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YouTuber Jack Joy, AKA Graindead has a question: does anyone have a manual for the 3DS-EXP 645, made by Sakai Special Camera?

If you've never heard of it, you're not alone. According to Joy, it's a six-lens camera that takes medium format 120 film, and is seemingly designed to produce lenticular images that give a 3D or animated effect when viewed at different angles. It also appears to be lost to history or, at least, the Internet's recollection of it. Joy says he wasn't able to find a manual for it – or any real information at all – via Google.

Despite that, he was able to make a decent attempt at taking pictures with it, a process he documents in an entertaining manner. Working off somewhat contradictory instructions written on the back of another copy of the camera that he found on an online auction site, he managed to produce a few series of images with the 3DS-EXP 645.

The 3DS-EXP 645 is many things. Compact is not one of them.

Photo: Graindead

The process wasn't without speedbumps; like many old film cameras, the 3DS-EXP has gained a few quirks as it's aged, and finding vital parts for it is obviously not really an option. It was also expensive, given that each press of the shutter uses five frames of quite spendy film – assuming the camera has decided to cooperate. The sixth lens, obviously, is used for the viewfinder.

Despite his success, Joy still ends his video with a call for more information on the 3DS-EXP 645. The video's comments do shed a bit more light on the subject; user klohto claims it's a rebranded ImageTech PRO645, and says it was made in 1992, and original sold for "12.5k," though they don't specify a currency. They also say the lens system was used in the Seagull 3DMagic Pro 645. However, both cameras are similarly obscure on the internet.

We figured that, given our audience, there's a chance one of you may have some information on this system that hasn't ever been digitized. If so, we'd love to hear from you – have you ever used a 3DS-EXP 645, or one of its relatives? Do you still have one, or the manual for one? Let us know in the comments or on the fourms.

Photo: Steve Haining

A photographer has gone to new lengths (or, in this case, depths) to create a unique photograph. Canadian photographer Steve Haining and model Ciara Antoski recently set a Guinness World Record for the deepest underwater model photoshoot. The shoot took place at 49.8 meters (163.4 feet) on a shipwreck near Boca Raton, Florida, producing otherworldly images.

This record-winning photo wasn't the pairs' first foray into underwater photography or setting Guinness World Records. They previously set a record for the same category in July 2023 for a shoot at 9.7 meters (32 feet) in Tobermory, Ontario. That project wasn't specifically to set a record, and mostly resulted from a joke about how to conduct a photo shoot safely during COVID-19 lockdowns. They quickly followed it up with another record for an underwater photo shoot at nearly 30 meters (98 feet) in December 2023.

Photo: Steve Haining

The latest record-breaking shoot was, of course, more challenging than their previous ones. Haining spent time researching the location and looking at image references ahead of time but said that, given the depth, there weren't many photos available. As a result, he opted for a recon dive to get a better sense of the location. “Once I had a visual look of the location, I could frame the composition, relay the shoot plan to the team, and get the lighting where it needed to be in order to get the shots I wanted,” he told My Modern Met.

Haining says it took roughly a year of planning between the creative team and their safety diver, Ray. Given how physically demanding it would be, Antoski spent a year training specifically for the shoot. After all, instead of a warm, streamlined wetsuit, she was wearing a flowing dress and didn't have constant access to oxygen. Communicating and moving underwater aren't simple, either, adding even more complexity once at the shipwreck.

Of course, things rarely go to plan, and that was the case here. The team dealt with fishermen attracting larger wildlife, tank malfunctions and even a jellyfish sting. According to Haining, the shoot took 52 minutes, with 15 minutes at the bottom, five more minutes than needed for the record. All in all, it shows a true dedication to craft, on the part of the entire team.

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

Leica has announced yet another special edition camera, this time in partnership with Burton Snowboards. The Leica Sofort 2 Burton Edition is based on Leica's Sofort 2 instant camera but features an exclusive "Jake Blue" design pattern.

According to Leica, Jake Burton Carpenter, the founder of Burton Snowboards, used Leica cameras for years before passing away in 2019.

In addition to the unique blue design, the Sofort 2 Burton Edition also includes the Burton logo on the camera's top plate and ships with a custom Burton camera bag.

Unlike instant cameras that simply capture images on instant film, the Sofort 2 is a 4.9MP compact camera/printer hybrid. It uses a tiny Type 1/5 (2.9x2.2mm) CMOS sensor and a 2.4mm F2 lens that gives a 28mm equiv angle of view. It's compatible with Fujifilm's Instax Mini film.

Image: Leica

The camera captures images digitally, lets users decide which ones they want to print, and allows users to share photos to the Leica Fotos smartphone app. The Fotos app can also send any image in a smartphone's photo library to the camera for printing.

The Leica Sofort 2 Burton Edition is available for an eye-watering price of $599, a $200 premium over the standard Sofort 2 model, or €595 in Europe, including VAT.

Buy now:

$599 at B&H

This strap is good, but the QD system is the real star.

Photos: Mitchell Clark

Last year, I expressed some dissatisfaction with the Peak Design Slide strap I've been using for the better part of a decade and said that I might replace it with the Magpul MS4 strap. I'm here to tell you that I've done it, and I'm so glad I did.

I've only had the MS4 for a few months, but it's quickly become one of my favorite accessories by making my job of carrying around and using a wide variety of cameras that much easier. Much of that comes down to its star feature: the generically named Quick Detach, or QD, system. Most photographers will be familiar with Peak Design's circular anchors, which hang off your camera and let you quickly and easily attach and detach various straps without dropping your camera (usually).

The MS4 has two QD connectors: one attaches to your camera, while the other can either be locked into the buckle above the primary one or attached to a secondary point on your camera.

With QD gear, it's even easier: you press a button, slot it into a socket, and four metal balls keep the strap securely connected. Even better, it allows your gear to rotate freely, making it much easier to manipulate into whatever shooting position you need without detaching it from the strap.

Looking at the mechanism, it's unnervingly easy to imagine an errant button press sending thousands of dollars of gear crashing to the ground. However, I don't think that's likely. The D-ring design makes it so it'd be really difficult for the release button to get pressed while the strap is loaded. The MS4 also has two QD connectors, so if you want to connect it to two different points on your camera, you can, provided your camera has two QD mounting points – more on that in a moment.

The strap does a decent job of covering up the eject button.

It's also worth noting that the QD system was initially invented to hold rifles, which are perhaps the one thing you'd want to drop less than a camera. It's been in use for over a decade in that world and, so far, seems to be doing alright. Do I still keep one hand on the camera while I'm using this strap? Usually, yes, but that may fade with time, provided it continues to not drop my camera.

Beyond the convenience factor of the QD system, this strap is just plain comfortable, even when I'm carting around a heavy full-frame 70-200 F2.8 lens and body combo. It has several adjustment points that have let me carry my camera exactly where I want to, and the wide webbing doesn't dig into my shoulder despite the complete lack of padding. I'd probably miss some foam if I routinely carried around the largest super-telephotos, but that's a bridge I'll cross if I ever get to it.

We've bought one accessory, yes, but how about a second accessory?

"But Mitchell," I hear you ask. "Cameras don't have QD mounting points. How do you connect this strap to them?" Excellent question. Like any good accessory, this strap has begat more accessories. Alongside it, I bought this QD quick-release plate from Leofoto, which screws into standard 1/4"-20 threads and has a QD socket on the bottom. Two things I love about it beyond the fact that it lets me connect the MS4 to a camera:

1. The screw has a D-ring which lets me get it super secure by hand without needing a screwdriver, coin or hex key.
2. It can mount to my Peak Design Travel Tripod, so I can go straight from strap to tripod with two button presses.

This isn't the only option for adding a QD port to your camera; several cages now have them built in. But as someone who's using at least one new camera every month, sometimes with very large lenses, a universal adapter like this plate is by far the better option for me. Still, cages or L-brackets with QD sockets would probably be my best bet if I wanted to use the MS4 in its dual-point configuration; that, or I could use the tripod plate attached to the camera, and a clamp on the lens foot.

It's a breeze moving the Leofoto plate between the camera body and a tripod foot.

While I've heaped a lot of love on this setup, a lot of that comes down to liking the QD system, and Magpul isn't the only company using it for its accessories. Leofoto also makes a strap with the connectors, and you can buy standalone QD swivels that you can attach to your own favorite strap setup, though doing so might require a bit of creativity. So, if you like the idea but don't think the MS4 strap would suit you, there are options out there. I'd recommend at least checking them out; while QD may not be for everyone, I personally have a hard time imagining ever going back to a strap without it.

Magpul MS4 strap

$69 at Magpul

Leofoto QD Quick Release Plate

$25 at B&H

Photo: Abby Ferguson

Tools to authenticate images and disclose the use of AI are hot topics right now. Just last week, content delivery giant Cloudflare announced it was joining Adobe's Content Authenticity Initiative (CAI) and offering a one-click setting to preserve Content Credentials. Not long before that, Sony announced it was expanding its Camera Authenticity Solution via a firmware update for three of its cameras. Now, Google is rolling out its solution for photos edited with the Google Photos Magic Editor generative AI feature.

The invisible SynthID watermark will be applied to photos edited using the Google Photos Reimagine tool.

Images: Richard Butler

Last week, Google announced that Google Photos will begin implementing a watermarking process for AI-edited images. The new process will rely on SynthID, "a technology that embeds an imperceptible, digital watermark directly into AI-generated images, audio, text or video," Google explained in the announcement. This tool will automatically watermark images that were edited with the Reimagine tool in Magic Editor.

SynthID is a watermarking system produced by Google's DeepMind team. It automatically embeds metadata tags onto images, video, audio and text to identify whether they were created or edited with AI tools. SynthID is already being used on images created entirely with AI, such as those made with Imogen, Google's text-to-image model. It is also already used on text created by Google's AI models.

While SynthID is potentially a step in the right direction, Google notes that some "edits made using Reimagine may be too small SynthID to label and detect — like if you change the color of a small flower in the background of an image." The results won't be perfect or all-encompassing, then.

It's also important to note that there won't be any visible watermarks on the images. Instead, if you are curious whether an image used AI for editing, you'll need to use Google's "About this image" tool through Circle to Search or Google Lens. While it's certainly nice that you won't have a giant watermark across your image, it doesn't do much to make it quickly known that something was created or edited with AI. It doesn't seem likely that most people will take the time to verify an image's AI use if there are multiple steps involved.

Another potential complication is that Google's SynthID watermarking system is separate from what Adobe is doing with CAI. The result is two different systems for flagging AI-created or manipulated images. At this point, there is no clear understanding of how (or if) these different systems will communicate.

In the age of highly produced and dramatic videos, sometimes it's nice to have something simple. This video of the Sigma lens manufacturing process is just that. Coming from the YouTube channel ProcessX, the video shows the Sigma 70-200mm F2.8 DG DN OS being made in the Sigma Aizu factory in Bandai Town, Japan. It walks through the entire process, including the coatings that go on the glass, lens bonding, quality control and more.

The captions provide some context, but there's no voiceover. It's just a soothing, ASMR-style video that shows the incredibly complex process of putting together a lens. Zoom lenses offer their own build challenges, of course, so it is always impressive to watch how so many components fit together to create a quality optic. You can check out our sample gallery of the Sigma 70-200m F2.8 DG DN OS to see the results of the production process. DPReview also had a chance to tour the Sigma Aizu factory back in 2019, though with a focus on the Sigma fp assembly process.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 83%Overall scoreJump to conclusion Product photos: Richard Butler

The Leica D-Lux 8 is an updated 17MP enthusiast zoom compact camera that uses a series of crops of a Four Thirds sized sensor to give multiple aspect ratios. It's a gentle update of the D-Lux 7 with refreshed look, revised interface and a much-improved viewfinder.

Key Specifications

• Up to 17MP images from a 22MP Four Thirds (17.3 x 13mm) CMOS sensor
• 24-75mm equiv. 10.9-34mm F1.7-2.8 stabilized lens
• 2fps shooting with AF, up to 11fps without
• Captures DNG Raw files
• Larger, 2.36M dot OLED viewfinder
• 1.84M dot rear touchscreen
• Updated user interface
• UHS-II card compatibility
• 5Gbps USB-C port

The D-Lux 8 is one of the only enthusiast compacts on the market, but follows on from some of the best of their type. It combines a relatively large sensor, a bright F1.7-2.8 zoom and a high level of direct control for shutter speed, aperture value and ISO or exposure compensation. In many respects it's conceptually similar to Fujifilm's X100 series, but with a zoom.

The Leica D-Lux8 is available at a recommended price of $1595, a $400 premium over the previous model.

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Leica Index:

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

What's new

The D-Lux8 is a relatively subtle update of the 2018 D-Lux 7, with much of the underlying hardware unchanged. The body has been redesigned and there are some changes to the controls and interface but the sensor and lens are the same as those used in the D-Lux7 and the Panasonic LX100 II.

4:3

3:2

16:9

1:1

This sees it use the same arrangement by which the entire sensor region is never used but instead a choice of three aspect ratios that have the same diagonal angle-of-view is offered. So you can switch between 4:3, 3:2 or 16:9 and maintain the same 24mm equiv. widest angle from the lens. The 1:1 setting is handled more like the majority of cameras and simply crops in from the default sensor region.

OLED viewfinder

The most significant change is the use of a standard OLED viewfinder. Previous models used field-sequential displays that would display their red, green and blue components one after the other. For some users this can give distracting red/green/blue fringing artefacts when their eye moves around the frame or they engage the menus because they become aware that the three colors haven't updated to the same degree.

So although the viewfinder spec looks like a downgrade on paper, in practice its 2.36M dots (1024 x 768 px) can give a more pleasant experience than the 2.76M dot-equivalent finder in the D-Lux 7. Also, because the old panel was a widescreen 16:9 aspect ratio, the new finder is actually higher resolution when you shoot 4:3.

The D-Lux 8's finder is also larger, with a magnification equivalent to 0.74x, rather than 0.7x in the previous camera. Again it sounds like a small change but it results in a much nicer experience.

The rear screen also sees a resolution boost, moving to 1.84M dots (960 x 640 px), rather than the 1.24M (∼786 x 524px) of the older model.

DNG capture

The other significant specification change in the D-Lux8 is that it can now capture its Raw data in the standard DNG format, rather than Panasonic's RW2 files that the D-Lux 7 shot.

The D-Lux 8 also adopts a USB-C connector, rather than the Micro B type connection on the previous model. Likewise the camera's Bluetooth capabilities have been brought up to the newer 5.0 LE standard, rather than 4.2, but the Wi-Fi is still a relatively basic 2.4Mhz connection.

Beyond this, much of what sets the D-Lux 8 apart from its predecessor is its revised body and interface. Leica has made an effort to bring it into line with the Q3 full-sensor fixed lens camera, generally for the better.

How it compares

As mentioned at the start of the article, the D-Lux 8 enters a much-reduced enthusiast compact space, compared with the one its predecessor competed in. But there are still small cameras offering good image quality and photographer-friendly levels of direct control, even as most of the market retreats to the higher profit margins of interchangeable lens cameras.

Sony's RX100 Va is still a current model, offering a similar short, bright zoom and, of course, there's perhaps the most visible small camera for photographers, the Fujifilm X100 VI.

Leica D-Lux 8 Sony DSC-RX100 VA Fujifilm X100 VI Ricoh GR III MSRP $1595 $999 $1599 $899 Sensor size
(Crop factor) 183mm²
(2.21x) 116mm²
(2.72x) 369mm²
(1.53x) 367mm²
(1.53x) Resolution 17MP (4:3) 20MP 40MP 24MP Zoom range
(FF Equiv) 24-75mm 24-70mm 35mm 24mm Max aperture
(Equivalent range) F1.7-2.8
(F3.8-6.2) F1.8-2.8
(F4.9-7.7) F2
(F3.1) F2.8
(F4.3) Viewfinder OLED
2.36M dots
0.74x mag Pop-up OLED
2.36M dots
0.59x mag Hybrid Optical/Electronic
2.39M dots
0.66x mag None Rear screen 1.86M dot fixed 1.22M dot tilting 1.62M dot tilting 1.04M dot fixed File formats

• JPEG
• DNG

• JPEG
• ARW

• JPEG
• HEIF
• RAF

• JPEG
• DNG
• PEF

USB connection USB-C
5 Gbps USB-B (Micro)
480 MBPS USB-C
10 Gbps USB-C
5 Gbps Mic / Headphone socket No / No Yes / No Yes / via adapter No / No Memory card type UHS-II UHS-I SD
Memory Stick UHS-I UHS-I Weight 397g 299g 521g 257g

The updates to the D-Lux 8 means it has one of the best viewfinders in the class, and becomes one of the only options to use the faster UHS-II SD cards (not that these stills-focused cameras especially need it). Its sensor size means it's a larger camera than the Sony but can offer a zoom, whereas you need to move to a prime lens if you want a larger sensor in a compact camera.

Body and Handling

The D-Lux 8 has a significantly simplified body and interface compared with the D-Lux 7.

The top plate of the camera now has a power button, rather than the on-off switch of its predecessor. The dedicated exposure comp dial has been replaced by a command dial with a custom button at its center, which itself replaces the 'A' button that was present on the D-Lux 7.

This custom button and the two just below the shutter speed dial and the button at the center of the four-way controller can be configured to control any of 38 options, from Exposure Comp and ISO Shutter Speed Limit to switching between the video and stills modes. You can reconfigure the function of a button by simply holding the button down for two seconds.

The command dial on the corner of the camera has four possible settings: Exposure Comp, ISO, Off or Auto. The Auto setting sees the dial's function change depending on the position of the aperture ring and shutter speed dial.

Shutter speed dial Aperture ring setting Exposure mode Command dial function (Auto) A F-no Aperture priority Exposure Comp. Time value A Shutter priority 1/3EV shutter adj A A Flexible Program F-no Time value F-no Manual Exposure 1/3EV shutter adj Interface

There have been big changes to the D-Lux's interface, too, giving it a close resemblance to that of the Q3 (it hasn't gained the red/yellow indication for stills/video shooting that we saw on the SL3).

Pressing the menu button takes you to a settings panel screen, from which you can adjust any exposure value that isn't being set by the specific position of one of the dials (you can't over-rule the aperture or shutter speed controls). Below this are a series of icons that can be tapped or navigated to, to change various camera settings.

To get to the main menu you need to press the menu button a second time or tap the icon with three lines at the lower right of the settings panel. This takes you into a five page, 29-option menu.

Within the menu, scrolling up and down also scrolls between its five pages. Pressing right changes the current option or takes you into a sub-menu, where required. Pressing left takes you back out of the sub-menus and back up to the main menu level.

There is one minor oddity, though: pressing left from the top level of the menu jumps you one page to the left. But you press the Menu button to jump a page to the right. This is slightly unusual behavior as it's more common for left/right or up/down button combinations to deliver opposing actions. The left/Menu combination requires a little more conscious thought.

Most of key options are in the settings screen, and the ability to quickly reconfigure the camera's four customizable buttons means you can gain quick or semi-quick access to all the photographic parameters you're likely to need. Like the Q3 and other recent Leica cameras, the D-Lux 8 ends up being an impressively photo-focused camera: you have direct access to shutter speed, aperture and either exposure comp or ISO, and then quick access to the other. Everything else is somewhat secondary to this, meaning you can focus on your photos, not the camera's other functions.

Battery

The D-Lux 8 uses the same BP-DC15 battery as its predecessor. This is a benefit in terms of compatibility with wide availability. But it also means it's still dependent on a relatively small 7.4Wh battery. Leica doesn't specify a CIPA-standard battery figure but we'd guess at a number somewhere in the sub-300 shot-per-charge region. It's certainly small enough that you'll want to keep track of where your USB-C lead is.

Image quality

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

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The D-Lux8's image quality isn't all you might hope for, for the price. By the standards of compact cameras it has a very large sensor: it uses up to 83% of the area of a Four Thirds sensor, which is still ∼60% larger than the Type 1 (13.2 x 8.8mm) chips used by the likes of Sony's RX100 series or Canon's G5X and G7 X models.

This still leaves it with about half the sensor area of the APS-C, prime-lens cameras such as the Ricoh GR III and Fujifilm X100 VI, though. This results in image quality about a stop noisier than those cameras. It's not as different from the Type 1 Sony as we'd expect at base ISO, but by high ISOs, the differences are as we'd expect (note the different settings used).

Despite multiple attempts, we couldn't get the lens on our copy of the D-Lux 8 to match the results we got out of the Panasonic LX100 II, but it's worth bearing in mind that a test chart, by its nature, is good at highlighting small differences. The sharpness we were able to achieve is pretty well maintained out toward the corners, which isn't always the case with zoom compacts.

Dynamic range

The D-Lux 8 uses a relatively old sensor: old enough that it underperforms modern expectations, when it comes to dynamic range. If you try to underexpose base ISO to protect highlights, with the intention of pulling up shadows, its results start to resemble those of the RX100 VII. For the first few stops of pulling it has the 2/3EV advantage that you'd expect, but then starts to drop to the Sony's level, before falling behind. This suggests it's adding more noise than the Sony and that noise appears to have a pattern to it, making it harder to remove. This rather limits the camera's Raw latitude.

If given the same exposure, the ISOs above 200 look very similar, suggesting there's little benefit to raising the ISO much above this. If you're trying to shoot bright lights such as neons in low light, you might be better off using the 'correct' exposure, then reducing ISO, giving you a stop of recoverable highlights for every stop you reduce the ISO.

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

The D-Lux 8's autofocus system is pretty simple: you can select a series of different AF area sizes or select a Face Detection mode or a Tracking AF mode. To move the AF point you can either use the touchscreen or use the four-way controller, which is a little slow to operate.

Within the Face or Tracking options there's no control over the AF point size and the modes can't be combined, as is increasingly common in other brands. This means you'll need to switch in and out of Face Detection mode, rather than the camera using its Tracking mode and then engaging Face Detection when appropriate.

In terms of performance the AF does pretty well. Improvements in either the algoritms or processing power of the camera mean it's much more sticky than we remember the previous generation of camera being. If you point it at a subject it'll generally do a good job of keeping its attention on that subject.

The D-Lux 8 doesn't have phase detection autofocus though, so can be prone to hunting, especially in low light. Overall the D-Lux 8's autofocus is not at all bad, but both the clunkiness of the interface and the reliability feel like they're a few years behind the times.

Video

In video the autofocus tracking continues to do a good job of staying on the subject you've specified but the focus itself can take a while to catch up with any changes. There's no ability to adjust the focus speed, to choose whether you want a rapid response to keep things in focus or a slow 'pull' between subjects.

It's a strictly 8-bit affair, so there are no Log or HDR options for those more adventurous output ambitions.

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The D-Lux 8's video isn't bad, by any means, with pretty good levels of detail capture. The downside is that the focus is prone to hunting and pulsing, due to its use of the depth-from-defocus system that needs to shift focus to attempt to build a depth map of the scene. Add into this the inability to use an external mic and the lack of means to monitor the audio and the risk is you'll end up with clips that look ok but sound bad: something that's more off-putting than a lower detail capture level.

Perfectly good for social media use, where you can overlay a clip of music or some uncanny generated speech, but not an option we'd consider if video is of real interest to you.

In use

The D-Lux 8 has a variation of the user interface from the company's third-gen SL models, putting core exposure parameters front-and-center.

The D-Lux has a dedicated aperture ring and shutter speed dial, with the command dial on the shoulder that defaults to exposure compensation. There are also four customizable buttons, including one placed in the center of that shoulder dial, that can be used to access settings such as ISO.

Holding any of the buttons down for more than a second pops-ups a list of the 38 functions that can be assigned to them. Unlike the SL cameras, you can't edit this down to just include the settings that you want quick access to, if you find yourself needing regular access to more than four options.

The main things that we found got in the way of our enjoyment of the D-Lux 8 came down to its distinctly slow zoom motor

Also setting the D-Lux apart from the SL cameras is that the video mode's settings aren't as well separated from the stills mode's. There's also none of the red/yellow color-coding to distinguish them. This is less of a problem, given the D-Lux isn't especially suited to video capture.

Because there's no Time or Bulb setting on the shutter speed dial, you can't set a separate shutter speed for video and stills modes: both have to follow the dial's setting. And again, the lack of mic input or headphone socket means the audio on your video won't be great, so unless you plan to overlay music on your footage, it may end up pretty unwatchable.

The main things that we found got in the way of our enjoyment of the D-Lux 8 came down to its distinctly slow zoom motor. The camera has a rocker switch around the shutter button, but not much happens when you press it: there's a distinct lag before the camera decides to communicate the message down to the engine room and set the zoom motor into action. This, more than anything else, makes the camera feel unresponsive, taking you out of the moment, distancing you from the action and significantly undermining the shooting experience.

There's a lot to like about the D-Lux 8 but waiting for the zoom lens to react and move where you want isn't necessarily one of them.

Similarly the camera's on/off button adds to the frustration: the use of a button, rather than a switch, means you have to hold it down for a moment to prevent inadvertently turning the camera on, constantly. Then you have to wait for the zoom to painfully extend out into position. By which stage you may well have missed the moment.

And yet, despite adding an extra lag before the lens plays its part in slowing you down, the confirmation lag on the D-Lux 8 is brief enough that you are likely to find yourself accidentally turning the camera on. It's the worst of both possible worlds, essentially. There's a reason so many cameras use on/off switches, rather than buttons.

We still love what the D-Lux 8 is. Its bright 24-70mm equiv lens, with that clever aspect ratio switch prompting you to make the most of its multi-aspect lens/sensor design is great. But it doesn't deliver the responsive, 'pure photography' experience that other Leicas do.

Conclusion Pros Cons

• Decent image quality with a choice of interesting color modes
• Useful lens range with bright maximum aperture
• Well-designed user interface
• Good size-to-image quality balance
• Switch to exploit multi-aspect sensor/lens arrangement
• Decent video spec

• Lens isn't especially sharp
• Zoom function is slow and laggy
• Sensor noisier than more modern examples
• Lack of mic or headphone socket make audio capture hit-or-miss
• Power button easy to engage inadvertently

The Leica D-Lux 8 is an infuriating combination of a great concept disappointingly executed. We love the idea of someone making a new enthusiast compact camera with a good degree of direct control. But while the D-Lux brings a particularly good user interface to the table, it's not enough to overcome the limitations of elderly hardware and a borderline ridiculous price tag.

As photographers, the enthusiast compact must offer two things: fitting as much image quality as possible in a pocket and ergonomics to let you take hands-on control of the photographic process, so your contribution amounts to more than just pointing your smartphone and tapping the screen.

However, while the D-Lux 8 gets some of the basics of this equation right, there are too many shortcomings for it to all add up.

The D-Lux 8 is small enough to boost the chances you'll have it with you when you encounter good light, engaging enough that you'll feel you played a part in the images it produces, and good enough to be worth using, instead of your phone.

Built-in lens @ 70mm equiv. | F2.8 | 1/400 sec | ISO 200
Photo: Richard Butler

The slow and laggy zoom of the lens can really distance you from the shooting experience: a critical failing in an photographer's compact. And while the autofocus performance is good enough to overcome our concerns about the rather awkward AF interface, the same accommodations can't be made for the image quality.

Quite simply the sensor performance doesn't look particularly great and the lens never seems especially sharp. And those are killer blows. The D-Lux 8 falls short on both experience and results by too much, and that's before you even start to think about how much the camera costs.

Conceptually, the Leica D-Lux 8 is exactly the kind of camera we desperately want someone to make. It's small enough to keep with you, and is engaging enough to make you feel like you're playing a part in the images is makes, but the drawbacks definitely add up. With heavy hearts, we feel it falls too far short of this promise to justify us giving it an award.

Scoring

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

Leica D-Lux 8Category: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe D-Lux 8 puts a lot of image quality and flexibility in a small, attractive package. The slow-zooming lens undermines the shooting experience and the image quality doesn't quite live up to the price tag. We admire the D-Lux 8 more than we love it.Good forPhotographers wanting a flexible compact.Not so good forBudget-conscious shooters who need true pocketability.83%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"leica_dlux8","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

Sony's RX100 Va is one of the few direct competitors to the D-Lux 8. Its image quality isn't too far behind, despite having a sensor around 60% of the size. Its autofocus is more dependable but its interface is nothing like as engaging as the Leica's, with chaotic menus and a clickless control wheel undermining experience of using the camera. The Sony is more capable, the D-Lux more enjoyable.

Canon recently said it's upping production of the PowerShot G7X III, suggesting we're not the only people interested in the concept of enthusiast compacts. The G7X III again offers a conceptually similar set of features, a pretty engaging shooting experience, and not too much of an IQ drop. This makes it the more rational choice: it's not quite as nicely built but it's significantly smaller and less expensive.

The Fujifilm X100VI is in some senses a logical rival to the D-Lux 8 in that they both aim to offer high image quality in a compact package with lots of direct control points (if anything, the VI's have become a bit over-cluttered). They're also utterly different: the fixed 35mm equiv lens on the Fujifilm makes for a delightfully limited / focused camera, and its image quality is in a different league to the Leica's. For the same money, assuming you're ok shooting with a prime lens, we'd go for the Fujifilm.

The Ricoh GR IIIs (both the 28mm and 43mm equiv versions) again offer better image quality in a smaller package, but with a fixed focal length lens. The interface is more intricate than the Leica's, and there's a similar need to pay attention to dust ingress. But the Ricohs are also significantly less expensive. There's a reason they have a cult following.

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Leica Sample gallery

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

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Photo courtesy of UC Riverside

In a push to preserve the past, the Society of Architectural Historians’ (SAH) Color Film Emergency Project (CFEP) is working to save 35mm color slide collections of architecture from around the world. The project began in 2016 after the realization that collections totaling more than 1.2 million slides that were amassed by 20th-century scholars, preservationists, design practitioners and photographers are at risk of loss and destruction. The project is now being led by the University of California Riverside. With the help of a grant from the National Endowment for the Humanities (NEH) Collections and Reference Resources, the CFEP has been expanded, providing more resources to save these historic slide collections.

Sonja Sekely-Rowland, principal investigator, project director and visual resources curator at UCR’s Department of the History of Art, is co-leading the project with Jackie Spafford, formerly UCSB, Maureen Burns, formerly UCI and Ben Thomas, the executive director of the SAH. Eight universities across the United States are also participating. The new grant provides critical funding through 2027, allowing visual resources professionals, archivists, librarians and faculty members to process the massive collections.

The project's principal investigator, Sonja Sekely-Rowland, sits next to a collectino of slides.

Photo courtesy of UC Riverside

Saving these collections is quite an incredible undertaking, given how large each individual collection can be. "Often, these collections total 30,000 or more slides – and can run as high as 150,000 slides," says Sekely-Rowland. As a result, they are being somewhat selective in what gets digitized. "When partnering with living SAH donor-contributors, we ask the donor to identify high-value subsets of materials based on a) what is unique in their collection, and b) images they feel will substantially improve the visual record of a particular place.," she explained. "When working with an estate collection, the project directors and/or consortium partners will work with fellows to make selections based, in part, on formal qualities, physical condition, unique content, and subject area expertise."

"Often, these collections total 30,000 or more slides – and can run as high as 150,000 slides," says Sekely-Rowland.

Of course, digitizing historic work involves far more than simply scanning in slides. Sekely-Rowland explained that time management and resource management are two of the most significant challenges. "There is an incredible amount of time invested in researching the subject content of each image to produce accurate, granular, and highly structured embedded metadata so that the digitized images can be accessed online." The team has developed an assembly-lin-like processing model to tackle tasks such as organization, development of a finding aid, cleaning and transfer to archival housing, digitization, description, online publication and issues surrounding intellectual property."

A slide from the CFEP collection.

Photo courtesy of UC Riverside

According to the project overview, the slides were taken by SAH members who photographed the "built environment as subject experts in the field of architecture." The result is a unique perspective that shows, in part, "which building elements have advanced work in the field or changed the course of architectural history."

The CFEP collections include structures whose creators are known and unknown. They depict specific buildings ranging from modets to grand along with cityscapes and street views. There are broad, overall views and small details captured of buildings, forming a more complete picture which "deepens the understanding of a structure and offers insight into the physical, cultural, political, psychological and/or economic contexts in which a work of architecture was made and are tangible reflections of the human experience."

All the newly digitized images for the project will be available to the public through the SAH’s open-access online image database, SAHARA. At the time of writing, there are 4,229 items associated with the CFEP in the database. The current NEH grant aims to digitize 10,500-12,000 new images, massively expanding what is available.

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On a blustery, snowy day in 2016, my now-husband, some friends and I made our way to Estes Park for an ice climb that required a hike in (or, in our case, ski). We skinned up to the lake that we would need to traverse, only to hear that the winds were so strong that people were getting blown over. A hardened Estes local told us he'd never seen it so bad. After some deliberation, we decided to bail, and I grabbed this photo as we pulled off our skins to begin the ski descent back to the car.

Photo: Abby Ferguson

Winter is in full swing here in the northern hemisphere, so our theme for the February Editors' Photo Challenge is 'Winter Games'.

We're looking for photos covering the full spectrum of winter activities, from classic winter sports to your own unique winter adventures, whether skating on a pond or having a snowball fight. Our favorites will be featured on the DPReview homepage later this month.

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

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

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

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

Visit the challenge page to see all the rules

Photo: Mitchell Clark

A lot of gear passes through our hands throughout the course of a year, and we wouldn't blame you if you missed some of the coverage. That's why we've made this article, which we'll keep updated throughout the year with all the cameras, lenses, and other pieces of gear that we've used.

Be sure to check back; we're always working on the next review or sample gallery.

Index:

• January
• February

January Canon RF 24mm F1.4 L VCM sample gallery

Canon RF 24mm F1.4 L VCM | F5.6 | 1/100 sec | ISO 100
Photo: Mitchell Clark

We got to test Canon's latest fast, wide-angle lens in a variety of scenarios, including on a trip to Mississippi, far from the gloom of the Pacific Northwest winter. While there's plenty of controversy around the amount of software correction the lens does, we invite you to see the results for yourselves.

See the sample gallery

Panasonic GH7 sample gallery Olympus 40-150mm F2.8 Pro | F2.8 | 1/400 sec | ISO 1000
Photo: Dale Baskin

We're still hard at work on our review of the Panasonic GH7. As part of the process, we took it to Florida and managed to nab some great shots of birds, planes, and more. While the camera is aimed at video creators, it's also clearly no slouch when it comes to photography.

See the sample gallery

Leica D-Lux 8 studio scene Photo: Richard Butler

As an enthusiast-class compact, Leica's D-Lux 8 is a rare breed these days. As part of our review process, we shot our standard studio scene with it to help illustrate the type of image quality you can expect from it.

See the studio scene

Leica SL3-S initial review Photo: Richard Butler

The first big camera release of 2025 was the SL3-S, an SLR-style mirrorless camera from Leica, which focuses on speed. While the regular SL3 features a 60MP sensor, which can only manage 5fps with continuous autofocus, the S model uses a 24MP sensor capable of 30fps shooting. It has a lot of DNA from the Panasonic S5IIX, but has Leica's stellar build quality and user interface. You can read more about it in our initial review.

Read the initial review

Nikon Z50II review Photo: Richard Butler

In January, we finished our review of the Nikon Z50II, an update to the company's APS-C camera, which aims to be a great hybrid option for those who shoot both stills and videos. We found that, while it features the same processor and autofocus system as higher-end options like the Z6III, it doesn't quite live up to the standards those cameras set. Still, it's a solid offering, especially given its sub-$1,000 price.

Read the review

February Nikon Nikkor Z 35mm F1.2 pre-production sample gallery Photo: Mitchell Clark

We got the opportunity to shoot with a pre-production model of the Nikon Z 35mm F1.2 for a few hours. While our sample gallery only includes out-of-camera JPEGs and isn't necessarily an indicator of exactly how a final production lens will perform, it does show the type of photos that a lens this fast and wide can produce.

See the sample gallery

OM System OM-3 Review Photo: Mitchell Clark

It's not often that we get the chance to fully review a camera in time for its launch, but the stars aligned with the OM System OM-3, which is essentially the guts of the company's flagship OM-1 II, fit into a retro-style body. The end result isn't perfect, but if you're looking for a travel camera that can handle almost anything you throw at it, it's a hard option to ignore.

Read the review

Images: Akuko Labs, Pgytech, ProGrade

It's Saturday, which means it's time for another accessory roundup. This week we're taking a look at cards, keyboards, and getting a peek at something that one of our favorite accessory makers is working on. But first, the deals.

Midrange madness Photo: Shaminder Dulai

OM System has its flagship Micro Four Thirds camera, the OM-1 II, on sale for $2,000, $400 off its original MSRP. That's the same price as the just-announced OM-3, which owes a lot of its DNA to the OM-1 II, and which we quite enjoyed shooting with. If you're into birding or other action / wildlife photography, the OM-1 II is one of the fastest cameras you can get at its price point.

Buy now:

$1999 at Amazon.comBuy at B&H PhotoBuy at MPB Photo: Dale Baskin

If you're looking for a mid-range camera with a larger sensor, Canon's excellent EOS R6 II is also on sale for $200 off MSRP.

Buy now:

$2399 at Amazon.comBuy at AdoramaBuy at B&H Photo The perfect keyboard for arguing about cameras Image: Akuko Labs

This one's for people who are enthusiasts of photography and keyboards. The Aperture Priority keycap set, spotted by PetaPixel, uses a legend that's clearly inspired by the type Leica uses on its cameras and lenses but goes much further than that. The modifier keys feature various photographic symbols, such as an exposure comp meter, flash symbol, aperture ring, and more. Akuko Labs, which designed the set, says it's "inspired by the timeless craftsmanship of analog photography."

It's worth noting that this is likely only going to be for those who are pretty deep into the mechanical keyboard world. If you're not familiar with group buy preorders, or if it's news to you that people would be willing to pay $79 for a set of keycaps – not a full keyboard, mind you, just the caps – or $65 for a single keycap made out of aluminum and designed to look like a shutter button, these probably won't fit on your keyboard anyways. But for people with a foot in both worlds, it could be a fun addition to your collection.

High-capacity cards for Sony Image: ProGrade

If you're a Sony shooter in the market for a beefy storage card, you have a new option. ProGrade has launched a 960GB version of its "Gold" CFexpress Type A card. At $439 it's certainly not cheap, but that price does put it at around $60 less than many other Type A cards with a similar amount of storage. That's likely because it's a CFexpress 2.0 card, meaning its maximum write speeds are capped at 800 MBps versus the blistering 1800 MBps speeds that more expensive CFexpress 4.0 cards can hit. However, if you care more about capacity and price than how quickly you can clear your buffer, it could be a decent option.

Buy at B&H Get a grip Image: Pgytech

Earlier this week, Leica announced a luxurious $329 grip meant to attach to your phone, making it feel more like shooting with a compact camera. Accessory maker Pgytech has also released something similar, though at $60, it's much more affordable. The MagCam Phone Grip attaches to your phone using magnets, either via Apple's MagSafe or the Qi 2 standard, and gives you a zoom rocker, shutter button, and a button that lets you switch modes or cameras. The controller part of the grip can also be detached and used wirelessly if you want to attach your gripped phone to a tripod using the built-in 1/4" thread and control it remotely.

The grip isn't just for improved ergonomics, though, as its main body actually houses a battery that can keep your phone topped up via wireless charging, so you don't have to worry about it dying after your photo shoot. The grip also detaches from the magnetic puck that connects it to your phone, so you can easily store your phone in your pocket and then quickly attach the grip when you want it. It comes in three colors: black, gray, and "mint green."

One caveat for iOS shooters: the grip won't let you switch shooting modes or use the quick launch feature when paired with an iPhone. These features do work with Android, though.

Buy at Amazon Buy at B&H Keep an eye out Image: Peak Design

This isn't accessory news per se, but rather news that accessory news is coming. Peak Design, a company famous for its photography-focused bags and camera straps, has been teasing that it's making a roller bag and saying that details will be coming "soon." As for what design flourishes the company will include to make it stand out, we can only guess – though its Instagram posts make it seem like the handle might be carbon fiber, which implies that this will likely be a very premium product, similar to the company's much-loved travel tripod.

Asymptomatically approaching perfection

When we get the chance, we like to share some of our favorite bits of knowledge from around the internet as part of this roundup. This video is a little different, as it's not so much about any concrete knowledge – rather, it's a meditation on precision. Over the course of 21 minutes, we get to see two people who are unquestionably dedicated to their craft struggle with the question: how close is close enough?

"On a millisecond scale, we did it. On a microsecond scale, we definitely didn't. It's just who we want to be today."

It's a question we're all too familiar with here at DPReview, especially as cameras improve to the point where even the slightest imperfections become measurable. Even that, though, pales in comparison to shooting video at 82,000 FPS, where 0.00005 seconds can be the difference between getting the shot and not getting it. If you're at all interested in the processes behind creating high-quality content for the internet, it's absolutely worth a watch.

Read last week's roundup

Image: Lucky Film

Film enthusiasts can rejoice, as it seems the film resurgence is still going strong. Chinese film company Lucky Film released a teaser on its Instagram account announcing that it has a new color film on the way. Its bare-bones website says the offering will be a "brand new, true original C-41 color negative 35mm film."

Lucky Film isn't a new company by any means. The company also began production of two black-and-white film stocks in March of last year. My local film lab was sent some at the end of last year, along with a letter that provided more context on the company and upcoming film stock. It explained that it used to be the OEM factory for Kodak Gold 200 and helped Kodak produce more than 50 million rolls of film. However, its contract with Kodak was terminated in 2007 as a result of the rapid rise of digital photography. Even still, Lucky Film produced three color negative films (GBR 100, GBR 200 and GBR 400) between 2003 and 2012, but it has been on a hiatus from producing film for over a decade.

The letter goes on to say that the company had to get around Kodak's patent and raw material control and hired a team of chemists to do some reverse engineering. It had expected the color film to be ready at the end of 2024, but it seems things took a little longer than anticipated.

Details are very slim on the new color film stock, but the Lucky Film website says it will be "at a price today's photographers can afford." The letter to Reformed Film Lab also promised that it would be "the world's cheapest color film." Given the high price of film, it would be great to have a more affordable option on the market. Unfortunately, no specific dates are mentioned on the website or Instagram account, so the wait continues for now.

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This week, OM System announced the OM-3, a Four Thirds camera with a Stacked sensor and retro design. Over the weeks we spent testing it, we shot images with various lenses in several different situations, from a bird sanctuary in Spokane to the streets of Seattle.

Our sample gallery includes several examples shot using the multi-shot modes, which are the OM-3's bread and butter. The mode used is noted in the description. We've also added a few examples of the default black-and-white modes that are accessible via the PEN-F-style Creative Dial on the front of the camera.

See the sample gallery

Buy now:

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Oliver Barnes and the No1 Pocket Kodak that contained the mystery negatives.

Photo: Oliver Barnes

Here's an interesting entry for Film Friday: Oliver Barnes, a 20-year-old antique camera fan, was in a Salisbury antique shop when he discovered a bag hiding in the corner. Inside the bag was a No1 Pocket Kodak, a camera that went into production in the 1920s. That would be an exciting enough find, but once he worked out how to open the camera, he discovered film inside, as the BBC reports.

"I was in complete shock; I was so worried I had exposed the film because they are very, very light sensitive," he said."It's, like, 100 years old, so I wasn't expecting the film to come out of it."

Some of the photos show a crowd of people and television crew outside the Portcullis Hotel in Chipping Sodbury.

Photo: Unknown / Oliver Barnes

The No. 1 Pocket Kodak used 6x9cm negatives, which resulted in a decent level of detail from simple contact prints for photographers at the time. Of course, developing such negatives today isn't as straightforward as it used to be. Barnes brought the negatives to Fujifilm Salisbury Photo Centre, where Ian Scott helped narrow down some of the details related to the images. Scott knew the film inside the camera wasn't produced until the late 1950s, providing a more precise timeline of when the images could have been taken.

Given the age of the negatives, it was surprising how well they turned out. "They're really good quality for how old they are; I wasn't really expecting anything," said Barnes. The developed images revealed more mysteries, however. Some of the images show an event of some sort. Barnes did some sleuthing and figured out the photo was taken from the upper floor of a building overlooking the Portcullis Hotel and the war memorial in Chipping Sodbury. There appears to be a television crew on the edge of the frame.

The images have sparked lots of interest locally in an attempt to identify the event. "It's caused quite a fuss on social media round here. It got shared literally everywhere," said local photographer Richard McDonough. "We've had all sorts of people coming up with speculation and different ideas of what it might be." Some have guessed a wedding, while others have proposed an event related to the American Army, which was posted nearby during WWII. "There are so many different scenarios," said tourist center volunteer Barry Townsend.

This photo is believed to be of two students on the Swilcan Bridge at the University of St. Andrews, though the two men have not been identified.

Photo: Unknown / Oliver Barnes

Another image shows two young men on a bridge who have not been identified yet. However, they are assumed to be two University of St. Andrews students. Barnes and others searching for answers hope that sharing the images may spark someone's memory. Even if the details remain a mystery, it certainly is a fun find to stumble on. It's also a good reminder to be careful with how you open thrifted film cameras; you never know what gems you may find inside.

Photo: Leica

With its latest announcement, Leica is furthering its focus on mobile photography, adding a new accessory to its lineup. The company designed the Leica Lux Grip specifically for iPhones, following up on the June release of the Leica Lux iPhone app. The grip is strictly for Leica lovers, as it will only work with Leica's iPhone app; controls will not transfer to the default iPhone camera app or any other third-party options.

Leica says the Lux Grip is "similar to a classic Leica camera in terms of its handling and feel." It goes even further and explains that all of the grip's "physical controls consistently express Leica’s design philosophy and conjure up the familiar experience of using a professional camera." Any grip will make for a more camera-like experience and make taking photographs with a phone a bit more ergonomic, so users who focus on mobile photography could certainly benefit from it.

Photo: Leica

The grip relies on a magnetic MagSafe connection rather than a case-like design, which is typical in other phone grips. The magnetic attachment makes switching between portrait and landscape orientations easy while maintaining a comfortable grip with easy controls. Plus, removing the grip when it's not needed and returning to a traditional phone form factor is straightforward. That also means that when users purchase a new iPhone, there's no need to buy an entirely new grip specific to that phone.

The Lux Grip uses Bluetooth Low Energy (BLE) connectivity to communicate with a phone's camera, allowing users to control camera functionality without digging into phone menus. That includes a two-stage shutter release that, like cameras, uses light pressure to focus and a full press to take a photo. There's also a button to switch between shooting modes, two customizable buttons and a dial for adjusting settings.

Photo: Leica

For those who want to go all out, Leica also released a leather case designed just for the Lux Grip, which features an AirTag holder.

The Leica Lux Grip is available for $329 on Leica's website and B&H. The purchase includes a year of the Leica LUX Pro subscription.

Buy now: $329 at B&H $329 at Leica

Press release:

Leica Camera AG is launching the Leica LUX Grip for the iPhone today.

The camera grip impresses with its intuitive operation and high-quality manufacturing while, at the same time, setting new standards for photographic precision using a smartphone. The Leica LUX Grip is similar to a classic Leica camera in terms of its handling and feel. Its clear design, sophisticated operating concept and easy attachment – guaranteed by secure magnetic MagSafe technology – improve the ergonomics and functionality of smartphone photography, taking it to a new level. The LUX Grip and iPhone communicate via Bluetooth Low Energy (BLE) and are perfectly complemented by the Leica LUX app.

All of the LUX Grip’s physical controls consistently express Leica’s design philosophy and conjure up the familiar experience of using a professional camera. The 2-stage shutter release focusses with light pressure and starts shooting when fully pressed down. A button allows you to quickly switch between shooting modes. Two control elements can be individually assigned and customised via the Leica LUX app. While one button provides quick access to frequently used functions, the easy-to-grip control dial enables the precise selection of camera settings – such as zoom, aperture, shutter speed and exposure compensation. This means that photographers have all the essential aspects of image composition in their own hands, even when using a smartphone.

The Leica LUX app rounds off the photographic experience by adding the unmistakable image and colour aesthetics of legendary Leica lenses. The bokeh effect of the Summilux-M or Noctilux-M can be used to deliberately emphasise features while retaining full control over exposure, ISO and shutter speed. Unique Leica Looks – from Vivid to classic Black&White – expand the artistic palette, lending digital photography an analogue character. The Leica LUX app forms a perfect symbiosis with the LUX Grip. The full version of the app is included for one year with every Grip product registration.

The LUX Grip also sets the tone when it comes to sustainability. Thanks to its modular design, the Grip can be easily reused with all electronic components every time you change your iPhone. Only the MagSafe base plate has to be replaced. Weighing just 130 grams, the Leica LUX Grip is comfortable to hold and is equally suitable for left- and right-handed users. Its powerful battery lets you take up to 1,000 shots and will be ready for use again in a flash with a charging time of 2 hours via USB-C.

The Leica LUX Grip is now available in selected Leica Stores, in the Leica Online Store and from specialist retailers. The recommended retail price is EUR 300 incl. VAT.

When you use DPReview links to buy products, the site may earn a commission. Nikon Nikkor Z 35mm F1.2 pre-production | F1.2 | 1/125 sec | ISO 64

Earlier this week, Nikon announced the Nikkor Z 35mm F1.2 S, a wide-angle lens with a fast aperture. We were able to spend a few hours on the streets of Seattle with a pre-production model, and got some shots that should give you an idea of what this lens is about.

A few caveats to keep in mind – given that the photos were shot with a pre-production lens, they may not be exactly indicative of how a production model would perform. Our standard lens gallery procedure also involves processing the images through Capture One, giving us precise control over what corrections are and are not applied. However, the images in this sample gallery are straight out of camera JPEGs, and thus may have corrections that wouldn't usually be applied to images in our sample galleries.

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This image depicts the Sony E-mount version of the AF 28mm F4.5 lens, though the size is nearly identical.

Photo: Viltrox

After a playful bit of marketing, Viltrox announced a new flavor of its ultra-thin AF 28mm F4.5 lens. It first made the lens available for Sony E-mount cameras last fall, and now it will also be available for X-mount cameras.

Viltrox calls this teeny offering a chip lens. That nickname is in reference to how thin it is, drawing similarities with potato chips, and does not pertain to any sort of technology inside the lens. To stay on theme, the company's teaser for the announcement featured a bag of chips with AF 28mm F4.5 XF above it, much like the Lays potato chip flavor announcements.

Image: Viltrox

The Viltrox AF 28mm F4.5 is a unique lens because of its diminutive size. It weighs a measly 60g (2.1oz) and is only 15.3mm (0.6in) thick. To keep the size so minuscule, there are some compromises. Most notably, it uses a constant F4.5 aperture. That means no adjusting the aperture based on lighting conditions. Additionally, it lacks a manual focus ring, so you'll be stuck entirely with autofocus. It also isn't compatible with filters.

The optical design is made up of six elements in six groups, including two ED and two aspherical elements. Voltrox says it will deliver "sharp images, vibrant colors, and stunning starburst effects." It uses a VCM for autofocus, which Viltrox promises will be "fast, precise, and silent." Additionally, the lens features an integrated lens cap with a slide for opening and closing the cover and a USB-C port for firmware updates.

The AF 28mm F4.5 XF is available in black and white colorways for $99.

Buy now:

$99 at Amazon.com

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 86%Overall scoreJump to conclusion Product photos: Mitchell Clark

The OM System OM-3 is the company's latest Micro Four Thirds mirrorless camera. Its use of the same 20MP Four Thirds Stacked CMOS sensor found in the OM-1 Mk II makes it the least expensive interchangeable lens camera to feature a Stacked sensor we've seen to date, and it has most of the features and capabilities of the more expensive model.

OM System has packaged it all in a retro-styled body, which features a knob for quickly switching between color modes, as well as a button that, by default, gives you quick access to the many computational photography features that the company has become known for.

Key Specifications

• 20MP Four Thirds Stacked CMOS sensor
• In-body image stabilization rated up to 6.5EV
• 2.36M dot EVF 0.61x magnification
• Up to 50fps continuous shooting with C-AF, 120fps with AF/AE locked
• Up to 4K 60p video with 10-bit Log option
• Color and effects dial
• IP53-rated weather sealing
• 50MP handheld / 80MP tripod high-res composite mode
• Battery rated to 590 shots

The OM-3 will be available for sale starting February 27th, with a body-only MSRP of $1999. It will also be available as a kit with OM System's M.Zuiko ED 12-45mm F4.0 Pro lens for $2299. In the US, the company is running a pre-order bonus until Feburary 26th, where you can get $200 off if you purchase the camera with either the 17 or 25mm F1.8 primes that launched alongside it.

Buy now:

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

What's new A new design

Unlike the OM-1 and OM-5, the OM-3 isn't a direct continuation of an existing Olympus camera line, which results in a camera that looks quite distinct from other models bearing the OM badge. There's absolutely still a family resemblance – it looks a bit like a larger OM-5, despite mostly being an OM-1 II inside – but the OM-3 also very clearly draws influence from classic film SLRs.

This is most obvious when viewing it from the front. There's no raised grip to speak of, and a black leatherette wraps around the silver camera body. The texture and substantial thumb rest on the rear make the camera relatively easy to hold on to, at least for our testers, and the metal build feels reassuringly solid in the hand.

The camera is remarkably wide, though that evokes classic film bodies and provides plenty of room for its battery.

Beyond its shape, the OM-3 differs from previous OM System cameras in several ways. Instead of being integrated into a raised circular section with two buttons atop it, the power switch is now on its own. The buttons have been replaced by a dial, which lets you quickly switch between stills, video and 'slow and quick' video modes. Speaking of dials, there's one on the front that warrants an in-depth look.

The 'Creative Dial'

The OM-3 features a front control knob called the "Creative Dial." It'll be familiar to fans of the PEN-F, whose similar dial set it apart from preceding PEN models.

Like the PEN-F's, the OM-3's dial has five positions; the middle lets you use the standard color modes for the camera. Switching to Color gives you access to four profiles, which are designed to replicate specific film looks. Another click to the left takes you to the Mono mode, with four more profiles, this time in black and white. The other side of the dial gives you access to the "Art" modes, which act as filters to add effects like pinhole camera or bleach bypass, and the color creator mode, which lets you add a tint to your photos.

You can use the customizable Color Profiles to create some relatively extreme looks.

The real fun comes from customizing the color and mono profiles. OM System gives you the basic sliders – sharpness, contrast, vignetting – but also offers finer-grained control. In the mono modes, you can add a virtual color filter, a simulated grain effect in three strengths and choose a sepia, blue, purple, or green tint. In the color profiles, you get a color wheel giving you control over the saturation levels of 12 hues. You can also control shadows, mid-tones and highlights, boosting them or lowering them to get the look you want.

It's worth noting that most of these customizations aren't wholly new to OM System; the OM-1 II also gives you a lot of control over how your JPEGs turn out, including the shadow, midtone, and highlight control. However, the OM-3 puts those features front and center, making it much harder to miss them, and having four custom profiles instead of one makes it easier to create some dramatic looks without having to worry about using up your one custom slot.

Quick access computation

Lately, we've seen a trend of camera companies adding physical controls for their standout features – think the Fujifilm Film Simulation dial or the Panasonic S9's LUT button. OM System has done the same with the OM-3's "CP" button, which gives you easy access to the camera's vast array of computational photography features without requiring you to dive into the menus. For those unacquainted, these features are multi-shot modes, where the camera takes several exposures to achieve certain effects in-camera, without the need to stitch anything together using external software.

The modes available on the OM-3 via the CP button are:

• High resolution (tripod / handheld)
• Live ND (1-6EV)
• Live Graduated ND (1-3 EV)
• Focus Stacking*
• HDR
• Multiple exposure

* Only available with select lenses

These features are arguably part of what sets OM System apart from its competitors, so it makes sense to replace what was traditionally an AE / AF lock button with something that puts one of the camera's main selling points at your fingertips.

This straight-out-of-camera shot was taken using the Live Graduated ND mode to keep the sky from being overexposed. Its availability at the press of a button made using it a no-brainer.

OM System 12-40mm F2.8 PRO II | F4 | 1/250 sec | ISO 200
Photo: Mitchell Clark

A single press of the CP button activates the last computational mode you used, with a long press gaining you access to the other available options. You can limit this list in the menus so that even the long-press takes you to a list of only the modes you actually want to use. This approach does slightly reduce the button's ability to help new users discover all the features, but means experienced shooters can get straight to the function they want.

OM Cinema video color modes Standard Color Profile OM Cinema 1 OM Cinema 2

The OM-3 includes two new "OM Cinema" color modes for video, which the company says are meant to give you the same highlight capture capabilities as its OM-Log mode, while giving you a cinematic look straight out of camera. OM Cinema 1 is designed to highlight yellows in the bright parts of your image, and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.

Like the OM-Log400 mode, both modes have a base ISO of 400, pushing you to use exposures that can capture the additional highlight range.

How it compares

The OM-3 is the least expensive ILC we've seen to use an expensive Stacked CMOS sensor. Internally, it's very similar to OM System's flagship OM-1 Mk II, featuring the same sensor, burst rates, autofocus subject recognition, computational photography modes and weather sealing. The more expensive model has a faster mechanical shutter, more buttons, a beefy grip, deeper buffer, a larger, higher-res viewfinder and dual card slots. However, we suspect looks and size, rather than capability, will be the deciding factor between the two for most people.

The use of an expensive, Stacked sensor puts the OM-3 in an interesting position. Multiple full-frame cameras are available for this much money or less, offering a substantial increase in light-gathering ability at the cost of larger, heavier lenses, much slower burst rates and generally fewer features. But if you want a larger sensor that's still Stacked, you'll have to pay for it – the Fujifilm X-H2S's MSRP is 25% more expensive.

At this price point, the OM-3 is playing in a few markets. You could consider high-performance models like the Panasonic G9 II, Canon EOS R7, or Fujifilm X-H2S as its peers, but it also competes with style-conscious options such as Fujifilm's X-T5 and the Nikon Zf. We've included a selection of both.

OM System OM-3 Canon EOS R7 Fujifilm X-T5 Panasonic G9 II Nikon Zf MSRP $1999 $1499 $1699 $1899 $1999 Pixel count 20MP 33MP 40MP 25MP 25MP Sensor size Four Thirds (225mm²)

APS-C
(329 mm²)

APS-C
(367mm²) Four Thirds (225mm²) Full-frame (864mm²) Sensor tech Stacked CMOS FSI-CMOS (Dual Pixel) BSI-CMOS CMOS BSI-CMOS Viewfinder res / mag 2.36M dot
0.69x* 2.36M dot
0.72x 3.69M dot
0.8x 3.68M dot
0.8x 3.69M dot
0.8x Stabilization IBIS, can coordinate with select lenses IBIS, can coordinate with select lenses IBIS

IBIS, can coordinate with select lenses

IBIS Max burst rate

6fps (mech.)

50fps (C-AF, e-shutter)

120fps (S-AF, e-shutter)

15fps (mech.)

30fps (elec.)

15fps (mech.)

20fps (e-shutter, 1.29x crop)

14fps (mech.)

60fps (C-AF, e-shutter)

75fps (S-AF, e-shutter)

11 fps Raw

14 fps JPEG (15 e-shutter)

30fps in C30 JPEG mode

Pre-release capture Yes Yes Yes Yes Yes (JPEG only) Rear screen 3" 1.62M dot fully-articulated 3" 1.62M dot fully-articulated 3" 1.84M dot three-way tilt 3" 1.84M dot fully-articulated 3.2" 2.1M dot fully-articulated Battery life (LCD/EVF) 590 / - 660 / 380 580 / - 390 / 390 380 / 360 Card slot 1x UHS-II SD 2x UHS-II SD 2x UHS-II SD 2x UHS-II SD 1x UHS-II SD
1x UHS-I Micro SD Dimensions 139 x 89 x 46mm 132 x 90 x 91mm 130 x 90 x 92mm 134 x 102 x 90mm 144 x 103 x 49mm Weight 496g 612g 557g 658g 710 g

*Using the whole-panel 'Viewfinder style 3'

Every system listed here will have strengths and weaknesses compared to the OM-3. The EOS R7, for example, is technically an extremely capable camera with its larger sensor, reliable autofocus, and dual SD card slots, though the OM-3 shoots significantly faster and with less rolling shutter. Nowadays, the lens selection for Canon APS-C systems is a little more healthy, but still well short of the Micro Four Thirds system's. The EOS R7 also doesn't have the retro design that the OM-3 does; like the G9 II, its looks lean toward the industrial.

The Nikon Zf and Fujifilm X-T5 have similar aesthetics, but while the Nikon is relatively small for a full-frame camera, the same can't be said for the lenses you'll have to attach to it. Fujifilm's lens ecosystem is the only one that's as comprehensive as Micro Four Thirds, though its autofocus system isn't as good as OM's in many situations and is well off the pace from the state of the art.

Only Panasonic's G9 II comes close to offering the range of in-camera multi-shot computational modes, and even then, the OM-3's faster readout gives it an advantage.

Body and controls

The OM-3's retro design is one of its biggest selling points over the OM-1 Mk II. It trades rubberized, inset dials for top-mounted ones with chunky knurling and silver accents placed on the top plate. Despite the prominent hump, the viewfinder is actually relatively small, though it usually gets the job done.

It's clearly a throwback to old-school SLRs. That may disappoint those who saw the Creative Dial and hoped for a rangefinder-style PEN-F revival, but given that SLR-shaped cameras have long outsold rangefinder-styled ones, its inclusion here hints that this may be the closest we'll get to a direct successor.

The OM-3 isn't as compact as the OM-5 but takes up less space than the OM-1 II.

The OM-3 isn't as much smaller than the OM-1 as we initially expected; several DPReview staff remarked on how wide it was upon picking it up for the first time. That does, however, add to the film camera aesthetic and gives it room for a large battery, and the lack of a grip does make it easier to fit in a bag, especially without a lens attached. However, you still likely won't be able to stow it in a pocket or purse like you could with the smallest Micro Four Thirds bodies.

During our testing, we found that the camera's controls were well laid out, with all the essential buttons being easy to reach. It has several customizable buttons that you can map to your preferred functions and OM System's traditional function lever, which lets you quickly change an unfortunately very limited selection of your dial functions or autofocus settings. The locking mode dial also gives you access to five custom shooting modes, which can recall a much broader range of settings, providing a generous number of setups that most photographers would likely struggle to fill.

It's generally easy to use one-handed, though the lack of a grip can make things a bit harder when you have to hold a button and operate the dials simultaneously. Depending on how you have the camera set up, its UI will require that relatively frequently. The lack of a joystick for controlling your focus point also means that you'll likely have to use two hands when moving your focus point around, whether using the directional pad or the touchscreen.

The OM-3 has OM System's latest menu system, which is very similar to Canon's. The sections are color-coded, which can help remind you of where everything is, and you can use the customizable My Menu to create a section filled with your most-accessed settings.

You can navigate through the sections using the front dial and switch pages using the rear one, making it easy to zip around once you get a feel for where everything is. However, you'll have to use the four-way controller to actually change your settings; the camera lets you use the touchscreen to switch tabs and pages but not to navigate through or adjust the settings themselves.

The OM-3's menus are logically laid out, though it would be nice if the top categories were always color-coded rather than just showing the color when you select them.

You may not actually have to spend that much time in the menus, though. The OM-3 features the company's "Super Control Panel," which is, by default, mapped to the "OK" button. Bringing it up gives you easy access to most of your important shooting settings: drive mode, AF mode, AF subject section settings, exposure and ISO control, etc. All of which can then be adjusted with a spin of the dial or tapped to display their options. Combined with all the physical controls, it can make a trip to the menus a rarity if you spend some time setting everything up.

Battery

The OM-3 uses OM System's large, 17Wh BLX-1 battery, the same found in the OM-1 Mk II. It's rated to provide around 590 shots on a charge when using the LCD. That's an impressive capacity for a camera this size, and it bore out in our testing; we didn't often find ourselves reaching for a charger, even over long weekends of shooting with frequent use of the computational modes. That's good news for those hoping to use it as a travel camera.

As always with CIPA ratings, the exact number isn't a literal indicator of how many pictures you can expect to get out of a charge, and we find you can generally expect to get at least double the rating. It does, however, act as a common point of comparison among cameras, and 590 is a very healthy rating.

Image quality

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

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At base ISO, the OM-3's Raws provide good levels of detail, even compared to its 25MP peers. Canon and Fujifilm's use of higher-resolution sensors give them a leg up in detail, though the differences are subtle when viewed at comparative sizes. Differences between noise levels are also subtle at base ISO, though the advantages of a larger sensor become more noticeable at mid and higher ISOs. It's difficult to directly compare the OM-3 and the G9 II, as the latter appears to be applying noise reduction, even in Raw.

Straight out of camera using handheld multi-shot mode.

Lumix G Vario 35-100 F2.8 II | F2.8 | 1/400 sec | ISO 200
Photo: Mitchell Clark

Like the G9 II, the OM-3 has a multi-shot high-res mode that promises to bump its resolution while also improving noise performance thanks to the multiple exposures. As we've pointed out before, the performance of such modes – especially the handheld ones – will be limited by how steady you can keep the camera and how still your subject is. However, the OM-3 makes it easy to give it a try, as it combines the shots in-camera; you won't spend precious time combining shots on your desktop only to discover motion artifacts. We found that, in the right situations, the modes provided a decent bump in detail.

The OM-3's JPEG engine does a good job of retaining fine detail without giving it an over-processed look and strikes a good balance of smoothing out noise without giving up too much detail at higher ISOs. There isn't much to distinguish it from its peers when it comes to its standard color mode; it competently reproduces pleasing skin tones and has pleasant, but not overbearing, yellows, reds and greens.

Dynamic Range

Exposed for highlights, +2EV in ACR, edited to taste.

OM System 25mm F1.8 | F1.8 | 1/80 sec | ISO 200
Photo: Mitchell Clark

Given that the OM-3 shares a sensor with the OM-1, it's no surprise to see that its dynamic range performance is just as good. The sensor doesn't add much read noise, and the shadow noise performance is good, giving you room to shoot to preserve highlights, and lift the shadows in post.

Exposure Latitude | ISO Invariance

Autofocus

To select an autofocus point, you can use the touchscreen or the four-way controller. There are a variety of target mode settings, including the option to select a single point, small, medium, and large areas, a cross-pattern area, and a wide area that allows the camera to analyze the frame and choose what to focus on. You can also create four custom-sized zones.

The OM-3 has several autofocus modes, including the ability to recognize and track several types of subjects: Humans / eyes, cars and motorcycles, airplanes / helicopters, trains, birds and dogs / cats. It also has a specialized star autofocus mode for astrophotography.

The OM-3 lets you engage subject recognition mode, and use it with your chosen AF target type. The camera will focus on whatever's under your AF point and will track it if it's a recognized subject, but it won't jump off to recognized subjects elsewhere in the scene. However, unlike many contemporary cameras, you can't combine AF Tracking mode with subject recognition: if you want your camera to track something it's not been trained to recognize, you'll have to switch to the dedicated Tracking mode. This means you can't just leave it in a single mode and expect it to use the selected recognition mode only when appropriate; instead, you have to constantly turn subject detection on and off.

As for the autofocus system's performance, the camera performed well – though not exceptionally – in our standard tests and in our general use. For a subject moving straight toward the camera at a consistent speed, the OM-3 was generally able to keep them in focus, though it occasionally misstepped, resulting in a small number of slightly soft images.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Even in subject recognition mode, shown here, the OM-3 occasionally misjudged the distance it needed to drive the lens when tracking a subject moving at a variable speed toward the camera.

Its standard autofocus tracking system was quite sticky and reliably stayed on the subject moving towards the camera and across the frame at varying speeds. While many of the resulting photos were in focus, the camera still sometimes struggled to judge and drive the lens to the correct place, leading to a handful of soft shots. Human subject recognition faired better and was tenacious at sticking to the subject, though there were still a handful of shots with the same issue, implying that the fault lies with the distance assessment/prediction algorithms, not the camera's inability to figure out what to focus on. The camera has C-AF speed and sensitivity adjustments that you can try to use to improve its performance for the specific subject you're shooting.

During our usage, the autofocus was generally reliable but occasionally faltered in situations that it felt like it should handle easily. We ran into a few situations where the tracking point would wander off the selected target or where the subject recognition AF would get confused by objects partially covering a subject's eye, such as glasses frames or fence wire.

Video

The OM-3 has capable video specs, with a standout being its ability to shoot 4K UHD at full-width at up to 60 fps. It can also shoot at up to 240fps in FHD for slow motion, though the higher frame rates are the rare video modes that come with a crop – the only other time you won't get full-width video is if you enable electronic stabilization, which adds a 1.18x crop in 4K. That electronic image stabilization is quite good, especially paired with the stabilized sensor; it handles camera movement well, and generally doesn't have a noticeable grab-and-release effect if you pan the camera.

The video autofocus system can recognize the same subjects available in stills, though it's not as competent at tracking a subject that it hasn't been trained on. Unlike the notably sticky performance in stills, it was relatively easy to get the camera to lose track of the subject. In common with stills mode, the camera provides options to tune continuous autofocus performance, so you can choose whether you want slow, cinematic focus pulls between subjects or quick, snappy ones trying to maintain focus on a moving subject.

Most of the OM-3's ports are made for video and are along the left side. That does mean you may occasionally struggle with the flip-out screen hitting the microphone cable.

The camera also has a variety of features that make recording video a bit easier. It has headphone and microphone jacks, which are vital if you want to get good audio, and a micro HDMI port – it's better than nothing, but anyone who makes a habit of outputting video through HDMI will almost certainly wish for the more robust full-size port. It can display two levels of zebra patterns, making it easy to spot when your highlights are clipping or are about to clip, a red frame recording indicator and the ability to use the front lamp as a tally light, and a view assist mode that gives you some idea of what your Log footage will look like when it's graded.

The OM-3 has several features that make recording video easier

The OM-3 supports 10-bit H.265 recording for Log and Hybrid Log-gamma HDR recording, which is where the extra bit-depth will be most useful. If you want to shoot footage using its standard color mode, you'll have to do it using 8-bit H.264 which comes with a penalty in detail – more on that in a moment...

Switching between photo and video modes using the dial is relatively easy, and both retain their own settings, so you won't have to constantly change your exposure parameters when shooting a mix of stills and video. You can also use the Creative Dial for video as well if you have the color mode set to "Same as Picture Mode," giving you access to the same color mode presets you've created for stills. However, if you've set the camera to use one of the video color modes, such as Flat, OM Cinema, or OM-Log, it will ignore the dial.

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The OM-3 has the same video system as the OM-1 and OM-1 II, which means that its 8-bit 4K H.264 modes deliver video with relatively good detail and that you won't pay any apparent penalty for going from 24p to 60p. However, like the OM-1, the OM-3's 10-bit H.265 video mode appears to offer a noticeable increase in detail in its 24p mode.

This doesn't carry over to 60p, though the bigger limitation is that you can only shoot in 10-bit mode when using the OM-Log400 or HLG color mode for HDR. That means that if you want the extra detail, you'll have to do some post-processing work.

For most use cases, the difference in detail will be very hard to discern when you're taking video of moving subjects, but it's something to be aware of if you intend to use the camera for serious video work.

Rolling Shutter

Given the OM-3's Stacked sensor, it's no surprise that its rolling shutter performance is strong across its modes.

Shooting Mode Crop Rolling Shutter Rate 4K 30p Full-width 5.8ms 4K 60p Full-width 5.8ms FHD 24p Full-width 5.8ms FHD 120p 1.27x 3.5ms

Its consistent rolling shutter rate of 5.8ms across its main video modes means that you'll essentially never have to worry about jello-like artifacting when shooting fast-moving subjects or panning the camera.

In use

It's clear a lot of thought has gone into the user experience – with some notable exceptions that we'll address shortly. The interface is sprinkled with small icons that let you know what you're doing, like the hearts and diamonds that let you know when you're shooting in electronic shutter or anti-shock mode. The menu also lends a helping hand, giving you explanations when settings are greyed out; for example, if a specific computational mode isn't available because of your shooting mode, the camera will just tell you that instead of leaving you to wonder.

The camera also has a great degree of customizability. You can change the function lever into a power switch, swap the dial directions depending on what you're used to, narrow down the CP menu options, and much (much) more. Perhaps that's not a surprise, given that second-system shooters are one of the main target audiences for this camera; being able to set it up to work like your main camera goes a long way to reducing the friction that often comes with switching between cameras.

OM System has built new features after adding the function lever and not gone back to update its behavior

This has long been one of the brand's calling cards, though it's not unlimited – OM System has continued to build new features after adding the function lever and not gone back to update its behavior. If you set it to change autofocus modes it only controls certain parameters, meaning newer AF functions can get ignored or overridden. For example, if you have switch position 1 set to continuous autofocus with tracking and position 2 set to be single autofocus, if then you activate subject recognition while in position 2 and switch to position 1, the choice of subject recognition over-rides the C-AF+Tracking mode.

The FN lever options are still extremely limited.

It feels like a missed opportunity. If the lever supported a wider array of settings, as the custom modes do, you could use it to switch between very different shooting styles. Instead, it's only useful in very specific situations, and you'll have to use the custom mode slots if you want to be able to quickly change between more sophisticated setups like subject recognition settings, your auto ISO minimum shutter speed, or focus limiters.

While we're discussing downsides, the lack of a joystick to control autofocus points was a disappointment, as we suspect it will be to anyone used to using one. However, OM System has made it so that each button on the four-way controller will start moving the autofocus point by default. You don't have to press a button to activate autofocus select mode before starting to move it. You can change this behavior if you want, using each direction as its own shortcut for other functions.

Using the camera's 25fps continuous shooting mode let us capture moments that would've been difficult to photograph with slower cameras.

OM System 100-400 F5-6.3 II | F6.3 | 1/250 sec | ISO 200
Photo: Mitchell Clark

Putting those complaints aside, though, it's just plain fun shooting at 50 or 120fps using a camera this compact, though it is worth noting that you can only do 50fps in the continuous autofocus mode with certain lenses. Many lenses, including the 100-400mm F5-6.3 IS II that launched alongside the OM-3, will be limited to 25fps in the continuous autofocus mode. For our birding outings, that was still a sufficient display of the power of a Stacked sensor, and while some competitors may be able to shoot faster than 25fps, their sensor readout rates will also be higher, likely leading to distortion from rolling shutter.

While the Creative Dial will likely delight those who love developing and playing around with 'recipes' for their JPEGs, the pre-programmed Color Profiles available through the dial weren't compelling enough that we found ourselves reaching for it all that often.

Color Profile 1 Color Profile 2 Color Profile 3 Color Profile 4 The camera comes pre-loaded with four color modes available via the Color setting on the Creative Dial. You can customize them however you want, but these are the defaults.

That's not true of the CP button, though. We used it almost every time we went out to shoot with the camera, and it became second nature to use the hand-held 50MP multi-shot mode since it was often only a button press away, helping you quickly access some of the modes that set the OM-3 apart from its peers.

One small detail that delighted us, to balance out some of the criticism: if the display is flipped out, the camera won't switch to the EVF if its sensors are blocked, preventing your jacket or shirt from making the monitor go blank while you're trying to compose your shot. Fans of waist-level shooting rejoice.

Conclusion Pros Cons

• Good image quality that can be improved with in-camera multi-shot
• Controls put best features front-and-center
• Super Control Panel quick to use
• Custom color / monochrome modes leave room for creativity
• Sensor allows for fast shooting with low rolling shutter
• Wide variety of computational photography modes
• Good degree of customization
• IP water resistance certification
• Excellent battery life

• Expensive compared to its slower peers
• Small, low-res EVF
• No autofocus joystick
• 50fps mode limited to certain lenses
• AF tracking isn't as accurate as best of its peers
• Some features and functions can't be assigned to custom buttons and switches

At times, it's been difficult to think about and write about the OM-3 on its own terms instead of analyzing what it means for OM System as a whole. The brand has been in an odd spot since it spun out from Olympus, with most of its releases being minor updates to Olympus models. While the OM-3 has a lot of that same DNA, it is arguably the first real new model we've seen from OM System, and the temptation is to talk about what that means for the company going forward.

Doing so, however, would feel unfair to the OM-3. Because on its own, it's a great little camera which manages to pack a lot of technology and features into a classic-looking body. What's more, it makes those features easily accessible; the color mode dial on the front invites you to tailor your images to your preferences and makes it easy to shoot in black and white on a whim. The Super Control Panel makes it easy to access your most important settings without diving into the menus, and the CP button gives you access to the entire bag of multi-shot tricks that have become OM System's calling card.

The OM-3 is a testament to the age we're in, where many photographers want a camera that looks great and where usability has replaced image quality as the main factor setting cameras apart. With that said, at this price, it's hard to completely ignore image quality; it doesn't help that there are several great competitors. If you're looking to spend $2,000 on what will be your only camera, there's a compelling argument that you should pick up an APS-C camera and a decent standard zoom for around the same price. They won't shoot as fast as the OM-3, but they can still manage speeds that will be sufficient for most situations.

That does mean that the OM-3 is a bit of a niche camera; you'll have to want the flagship-tier performance that comes with a Stacked sensor while being okay with giving up some light-gathering ability. It's that limited appeal, along with its autofocus system that doesn't quite match the state of the art, and the small papercuts of some features being restricted to certain lenses and customization limitations, that keep it from getting Gold.

I usually wouldn't consider bringing a camera with a 200-800mm equiv. lens on a walk, but with the OM-3 and the 100-400mm F5.0-6.3 II announced alongside it, it wasn't really a burden.

OM System 100-400mm F5.0-6.3 II | F5.8 | 1/60 sec | ISO 250
Photo: Mitchell Clark

However, it earns its silver by being really, really good for its niche. If you're willing to give up some light-gathering ability, you'll get a camera that you can take almost anywhere to do almost anything, all while staying stylish in the process.

It seems especially well-suited for travelers since its blistering shooting speeds and relatively reliable autofocus mean you'll be able to capture subjects no matter how fast they are, and you won't have to dedicate an entire carry-on to lenses, even if you want to bring a few. And when the pace slows down, you can use the multi-shot modes to get some of that image quality you gave up back, or to capture a beautiful sunset, even if you didn't remember to pack a physical graduated ND filter.

Buy now:

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

OM System OM-3Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe OM-3 is a camera that's small enough to go anywhere, with enough speed and computational tricks to capture almost any subject you'll come across.Good forTravelers who may encounter anythingNot so good forShooters that need maximum image quality86%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"omsystem_om3","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Canon EOS R7 has a decidedly different form factor than the OM-3, with its deep grip, AF joystick, and dual card slots. It also doesn't allow for the same level of customization, and while the lineup of APS-C lenses for RF mount is improving, telephoto options are still a bit of a weak point, which is definitely not the case for Micro Four Thirds. The EOS R7 has some of the most simple and dependable stills autofocus in its class, and would likely nab you a few more tack-sharp shots than the OM-3 in most situations.

The Fujifilm X-T5 has similar SLR-throwback styling, as well as a very competitive selection of lenses. However, it can't shoot nearly as fast, and its X-Trans color filter means that its 40MP images won't quite offer the improvement in detail that you'd expect, given the pixel count delta between it and the OM-3. Fujifilm's tracking autofocus performance also isn't quite as good as OM System's, though its performance in subject recognition mode works well, and it lets you use tracking without turning off subject recognition. The X-T5 also has a substantially nicer viewfinder.

The Panasonic Lumix DC-G9 II is a close competitor to the OM-3, offering a similar number of computational modes. It's noticeably larger and heavier – it uses a body borrowed from Panasonic's full-frame S5 II – and has notably worse battery life, making it a less compelling travel companion. However, if you shoot a lot of video, the G9 II is almost certainly the better buy, with its open-gate support, full-size HDMI, a broader range of codecs, and tools like waveforms, vectorscopes, shutter angle settings and more.

The main advantage of the Nikon Zf over the OM-3 is the pure image quality improvements of a full-frame sensor, at the cost of substantially slower shooting and significantly larger body/lens combinations that also hurt its packability. Its autofocus system is easier to use, as you won't have to choose between tracking and subject recognition. Despite its retro aesthetics, the Zf is quite capable for video, but can't manage full-width at 4K/60p like the OM-3 can, and will have substantially worse rolling shutter. While Nikon's full-frame lens lineup is becoming pretty robust, your options will also be bigger, heavier, and more expensive than their Micro Four Thirds equivalents, again making it less appealing for travelers.

Sample gallery

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OM System has announced the the M.Zuiko Digital 17mm F1.8 II and the M.Zuiko Digital 25mm F1.8 II primes. Both are refreshed versions of existing lenses, maintaining the same optical formulae in both instances.

The 17mm F1.8 II gains a degree of weather sealing, earning the IPX1 ingress protection rating. This is a pretty low rating, indicating that it hasn't been tested for dust/particle ingress and that vertically falling drops of water shouldn't have a negative effect. OM System describes this as "splash-proof and dust-resistant" but it comes at the cost of the removal of the manual focus clutch: a retractable ring that switched the focus mode when used on Olympus/OM System cameras.

As with the previous version the 17mm F1.8 II offers a 34mm equiv field of view and is constructed using nine elements in six groups, including two aspherical elements and a high refractive index element.

Diagram showing the sealed points on the OM System M.Zuiko Digital 17mm F1.8 II, hinting at the challenges required to achieve an IPX1 rating with the moving focus switch ring on the older design.

Rendering: OM System

The Mk II lens also gains OM System's 'ZERO' anti-reflective coating. Removing the focus clutch ring reduces the weight from 120g (4.2oz) to 112g (4.0oz). Other than this, it's the same as before, with the minimum focus distance and, presumably, the sharpness, unchanged.

There's less change with the 50mm-equiv M.Zuiko Digital 25mm F1.8 II. The Mk I had no focus clutch/switch, so in this instance the updated weather sealing (to IPX1) makes the new lens heavier. The Mark II weighs 156g (5.5oz), rather than the 136g (4.8oz) of the 2014 version.

It too keeps the existing arrangement of nine elements in seven groups, including two aspherical elements.

Both lenses will be available from late February 2025. The OM System M.Zuiko Digital 17mm F2.8 II will sell for a recommended price of $550, up $50 on the 2012 prive, while the OM System M.Zuiko Digital 25mm F1.8 II will have a recommended sales price of $500, up $130 over 2014's Mk 1 launch price.

Press release:

OM SYSTEM Expands Prime Lens Lineup with the Splash & Dust-Proof M.ZUIKO DIGITAL 17mm F1.8 II and 25mm F1.8 II

Versatile Lenses Designed for Landscapes, City Snapshots, and Portraits

BETHLEHEM, PA, February 6, 2025 - OM Digital Solutions proudly announces the launch of two premium prime lenses, the M.ZUIKO DIGITAL 17mm F1.8 II (35mm equivalent: 34mm) and M.ZUIKO DIGITAL 25mm F1.8 II (35mm equivalent: 50mm). Developed for the OM SYSTEM lineup and compliant with the Micro Four Thirds System standard, these lenses will be available for purchase beginning in late February 2025.

Designed to combine exceptional imaging performance with robust splash and dust-proof durability, the 17mm F1.8 II and 25mm F1.8 II are compact and lightweight, making them the perfect companions for photographers on the go. With their wide f/1.8 apertures and versatile focal lengths, these lenses are well-suited for capturing stunning landscapes, dynamic cityscapes, and striking portraits.

The combination of cutting-edge optical technology, intuitive handling, and weather-sealed construction makes these lenses invaluable tools for photographers seeking creative flexibility and uncompromising reliability.

Key Features of the M.ZUIKO DIGITAL Prime Lens II Series: M.ZUIKO DIGITAL 17mm F1.8 II

• Wide-angle lens with a large-diameter f/1.8 aperture for stunning bokeh and
  pan-focus capabilities
• IPX1-rated splash-proof performance and dust-proof design for reliable
  performance in challenging environments

M.ZUIKO DIGITAL 25mm F1.8 II

• Standard focal length lens with natural perspectives and exceptional imaging quality
• Compact, IPX1-rated splash-proof performance and dust-resistant design for enhanced portability and
  durability

The combination of cutting-edge optical technology, intuitive handling, and weather-sealed construction makes these lenses invaluable tools for photographers seeking creative flexibility and uncompromising reliability.

Pricing & availability for OM SYSTEM M.ZUIKO DIGITAL Prime Lens II Series: M.ZUIKO DIGITAL 17mm F1.8 II

The M.ZUIKO DIGITAL 17mm F1.8 II Lens will be available beginning in late February 2025, at a suggested retail price of $549.99 (US)/$769.99 (CAD).

M.ZUIKO DIGITAL 25mm F1.8 II

The M.ZUIKO DIGITAL 25mm F1.8 II Lens will be available beginning in late February 2025, at a suggested retail price of $499.99 (US)/$699.99 (CAD)

OM SYSTEM M.ZUIKO DIGITAL Prime Lens II Series Features & Technology Detail M.ZUIKO DIGITAL 17mm F1.8 II

The 17mm F1.8 II lens delivers superb optical performance in a compact, lightweight body measuring just 37.6 mm in length and weighing 112 g. It features a high-precision configuration of nine elements in six groups, including a DSA (Dual Super Aspheric) lens and HR (High Refractive index) lens. The ZERO (Zuiko Extra-low Reflection Optical) coating reduces ghosting and flaring, ensuring crisp, clear images even in challenging lighting conditions.

• Creative Aperture Control: The wide f/1.8 aperture allows for stunning bokeh effects, making subjects stand out, while the deep depth of field typical of wide-angle lenses enables sharp focus across the entire frame, from foreground to background.
• Weather-Resistant Durability: With IPX1-rated splash-proof performance and dust-resistant design, photographers can confidently shoot in adverse weather without worrying about their equipment.

M.ZUIKO DIGITAL 25mm F1.8 II

This standard focal-length lens, with a natural 50mm1 equivalent angle of view, replicates the perspective of the human eye. Its optical design includes nine elements in seven groups, featuring two aspherical lenses for optimal performance. The lightweight metal construction measures just 42 mm in length and weighs only 156g.

• Versatile Everyday Lens: Perfect for still life, snapshots, and portraits, its bright f/1.8 aperture ensures sharp low-light performance and beautiful bokeh for creative compositions.
• Reliable in Any Setting: With IPX1-rated splash-proof performance and dust-resistant design, photographers can focus on their craft in any environment, from rainy streets to rugged outdoor adventures.

Designed for Every Photographer

Both lenses offer fast, quiet autofocus (AF) thanks to a MSC (Movie & Still Compatible) mechanism. Combined with the high-performance image stabilization of OM SYSTEM camera bodies, these lenses make capturing sharp, professional-quality stills and videos effortless.

These lenses are essential tools for photographers seeking portability, durability, and creative flexibility.

Related Accessories

LH-49B Lens Hood (bundled or sold separately): Reduces unwanted light in backlit scenes and protects the lens.
Suggested retail price: $46.99 (US)/$62.99 (CAD)

LC-46 Lens Cap (bundled or sold separately): Provides protection for the lens element.
Suggested retail price: $7.99 (US)/$10.99 (CAD)

PRF-D46 PRO Protection Filter (sold separately): Offers additional protection for the front lens element.
Suggested retail price: $66.99 (US)/$89.99 (CAD)

LSC-0811 Lens Case (sold separately): Designed for secure storage and transportation.
Suggested retail price: $26.99 (US)/$35.99 (CAD)

MCON-P02 Macro Converter (sold separately): Designed to enhance close-up capabilities of the lens.
Suggested retail price: $9.99 (US)/$9.99 (CAD)

1. 35mm equivalent

OM System M.Zuiko Digital 17mm F1.8 II & M.Zuiko Digital 25mm F1.8 II specifications  OM System M.Zuiko Digital 17mm F1.8 IIOM System M.Zuiko Digital 25mm F1.8 IIPrincipal specificationsLens typePrime lensMax Format sizeFourThirdsFocal length17 mm25 mmImage stabilizationNoLens mountMicro Four ThirdsApertureMaximum apertureF1.8Minimum apertureF22Aperture ringNoNumber of diaphragm blades7Aperture notesCircular aperture diaphragmOpticsElements9Groups67Special elements / coatings2 Aspherical, HR glass element2 aspherical elementsFocusMinimum focus0.25 m (9.84″)0.24 m (9.45″)Maximum magnification0.08×0.12×AutofocusYesMotor typeMicromotorStepper motorFull time manualYesUnknownFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight112 g (0.25 lb)156 g (0.34 lb)Diameter58 mm (2.28″)56 mm (2.2″)Length36 mm (1.42″)41 mm (1.61″)MaterialsMetalSealingYesFilter thread46 mmHood suppliedYesHood product codeLH-49BTripod collarNo

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OM System is keeping things exciting with a handful of announcements all at once. Along with a new camera (the OM-3) and an updated set of prime lenses, it also revealed the M.Zuiko Digital ED 100-400mm (200-800mm equiv.) F5.0-6.3 IS II lens. The update to its super-telephoto zoom lens offers some subtle yet worthy changes, especially for those taking the lens into the great outdoors.

One of the biggest changes is that the new version is Sync IS compatible, allowing the lens's stabilization system to be co-ordinated with in-body stabilization for improved motion correction.

In addition, the 100-400mm F5.6-6.3 lens gains improved weather sealing. It now offers an IPX1 rating for protection against water. OM System has billed itself as a rugged option for adventure-loving photographers, so it makes sense that it would work to provide better build quality on its lenses. It also added a new fluorine coating to the front elements to help keep it clear of water, dust, and fingerprints.

The tripod collar features a hinging design, making it easier to take off and on.

Image: OM System

Beyond weatherproofing, OM System reduced the new version's weight to 1,300g (2.8 lbs) with the tripod adapter on and 1,125g (2.5 lbs) without the tripod collar. That's a weight saving of 25g (0.9oz) compared to the original model, which, while not much, can make a difference when slogging through the backcountry. The tripod collar also features a hinged design, so you can remove it without needing to take the lens off the camera.

The OM System M.Zuiko Digital ED 100-400mm F5.0-6.3 IS II lens will be available on February 27 for $1,500.

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Our own samples taken with the updated 100-400mm F5.0-6.3 IS II can be found in our OM System OM-3 sample gallery.

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Press release:

Introducing the OM SYSTEM M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II

A Super Telephoto Zoom Lens with 5-axis Sync IS for Powerful Handheld Photography

BETHLEHEM, PA, February 6, 2025 - OM Digital Solutions is thrilled to announce the M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II lens, a high-performance super telephoto zoom lens designed exclusively for the Micro Four Thirds System. Engineered for photographers who demand precision, reliability, and portability, this compact and lightweight lens empowers users to capture stunning images in the most challenging
environments. The M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II lens will be available for purchase beginning in late February 2025.

Offering a focal length range of 200-800mm (35mm equivalent) and compatibility with the MC-20 2X teleconverter, extending the reach up to an impressive 1600mm, this lens delivers unparalleled versatility for bird and wildlife photography. Its 5-axis sync IS system offers up to 7.0 steps of shutter speed compensation, ensuring crisp, steady handheld shots even at extreme magnification. Built with an IPX1-rated splash-proof performance and dust-resistant design, this lens is designed to thrive in demanding outdoor conditions, making it the ultimate tool for capturing the beauty of nature.

Key Features of the M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens:

• Unrivaled Reach: A compact, lightweight super telephoto zoom lens equivalent to 200-800mm on its own, extending to 1600mm with the optional MC-20 2X teleconverter.
• Advanced Image Stabilization: Supports 5-axis sync IS for exceptional handheld shooting with up to 7.0 steps of shutter speed compensation.
• Reliable All-Weather Durability: IPX1-rated splash-proof performance and dust-resistant design, plus a fluorine-coated front element for worry-free use in the toughest conditions.

With its cutting-edge technology and robust construction, the M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II lens redefines possibilities for wildlife and outdoor photographers.

Pricing & availability for OM SYSTEM M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens

The M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens will be available beginning in late February 2025, at a suggested retail price of $1,499.99 (US)/$2,099.99 (CAD).

Detailed product specifications for the OM SYSTEM M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens

Please see the OM SYSTEM website: Product Details & Specifications

OM System M.Zuiko Digital ED 100-400mm F5.0-6.3 IS II specifications Principal specificationsLens typeZoom lensMax Format sizeFourThirdsFocal length100–400 mmImage stabilizationYesCIPA Image stabilization rating7 stop(s)Lens mountMicro Four ThirdsApertureMaximum apertureF5–6.3Minimum apertureF22Aperture ringNoNumber of diaphragm blades7OpticsElements21Groups15Special elements / coatings4 ED, 2 Super HR, 2 HR elements, flourine coatingFocusMinimum focus0.25 m (9.84″)Maximum magnification0.08×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterYesPhysicalWeight1300 g (2.87 lb)Diameter86 mm (3.39″)Length206 mm (8.11″)MaterialsMagnesium alloySealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockYesFilter thread72 mmHood suppliedYesTripod collarYes