features include a pre-capture mode that can record up to 120 seconds of video before hitting the record button, gesture and voice control, and the ability to pause/resume recording. Insta360 says that Leica engineered the camera's color profiles.

The Ace Pro 2 also includes Insta360's FlowState stabilization technology designed to minimize or remove camera shake for smoother video. A 360° horizon lock can be applied in-camera to keep the horizon level while shooting.

The camera also gains a slightly larger 2.5" LCD flip screen for self-capture, up from its predecessor's 2.4" screen. Insta360 doesn't provide screen resolution in the camera's specifications but claims the new screen has a 70% increase in pixel density and a 6% increase in brightness.

According to Insta360, the Ace Pro 2 is the first action camera with dual AI processors: a dedicated processor to handle image processing and noise reduction and a second processor to handle further image processing and to deliver a smoother user experience on the camera.

Image: Insta360

The dual processors also enable some of the more demanding shooting modes like 8K/30p, 4K/60p with Active HDR and upgraded PureVideo, which the company describes as "A specialized shooting mode that drastically reduces noise and enhances details in real time for cleaner, brighter images, even in extreme low light." Insta360 says that PureVideo uses a custom-trained AI neural network to deliver better low-light results and when using Active HDR.

The Ace Pro 2 is waterproof to 12m (39 ft.), up from 10m for its predecessor, and up to 60m (197 ft.) when used with Insta360's dive case for the camera. It includes a new wind guard to reduce wind noise, a removable lens guard, and features Insta360's magnetic mount system. The camera is rated for use in temperatures down to -20°C (-4°F).

The Ace Pro 2 also gains a new, higher capacity 1800mAh battery. When using the new Endurance Mode, Insta360 claims that the camera will provide 50% longer runtime than its predecessor when shooting 4K/30p and quotes a maximum runtime of 180 minutes (based on 1080p video capture). The battery can charge to 80% in 18 minutes or 100% in 47 minutes.

Image: Insta360

Once video is captured, the Ace Pro 2 uses AI to help users create and share content. The AI Highlights Assistant is designed to automatically find the best moments from captured videos, which can be reviewed on the camera, after which the Auto Edit feature will create a recap video. Insta360 has also expanded compatibility with third-party sports accessories and apps from companies like Apple, Garmin, Nike Run Club and COROS to enable the overlay of real-time information and statistics.

Price and availability

The Insta360 Ace Pro 2 is available beginning today. The standard bundle, which includes a wind guard, battery, standard mount, mic cap and USB-C cable, retails for $399. A dual-battery bundle, which consists of the same accessories but with two batteries, retails for $419.

Meet Insta360 Ace Pro 2: Redefining Action Cameras With Unrivaled 8K Image Quality & Smarter AI

Insta360 is thrilled to announce the latest addition to its Ace series, Insta360 Ace Pro 2. This groundbreaking wide-angle action camera delivers unparalleled image quality, smarter, easier capture powered by AI, upgraded audio, and an improved rugged design made for action at its most extreme.

Co-engineered with Leica, it delivers serious performance upgrades with the sophisticated dual AI chip, a first for any action camera, and state-of-the-art imaging courtesy of a new 1/1.3" 8K sensor and Leica SUMMARIT lens with a 157º field of view. Creators can experience smoother videos with higher frame rates at 8K30fps and 4K60fps Active HDR, PureVideo for excellent low light performance, a bigger 2.5" flip touchscreen and more.

The action camera utilizes Insta360's advanced AI technology to offer a smarter experience from shooting to sharing. Innovative functions like the option to pause or cancel a recording, gesture and voice control, Auto Edit and AI Highlights Assistant completely transform the experience for creators. With no more complex workflows, anyone can experience a simpler way to film and spend more time immersed in the moments they love.

Insta360 Ace Pro 2 significantly improves on its design, offering a more rugged, reliable action camera. Its waterproofing has increased to 39ft (12m), and it offers crystal-clear audio with a new Wind Guard and a removable Lens Guard to handle whatever you throw at it, providing full flexibility for action and sports enthusiasts.

"Our goal was to refine and enhance the groundbreaking features of the original Insta360 Ace Pro to deliver an unparalleled experience," says JK Liu, founder of Insta360. "We are confident these upgrades establish a new industry standard. Not only do they bring significant advances in AI, they empower creators to capture what was always impossible with other action cameras, opening the door to unprecedented creative potential."

Insta360 Ace Pro 2 is available to order today via Insta360.com worldwide, as well as trusted retailers such as Amazon and select authorized partners.

Unparalleled Image Quality, Day and Night

Legendary Leica optics once again meets Insta360 innovation in the form of a SUMMARIT lens, setting it apart from competitors with its state-of-the-art image quality. Combined with an upgraded 1/1.3" 8K sensor offering 13.5 stops of dynamic range, Insta360 Ace Pro 2 delivers simply breathtaking visuals in situations other action cameras simply can't handle.

Further contributing to its image quality and performance is the industry-leading dual-chip design. Insta360 Ace Pro 2 is the first action camera with a dedicated Pro Imaging Chip that handles image processing and noise reduction, while a separate 5nm AI Chip handles further image processing and overall camera performance, providing a smooth, seamless user experience. The dual chip also enables more shooting modes and higher specifications, such as 8K30fps video, 4K60fps Active HDR, and upgraded PureVideo. Even in fast-moving motion and high-intensity action, creators can enjoy smooth, sharp videos thanks to the higher frame rates or slow it all the way down with crisp 4K120fps slow motion.

A complex, custom-trained AI neural network underpins PureVideo, a specialized shooting mode that drastically reduces noise and enhances details in real time for cleaner, brighter images, even in extreme low light. Whether it's twilight strolls or evening rides, creators can record what they never could before. For the daytime, upgraded 4K60fps Active HDR (High Dynamic Range) brings out all the details in intense highlights and shadows for more vibrant footage. Meanwhile, a wider 157° FOV captures more of the surroundings, perfect for vlogging or when the scenery really matters.

Exclusive Leica-engineered color profiles infuse footage with their signature aesthetic, adding a touch of elegance to every shot. Insta360's devotion to color accuracy is seen elsewhere with Insta360 Ace Pro 2's ability to retain rich and precise colors, even underwater.

Ready for Action Anytime, Anywhere

The upgraded design proves to be even more rugged, ready for when you ramp up the action. Waterproofing has increased to 39 feet (12 meters) or 197 feet (60 meters) with the Dive Case, and it handles temperatures as low as -4ºF (-20ºC) with ease, perfect for winter sports and extreme climates.

The new, removable Lens Guard provides greater all-around protection, meaning creators can feel confident to push the limits further and capture the impossible, knowing their action cam is up to the challenge.

An all-new Wind Guard keeps wind and noise at a minimum during those peak moments, ready to snap on and off as you need. With refreshed audio algorithms bringing professional-grade clarity to your content, you can immerse your viewers like never before. What's more, the magnetic mounting system lets you seamlessly switch between accessories. Less time spent unscrewing and screwing your camera and mounts, more time in the moment.

Insta360's leading FlowState Stabilization technology ensures videos remain incredibly smooth no matter what, while 360º Horizon Lock, now applied automatically in-camera, keeps everything perfectly level. Prioritizing performance and convenience, Insta360 Ace Pro 2 sports a bigger 1800mAh battery and a new Endurance Mode that offers a 50% longer runtime at 4K30fps than Insta360 Ace Pro. Fast charging powers the battery to 80% in 18 minutes or 100% in 47 minutes, so you can get back to the action quicker.

Insta360 has expanded its compatibility with several top third-party sports accessories, allowing action and sports enthusiasts to add a new level of detail. For data-rich videos, overlay real-time stats from third-party sports brands and apps, including Garmin, Apple, COROS, Nike Run Club, and more. For moto vloggers, pair Insta360 Ace Pro 2 with your motorcycle helmet headset from Sena, Cardo, and more for clear dual-track audio and hands-free control every ride. Alternatively, users can add stats from their phone directly in the Insta360 app without any extra gear, or use the GPS Preview Remote for easy live preview, remote control, and real-time GPS data.

Made for those who demand the highest standard of action capture, Insta360 Ace Pro 2 offers the perfect combination of durability and high-quality performance to capture life's thrills with confidence.

Smarter, Easier Capture & Editing

Insta360 Ace Pro's flip touchscreen proved an essential and convenient tool for creators and has been further upgraded to 2.5 inches. With a 70% increase in pixel density and a 6% increase in brightness, it allows for perfect framing and easier preview for vlogging, selfies, and difficult angles, all while remaining visible under bright sunlight. Instead of guessing if your shot looks perfect, you can shoot with confidence, knowing it is.

Internally, Ace Pro offers innovative solutions to problems that have hindered action enthusiasts for years:

• 4K Clarity Zoom - Want a close-up but the image quality becomes too grainy? Zoom in and out 2x without losing quality.
• Pre-Recording - Never miss a moment with up to 120 seconds of footage saved before you even hit record.
• Gesture & Voice Control - Use quick hand signals or verbal commands to control the camera, such as start/stop recording or take a photo, ideal if it's mounted out of reach.
• Pause/Resume Recording - Got time between shots? Hit pause and continue recording when you need to keep everything in one continuous file for easier file management and editing.
• Timecode - Seamlessly synchronizes multiple cameras for an efficient editing workflow.

Insta360's revolutionary AI features demonstrate a commitment to making shooting and editing as accessible as possible. Anyone, regardless of their skill level, will be amazed at what they can create. For those who aren't confident editing, AI Highlights Assistant automatically finds the best moments from a video and delivers the highlights for review, all in-camera. Creators can merge every thrilling moment into one incredible recap or choose the ones their favorites and delete any unwanted clips to save storage.

The Assistant also helps craft your next reel from your adventures and pushes it directly to your smartphone via the Insta360 app. Look back on all your Memories and share those unforgettable moments in seconds.

Acting as a full editing suite in your pocket, the Insta360 mobile app fully embraces the game-changing possibilities of AI with advanced Auto Editing, one-tap templates and creative Shot Lab effects. Instead of spending hours learning complex tools and editing workflows, AI does it all for you, bringing your clips to life with dynamic cuts and transitions. Creators can even achieve the infamous Invisible Selfie Stick effect with the AI Selfie Stick Eraser in the app for third-person views. Looking for a real twist? AI Warp uses preset or custom keywords to bring your wildest ideas to life.

Available Now

Insta360 Ace Pro 2 is available to purchase today worldwide via Insta360.com, Amazon, and select retailers. The Standard Bundle retails for US$399.99 and includes a Wind Guard, battery, Standard Mount, Mic Cap, and USB-C Cable. The Dual Battery Bundle includes the same accessories and two batteries for US$419.99.

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The SL3 mirrorless model will be the first Leica to gain Camera to Cloud capabilities

Photo: Richard Butler

Leica has announced it's collaborating with Adobe to add the Camera to Cloud Frame.io upload feature to its "portfolio."

The rollout will begin with the SL3 model, as discussed at the Adobe MAX event last week.

Interestingly the company specifies that the feature will be coming to its "mirrorless system cameras" which would exclude both the D-Lux8 and Q3 compacts. However, we'd be surprised if the Q3 models don't eventually gain the feature, given how similar their underlying firmware and processors are to the SL3. The implication appears to be that M models could gain the feature, though.

Camera to Cloud, first offered by Fujifilm, has more recently been adopted by Panasonic, with which Leica has a technology development collaboration.

Notably, Leica was the first camera maker to offer one of the other much-discussed features at Adobe MAX: the ability to embed Content Authentication Initiative-compliant 'Content Credentials.'

Press Release:

Leica Camera AG collaborates with Adobe to Bring Frame.io’s Camera to Cloud Capabilities to its Portfolio

Wetzlar/Miami, October 2024. At Adobe MAX – the world’s largest creativity conference – Adobe and Leica Camera AG announced the integration of Adobe’s Frame.io Camera to Cloud technology into selected Leica mirrorless system cameras, starting with the SL3 camera in 2025. Frame.io’s Camera to Cloud platform is the fastest and most secure way to get media from the set to the people who need to work with it.

Nico Köhler, Head of Product Experience at Leica Camera: “Collaborating with our partners from Adobe again, marks a significant milestone in the continuous pursuit of innovation at Leica, providing photographers and videographers with seamless workflow solutions. The inclusion of Frame.io Camera to Cloud in the Leica SL3 enhances this commitment for offering increased speed and flexibility that empowers professionals in both photography and videography.”

Thanks to the Frame.io integration, Leica users will be able to deliver assets to social media within minutes, provide same-day delivery of photos and videos for events, and enable real- time collaboration and efficient approval processes with clients. The integration of Frame.io Camera to Cloud will be provided via Firmware Update with the Leica FOTOS App or on the Leica Corporate Website in 2025.

The Lowepro Photo Sport 300 AW II alongside the Panasonic GH7 with 12-60mm F2.8-4 and Olympus 40-150mm F2.8 Pro for scale.

Photo: Dale Baskin

We don't usually test a product for a decade before reviewing it, but in the case of the Lowepro Photo Sport 300 AW II camera pack, I'm going to do precisely that. Why? Because this is a piece of gear I genuinely love. Over the past ten years, I've probably used it as much as any other product I own, except for my mobile phone.

I've auditioned many camera packs: I've bought some, borrowed some, tried packs that came through the DPReview offices and built my own DIY solutions. None worked as well for me as the Photo Sport 300 AW II.

Let's agree up front that there's no such thing as a perfect camera pack, but I'll explain why this pack has traveled everywhere with me for ten years. This long-term review is based on my own experience using the Photo Sport 300 AW II for a decade.

Lowepro Photo Sport 300 AW II overview

The Photo Sport 300 AW II backpack is part of Lowepro's 'Photo Sport' line, aimed at hikers and outdoor enthusiasts, and it looks more like an outdoor pack than a camera pack.

A configurable camera cube sits at the bottom of the pack, accessed through a side panel. It provides adequate space for most full-frame mirrorless cameras, like a Sony a7, Nikon Z6, or Canon R6, with a lens attached, along with a second lens.

The configurable camera cube has enough space for most full-frame (or similarly sized) mirrorless cameras and a second lens as long as it's not a big telephoto. Don't plan on putting a Nikon Z9 or Canon R1 in it, though.

Photo: Dale Baskin

The upper section of the pack is top-loading and closes with a drawstring, similar to many climbing packs. The top flap includes an integrated storage compartment, and the side has a pocket for carrying a water bottle or a small tripod.

There's also a 2-liter compartment for a water reservoir. A small compartment on the bottom hides a very capable rain cover, so it's always with you.

The upper section of the pack closes with a drawstring, similar to some climbing packs. You can stuff a lot of gear inside as long as you don't mind the pack getting a little bit taller.

Photo: Dale Baskin

The back panel is pretty minimalist. It doesn't have a mesh design for ventilation, which I know many people like, but I prefer the simpler design. I've never found it too hot, even in the Amazon jungle. After years of hiking with it, I've worn through the fabric right down to the padding, but it still works great.

The back panel has a minimalist design, but I find it still breaths well and keeps the pack compact. At the bottom, you can see where I've worn through the fabric after years of daily use.

Photo: Dale Baskin

Lowepro no longer makes this exact model; its successor, the Photo Sport Outdoor Backpack BP 24L AW III, has a similar design and should perform similarly. You can read our full review of the Photo Sport 24L AW III to learn more about it.

Buy the Photo Sport Outdoor Backpack 24L AW III: $249 at Amazon $249 at B&H $249 at Adorama What I like

For me, the Photo Sport 300 AW II is a Goldilocks product: it provides just the right balance between camera storage and space for other gear.

I keep using it for three primary reasons: lifestyle, durability and flexibility.

Lifestyle

The Photo Sport 300 AW II works so well for me because it's a good match for my lifestyle, and that's a good guiding principle for any camera pack. I often travel with a combination of camera and non-camera gear, and I generally pack pretty light.

I've become more efficient with gear over the years, and despite anxiety about not having every possible focal length in my bag, I've learned to work with a single body and just one or two lenses most of the time. If I need something extra, I put it in a padded case in the top of the pack.

I live in the Pacific Northwest, so my lifestyle often includes rain. Thanks to a hidden compartment in the base of the pack, the very effective rain cover is always with me.

Photo: Dale Baskin

The side panel access makes getting to my cameras quick and easy. I realize this is a polarizing aspect of camera pack design, but this design works for me on this pack. I would choose something other than side access on a pack meant to carry multiple bodies and lenses, but on this pack, it works very naturally for me.

Durability

This pack is tough as hell and never failed me despite being subjected to a lot of abuse. It's been used almost every day for ten years, and it still feels like it has years left in it.

It's been dragged through taiga forests in the sub-arctic and the mud of tropical jungles. It's been stuffed into cargo bins on buses, tied to the roofs of minivans going over mountain passes in snowstorms, traveled around the Amazon in open canoes, bungied to the backs of motorcycles and tied to tuk-tuks. It has the dirt and grime to prove it.

My pack has the dirt and grime to prove it's been used and abused. It's a far cry from the bright blue color it had when I bought it.

Photo: Dale Baskin

In short, this is a bag I trust.

It's showing some wear and tear. A couple of fabric spots in the pack's interior are a bit frayed, and the bottom of the water bottle pocket has small holes from being scraped on the ground too many times. But everywhere it really matters – the straps, zippers, and any critical points of attachment – it's stitched to last and as solid as the day I bought it.

Flexibility

The Photo Sport 300 AW II is relatively compact when needed, but the main compartment holds a larger volume than you would expect as a result of its similarity to a climbing pack. However, I've never had trouble fitting it under an airplane seat (as long as I haven't stuffed it too full).

There's a compartment for a water reservoir, but I've found it works equally well for a 13-14" laptop computer, and I currently use it to carry a 14" MacBook Pro.

The hydration compartment works equally well for carrying a water reservoir or a laptop computer. My 14" MacBook Pro slides right in, though I have to spread the straps a bit to do it.

Photo: Dale Baskin

In those rare cases where I don't want to carry camera gear (hey, it happens), I like that I can squish the padded cube to take up less space, allowing me to use it as a regular daypack.

Finally, this pack doesn't scream 'camera bag'! Most people will likely think it's a daypack rather than a camera pack, making it easier to blend in. Those in the know will recognize the Lowepro name if they see it, but the logo is pretty small and subtle.

Things I'd like to see improved

I like the Photo Sport 300 AW II a lot, but there are a few things I'd like to see improved.

I often use the side pocket to carry a compact tripod, like the Peak Design Travel Tripod. However, the side strap that secures the tripod's top is too high for many travel tripods. As a result, I also use the strap from the top panel to help secure the tripod, but it's an imperfect solution.

I often carry a travel tripod in the side pocket, but the blue strap that secures the top is just a little bit too high to reliably hold it in place.

Photo: Dale Baskin

I wish the hip bet were removable. I use the hip belt for hiking, but the pack is so versatile that I also use it for travel, where I don't want the hip belt hanging off my back while riding trains or walking through a foreign city.

Finally, I wish the camera cube was removable when not carrying photo gear. Fortunately, Lowepro also figured this out: the cube is removable in later versions of the pack I've seen, which seems to have carried through to the newer model(s).

The final word

Finding the right camera pack is one of the most elusive things in photography – more difficult than finding the right camera, in my opinion. That explains why so many photographers have a closet full of them. I'm thrilled to have found one that works so well for me.

Most people won't recognize the Photo Sport 300 AW II as a camera backpack. Those in the know will recognize the Lowepro logo, but it's relatively small.

Photo: Dale Baskin

Despite my affinity for the Photo Sport 300 AW II, I'll be the first to tell you it's not the best bag for every situation. If I'm on a shoot that requires multiple bodies and lenses or a bunch of video gear, I'll use an appropriate pack. But the Photo Sport 300 AW II is my daily driver for most activities, even ones that don't involve photography.

Lowepro no longer sells this exact model, but the Photo Sport Outdoor Backpack 24L AW III that replaces it is very similar, albeit slightly smaller. I suspect most of my observations about the Photo Sport 300 AW II would also apply to it.

You've heard from me, so now I want to hear from you. In the comments section below, tell me what your favorite camera pack is and why you love it!

Buy the Photo Sport Outdoor Backpack 24L AW III: $249 at Amazon $249 at B&H $249 at Adorama

Images: Logitech, Apple, SmallRig

Hello everyone! It's been a busy week here at DPReview, and the same has apparently been true for accessory makers. Today we’ll be looking at some stylish accessories for Fujifilm’s new entry-level camera, some computer accessories that may make editing easier, another digital photo frame, and more. First, though, let’s see what’s on sale.

A Couple of Canons

The Canon EOS R7, which won our Silver award last year, is currently $200 off. It's also worth noting that the main thing that kept it from getting Gold was the lack of RF-mount lenses that made sense for an APS-C camera, but that situation has been someone improved now that Sigma has released several of its F2.8 'Contemporary' zoom lenses for the system.

Buy now:

Buy at B&H PhotoBuy at AdoramaBuy w/ RF-S18-150mm F3.5-6.3 IS STM at Amazon.com Photo: Dale Baskin

If you're looking for a full-frame option, the gold-winning EOS R6 Mark II is also currently on sale at $500 MSRP.

Buy now:

$2099 at Amazon.com$2499 at B&H Photo$2499 at Adorama Vintage-looking clothes for a brand-new camera

The case looks especially good with the black X-M5, though unfortunately, that model isn't shipping until April.

Image: SmallRig

Fujifilm's new X-M5 hasn't even hit store shelves yet, but SmallRig has already announced new accessories for it. There are the usual suspects, like an L-shaped handle that adds more grip and a thumb grip accessory, but there are also some more stylish options meant to match the camera's retro aesthetic. Perhaps the most classic is the half leather case that's meant to evoke classic rangefinders and which comes with a new braided wrist strap. The latter can, of course, be used with pretty much any camera and SmallRig is selling it standalone as well.

$36.99 at SmallRig

There's probably a bit of irony in using such retro-styled accessories on a vlogging-focused camera with no viewfinder, but it's hard to deny how stylish they are.

Image: SmallRig

There's also a 'Retro Cage,' which is made to look like aged bronze and features gold-colored accents. It also includes a wooden hand grip section. Outside of the looks, it's a pretty standard cage, adding several mounting points to the camera for those who are serious about rigging it up for video use. The cage and the L-mount kits also include a fuzzy windscreen that clips onto the hot shoe mount, which should help cut down on the amount of wind noise picked up by the X-M5's three microphones.

$84.90 at SmallRig An ultra-portable editing tool Image: Apple

It’s no secret that a lot of photographers love editing photos on an iPad using an Apple Pencil, especially now that it’s super easy to connect a camera to it via the near-universal USB-C. And for those looking for the utmost in portability, there’s good news: Apple just updated the iPad Mini, adding the A17 Pro processor from the iPhone 15 Pro and making it compatible with the Apple Pencil Pro, which has haptic feedback and squeeze control.

From a technical perspective, the Mini is less capable than the latest iPad Air, which packs an M2 chip, which is itself slower than the M4 powering iPad Pro. The latter also has a much better screen than the Mini; the Pro’s 120Hz 'tandem OLED' display can reach brightnesses of up to 1,600 nits when viewing or editing HDR content, while the Mini’s 60Hz LCD screen caps out at 500 nits.

None of that is to say that the Mini isn’t capable, just that there are trade-offs to its smaller size and lower price – the A17 Pro is still a plenty-powerful chip for most editing tasks.* But if portability is your number one priority, it’s hard to beat the iPad Mini.

* All the image editing for this article was done using Photoshop on an iPad with a much older A14 chip.

$499 at Amazon $499 at B&H $499 at Apple A desktop editing tool

We got to try out the MX Creative Console at Adobe Max, and found that it could be very useful in Lightroom and Photoshop.

Photo: Mitchell Clark

If you prefer to do your photo editing on a computer, it may be worth checking out Logitech’s new MX Creative Console accessory. There are two parts to it: a bank of buttons that are actually tiny displays, and a jog wheel surrounded by a scroll wheel and four programmable buttons. On the software side, the console connects to programs like Lightroom, Lightroom Classic, Photoshop and Capture One.

You can fill the bank of buttons with various functions, like selecting certain parameters or tools, which you can then control with the wheel. You can also use the wheel to zoom in or scroll through your library. All of it is customizable, too, and you can have several pages of buttons for each application, which you move through using two arrow keys on the console.

The bank of buttons connects to your computer via USB-C, while the wheel uses Bluetooth. The company says it can run for up to six months off two AA batteries.

App support for the Creative Console is currently relatively limited: it doesn’t natively tie in to the Affinity creative apps, or Apple’s Final Cut Pro. There are ways around that – you can bind keyboard shortcuts to the console’s keys – but the experience won’t be as smooth as it is in the natively-supported Photoshop, Lightroom, or Capture One. Logitech says companies are absolutely welcome to create integrations, but it’s always worth buying hardware for what it can do now rather than what it may be able to do in the future.

$199 at Amazon $199 at B&H Another new digital photo frame Image: Skylight

Earlier this month we covered Lexar's new digital photo frame brand, and this week we're hearing about another new digital photo frame. This one is from the brand Skylight, which has upgraded its Frame display to up the resolution, add swappable face plates, and provide more storage.

The Frame 2 has a 25.4cm (10") 1920 x 1200 anti-glare display with auto-adjusting brightness. It comes with 16GB of storage, which the company says can hold up to 16,000 photos. The Frame's frame is held on by magnets, making it easy to remove if you want to change up how it looks. The company says there's eight colors available across four styles.

The Frame 2 costs $169 with the 'Classic' or 'Cover' frame, or $199 for the variant with the 'Wood' or 'Shadow Box' frame. Of course, you can always swap the frame out later; the Classic and Cover frames are available for $15 each, and the Wood and Shadow Box ones are $30 each.

$169 at Skylight A new action cam cometh

Image: Insta360

Action cams, like drones, are often used as an accessory supplementing a main camera; after all, nobody wants to strap their EOS R7 to the front of a bike or a surfboard. Insta360 is teasing what appears to be a new generation of its flagship Ace Pro action camera, with an announcement set to come on October 22nd.

If you were considering the new GoPro Hero13 Black or DJI Osmo Action 5 Pro, it may be worth waiting until then to see what Insta360 is bringing to the market – the company certainly seems to think it has the leg up, with its marketing tagline of ‘the real pro’ seeming to act as a not-so-subtle dig at both cameras.

Click here to see last week's roundup

Linking your Frame.io project with Lightroom will make images in the project automatically show up in your Lightroom library on desktop, web, and mobile.

Image: Adobe

Frame.io, Adobe's collaborative media management tool, has supported image files for a while, but it's still mostly thought of as something more for videographers than photographers. That's likely thanks to long-standing integration with video editing software like Premiere Pro, Final Cut, and Avid Media Composer. And while some stills cameras have been able to upload directly to it and Capture One has had limited support for it for a while, most photographers probably would've had a hard time fitting it into their workflow.

That may be changing, though. We got to talk with JJ Powel, Product Marketing Manager for Frame.io at Adobe, about the launch of Frame.io 4, and he demoed some features that could make it quite a bit more useful for photographers.

The service is now officially integrated into Lightroom, which makes its Camera To Cloud feature much more useful; if you have a camera that supports Camera To Cloud, you can take pictures and have them automatically sync to Lightroom over Wi-Fi. Some models can even do it when they’re off, meaning you could come home, set your camera down, and have all your photos available the next time you opened Lightroom, assuming they had enough time to sync.

The S5II is one of the new group of cameras that supports Frame.io's Camera To Cloud feature.

Photo: Richard Butler

"That's really important because it unlocks powerful workflows in Lightroom," said Powell. "I can do a Raw default and assign any preset. If I'm uploading Raw and JPEG the JPEG will stay untouched. But the Raw asset, I could say 'import it as black and white or import using one of the adaptive presets or a preset I already set up.'" Of course, like most Lightroom edits, you can always change the profile or any other settings applied on import after the fact.

"Maybe I'm capturing images out of music festival and I've got three cameras going and they're all going to one editor. They can start pushing assets to social really quick. This is the most seamless path from camera to edit," said Powell.

The system is also relatively smart. If your sync gets interrupted and you want to bring in your photos the old-fashioned way via an SD card or a USB cable, Lightroom will recognize which ones it got from the cloud and will skip transferring them over, avoiding duplicates.

Frame.io 4 could also make sharing photos with clients or co-workers easier for those who choose to use it. The new Collections feature will likely be familiar to anyone who does a lot of work in Lightroom Classic; it lets you tell Frame.io to gather up all the photos in a project that meet specified criteria, where they can further be organized and sorted based on their metadata. As an easy example, at the beginning of a contract, you could share a collection to a client that only includes images you’ve rated 5 stars. Then, as you sort through your photos and rate them, the ones you mark with 5 stars will automatically become available to whoever you’ve shared the collection with.

Frame.io's collections feature is similar to Lightroom Classic's Smart Collections, and can easily be shared with others.

Image: Adobe

That's not to say that every photographer should rush out and start using Frame.io. It shines brightest when you're using both the Lightroom integration and Camera to Cloud, and the latter is only available in select cameras. Nikon announced that it's bringing it to the Z6III, Z8, and Z9, and Leica is adding it to the SL3, but those additions still only bring the number of supported stills cameras up to 16. The syncing while off feature also isn’t available on all cameras that support Camera to Cloud.

There's also the matter of cost. Frame.io for Creative Cloud is included with the All Apps subscription, as well as subscriptions to Premiere Pro and After Effects individually. That gives you 100GB of space and support for up to two users and five projects. However, the Photography bundle and standalone Lightroom subscription don't include that benefit. You could use the Frame.io free tier, which supports Camera to Cloud but only gives you 2GB of space to use it with, but if you want to be able to sync more than a handful of Raws, you'll likely have to upgrade to the $15 a month Pro account. That's more than you'll pay for Lightroom, though it does come with an arguably overkill 2TB of space and other features.

But if the stars align for you – you have a camera that supports Camera to Cloud, you use Lightroom, and you mainly shoot JPEG or have Creative Cloud All Apps – it may be worth giving Frame.io a shot, even if you've never considered it before.

Photo: Mitchell Clark

This year we attended Adobe Max in person, where we got to demo several of the new features in Photoshop, Lightroom, and Adobe Camera Raw. If you missed the announcement, you can read our coverage of it here, though we'll be covering the hits here.

We documented the demos on our Instagram, but in case you missed it, we're rounding them up here. We were also able to interview some folks at Adobe while at the show, so stay tuned for more on the future of Photoshop, Lightroom, and other Adobe projects like Content Credentials.

Adobe Camera Raw Adaptive profile

Adobe has added a new profile to Adobe Camera Raw, called Adaptive. It uses AI to analyze what's in the scene, and adjust exposure, tones, saturation, and other parameters automatically, potentially giving you a better starting point for your own edits. It's also designed to work with HDR images and produces both HDR and SDR profiles, making it even more useful for those who aren't used to editing for HDR displays yet.

Since it's substantially more opinionated than other profiles like Adobe Color or Adobe Landscape, there's also an amount slider that lets you tone down or turn up the results.

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Photoshop automatic distraction removal

Perhaps one of the niftiest features Adobe added to Photoshop is the automatic distraction removal tool. It analyzes your photo for cables, wires, or people that may be in the way of your subject, then automatically fills in the areas they took up.

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Lightroom Quick Actions

Lightroom's new Quick Actions, available on Mobile and Web, will automatically mask parts of your image like subjects, backgrounds, and skies, and let you make adjustments to them.

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Lightroom Frame.io integration

Frame.io is now built into Lightroom, letting you access images uploaded to the cloud service. Combine that with Frame.io's Camera To Cloud feature, available on some Fujifilm, Panasonic, Nikon, Canon, and Leica cameras, and you can take pictures on your camera then watch them appear wirelessly in Lightroom.

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Content Credentials

Adobe's Content Credentials system is part of a larger industry-wide initiative to help prove what content on the web is authentic, and to keep track of what edits have been made to it. While at Max, we got to take a look at the Chrome extension meant to surface the credentials attached to images on social media and other sites, as well as the closed beta site that lets you attach content credentials to your own images, and view what credentials are attached to existing images.

We got to sit down with one of the senior directors of the Content Authenticity Initiative at Adobe while at the conference, so expect a more thorough check-in of the technology to come.

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Generative Extend in Premiere Pro

Photoshop has had several generative AI features in beta for a while now, but now Adobe has introduced one for its Premiere video editing software. It lets you extend a clip by up to two seconds, helping you fill in gaps, transitions, or slightly flubbed takes with imagery generated by Adobe's Firefly model.

According to Meagan Keane, Principal Product Marketing Manager for Adobe Pro Video, the idea came from asking customers what some of their biggest editing pain points were. The Pro Video team was then able to take that to the research team, and the result is Generative Extend.

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Updated Oct 17, 2024

By the time you're spending over $2,500, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.

For most applications, a camera around $2000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Canon EOS R5 II
• Another great option: Nikon Z8
• The compact option: Sony a7CR
• High-spec high res: Sony a7R V
• IQ above all else: Fujifilm GFX 50S II
• Best for video: Sony FX3

Best high-end camera: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

The EOS R5 II is one of the most all-around capable cameras we've tested.

Photo: Richard Butler

Buy now:

$5399 at Amazon.com$4299 at B&H Photo$4299 at Adorama What we like:

• Excellent image quality in a range of circumstances
• Very fast autofocus with great subject tracking
• Good video support tools, including waveform display

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Eye control can be tempermental
• Temperature limits require considered shooting in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II does a vast range of things and does most of them extremely well: it's a really impressive all-rounder for action, landscapes, video, you name it. The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Read our EOS R5 II Review

See the EOS R5 II 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. Should I still buy the EOS R5?

Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2024.

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy w/ 24-105mm f/4 at Amazon.com Another great option: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.

Photo: Richard Butler

Buy now:

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

• Superb autofocus
• Fast shooting
• Excellent video

What we don't:

• Large, heavy body
• Relatively low-res (though fast) viewfinder
• Not all subject detection modes equally good

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.

If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer. Still, there are some key differences, like how Nikon’s Z mount 70-200mm F2.8 can be used with a teleconverter while Canon's RF-mount version can’t.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and dependable AF make it easy to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

See the Nikon Z8 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 compact option: Sony a7CR

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

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon 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 compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

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. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." 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 Sony a7CR initial review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. High-spec high res: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

Photo: Richard Butler

Buy now:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:

• Very detailed Raw files with excellent dynamic range
• Tilt/articulating display suits both photo and video
• Very reliable autofocus, especially for human subjects

What we don't:

• Pixel shift high res and focus stacking require desktop s/w
• Severe rolling shutter for e-shutter and many video modes

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 and EOS R5 II offer. It can shoot 8K video but only with a major crop and significant rolling shutter.

The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.

As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.

Read our Sony a7RV review

See the Sony a7RV 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. Should I still buy a Sony a7R IV?

The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so it's still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which gives the V's footage more editing flexibility.

For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.

IQ above all else: Fujifilm GFX 50S II

51MP CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p

Photo: Richard Butler

Buy now:

$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:

• The most affordable medium-format ILC yet
• Photographer-friendly ergonomics, with lots of customization
• Effective in-body stabilization

What we don't:

• Contrast-detect AF is slower than its peers
• Image quality not signficantly better than the best full-frame
• Eye-detection AF isn't as dependable as rival systems
• Unimpressive video specifications (HD only)

The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.

The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.

Read our Fujifilm GFX 50S II review

See the Fujifilm GFX 50S II 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 for video: Sony FX3

12MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture

Buy now:

$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:

• Excellent video quality
• XLR top-handle included
• Fan for extended recording

What we don't:

• No DCI video options
• No viewfinder for stills shooters
• No shutter angle option

The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.

The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.

It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.

You may also consider the EOS R5C, which is essentially a video-focused version of the original EOS R5. Compared to the FX3, it gains a fan but omits an image stabilization mechanism, though we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.

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.

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

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

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

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

Photo: DPReview staff

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Click here to see our Fujifilm X-M5 sample gallery

Buy now:

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

Photo: DJI

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

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

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

Buy now:

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

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

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

Image: DJI

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

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

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

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

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

Image: DJI

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

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

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

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

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

Image: DJI

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

Price and availability

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

Buy now:

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

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

Image: Canon

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

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

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

Image: Canon

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

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

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

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

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

Click here to see the sample gallery

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

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

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

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

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

Photo: Dale Baskin

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

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

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Image: DXO

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

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

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

Image: DXO

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

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

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

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

Image: DXO

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

Press Release:

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

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

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

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

ReShape Fusion: A whole new level of control

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

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

ReShape Fusion: Local horizon and perspective editing

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

ReShape Fusion: Correct volume deformation locally

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

DxO ViewPoint 5: Vital tools for any workflow

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

Price and availability

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

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

A free, 30-day trial is available.

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

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

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

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

About DxO ViewPoint

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

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

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

Image: Fujifilm YouTube Channel

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

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

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

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

"One more thing..."

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

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

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

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Product Photos by Mitchell Clark/Dale Baskin

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

Key features:

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

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

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

Buy now:

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

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

What's new

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

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

A tiny design

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

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

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

4K LP video

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

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

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

Three-microphone system

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

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

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

Updated vlogging UI

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

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

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

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

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

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

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

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

9:16 short video mode

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

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

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

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

USB-to-smartphone transfer

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

How it compares

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

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

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

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

8 fps (mechanical)

30 fps (e-shutter)

11 fps 11 fps

12 fps

15 fps (elec)

8 fps (mechanical)

30 fps (e-shutter)

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

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

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

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

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

• 4K/30p no crop
• 8-bit

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

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

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

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

Body and handling

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

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

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

You need good aim to hit the Q button.

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

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

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

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

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

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

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

Battery

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

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

Initial Impressions

By Mitchell Clark

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

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

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

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

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

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

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

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

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

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

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