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Out-of-camera JPEG. 50mm equiv. crop.

F4 | 1/450 | ISO 80
Photo: Mitchell Clark

This week, Fujifilm announced the GFX100RF, a 102MP medium format camera with a fixed 28mm equiv. F4 lens. The sensor will be familiar to those who've seen samples from the GFX100 S II or GFX100 II, but the lens is an interesting factor – the company says it put a lot of engineering work into it in order to make it as compact as it is.

You can get a feel for what kind of results it produces from the samples we took with our pre-production unit. We were lucky enough to get to test the camera out in a variety of locals; many of the pictures are from Prague, as Fujifilm flew us out for its X Summit and Fujikina event, but there are also images from London, Paris and, of course, Washington.

We've added some new photos taken since our initial review went up, including ones taken using a tripod to remove hand shake as a limiting factor on resolution.

See the 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; we do so in good faith, so please don't abuse it.

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Earlier this week, Fujifilm announced the GFX100RF, a fixed-lens camera featuring the 102MP medium format sensor from cameras like the GFX100 II and GFX100 S II. We've been able to spend some time with it and put together a first look video for those who want a quick overview of the camera.

Of course, if you want something more in-depth, you can check out our initial review using the link below. It may be worth reading even if you're not in the market for a $4900 camera, as the GFX100RF is, at the very least, a camera with a strong focus on photography that's doing a lot of things differently.

Read the initial review

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Images: Godox, Tilta and Think Tank

Happy weekend, everyone! This week was fairly busy in terms of announcements. The most notable, of course, was the Fujifilm GFX100RF fixed-lens medium format camera. There were also plenty of accessories, too. But before diving into those, here are the deals we spotted this week.

Pro-grade goodness Photo: Richard Butler

The Canon EOS R3 was released in 2021, so it is getting a bit long in the tooth for modern camera standards. However, it's an impressive device that's well-positioned for sports and wildlife photography thanks, in part, to its advanced Eye Control AF. Making it even better right now is the fact that it's currently $1000 off, bringing it to the lowest price I've ever seen.

Buy now:

Buy at Amazon.comBuy at B&H PhotoBuy at MPB A classic focal length Image: Sony

A 50mm prime is a great lens to have in any kit. Sony's FE 50mm F1.4 GM is a lighter, more affordable alternative to the F1.2 GM version. It still offers plenty of quality, though, and hits the sweet spot for most photographers. In fact, it earned Honorable Mention in the 2023 DPReview Annual Awards. This capable lens is $100 off right now at multiple retailers.

Buy now:

$1198 at Amazon.comBuy at B&H Photo Godox goodies Image: Godox

Lights seem to be a constant trend here in the accessory roundup lately, and that continues this week. Godox has recently released two different lights. First up is the Godox ML100R, the successor of the ML100Bi. It is a compact, lightweight, full-color LED video light meant for content creators and vloggers. It offers temperature ranges from 1800K to 10,000K and is equipped with the Godox Mount, making it compatible with a wide range of compact modifiers.

Buy at Godox Buy at B&H

Godox also announced the M1000R full-color LED light, a more powerful light for film, broadcast and video production. It delivers 1000W in a lightweight package and offers a color temperature range from 1800K to 10,000K. The light is IP54-rated as well, providing more protection when shooting outside.

Buy at Godox Buy at B&H Get a grip Image: Tilta

The new Tilta Fujifilm X-M5 Cage is a lightweight option for X-M5 cameras that adds an L-bracket with a built-in walnut handgrip, an Arca-Swiss quick-release plate and a vintage-looking hot shoe thumb grip. It also comes with two leather strap attachments (not a strap), adding to the vintage appeal. Plus, the kit comes in a unique and vintage-looking metal gift box complete with a postage-style wrap.

Buy at Tilta Carry your gear Photo: Karen Lane featuring Nicole Chan

Think Tank Photo has announced a new lineup of backpacks. The Walker Pro Backpacks come in 16L, 24L and 30L capacities, providing plenty of room for gear. Each features a dedicated laptop sleeve, trolley handle pass-through, multiple attachment points for tripods and plenty of pockets for water, snacks and accessories.

Buy at Think Tank Buy at Amazon Buy at B&H A free resource Image: Blackmagic Design

Here's an accessory of sorts that's totally free. Blackmagic Design has released a free, 684-page step-by-step training guide for DaVinci Resolve 19. The Beginner’s Guide to DaVinci Resolve 19 is aimed at new and experienced users of the powerful video editing software. It walks users through all of the tools available in DaVinci Resolve, including video editing, color grading, audio enhancement and visual effects. The guide uses a project-based approach, giving you hands-on experience while working through the lessons. You can download the PDF from the Blackmagic Design website.

A new analog format

Finally, this week's video is all about innovation. Ethan Moses, also known as Cameradactyl, has crafted numerous unique cameras and remixes of famous formats. He has built a 20x24-inch instant camera, a 3D-printed 4x5 field camera and so much more. Most recently, he's created a new format called the Cameradactyl Master System, which uses color photo paper that is exposed in-camera in a roll format. The video walks through the new process along with some of Ethan's other ambitious projects. It's a fascinating look at some truly wild cameras and processes.

It's easy to get caught up in the gear side of things with photography, but at its core, regardless of equipment, the medium can be a powerful tool for finding healing, hope and joy. Emmy-nominated filmmaker and photojournalist Ilie Mitaru explores this theme in his recent documentary, First Frames.

The documentary follows photographer Serbest Salih and his mobile darkroom project, Fotohane Darkroom. With his darkroom, Salih teaches analog photography to children in displaced and overlooked communities across Turkey. These children face significant challenges, including limited access to education and displacement due to the devastating twin earthquakes that struck Turkey on February 6, 2023. Mitaru specifically didn't portray them as victims, however, instead showing how they are fully complex human beings with agency over how they respond to their situation.

Salih is a refugee himself, coming to Turkey in 2014 when ISIS attacked Syria. Despite knowing multiple languages, he found photography to be a crucial communication tool. "Photography was like its own language, a universal language," Salih explains. "Analog photography is like a form of therapy. And little by little, I felt it helping me, healing me."

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. A selection of behind-the-scenes images and stills from the documentary. Photos provided by Ilie Mitaru.

While the documentary highlights Salih and his teaching, it is primarily about the children and unfolds from their perspective. The film even includes video clips taken by the children, giving them some control over the narrative. "Children show us the world,” Salih says during the film. "We just have to provide them with the tools, and they show us."

The children featured share their experiences, explaining why they are taking photos and how learning photography has impacted their lives. "I love the feeling I get when I'm taking pictures. I clear my mind and focus on the one thing I'm supposed to do," 11-year-old Yusuf Emir says. "Art helps us see the world from different perspectives. It offers comfort. That's why taking pictures contributes so much to our lives." Those are wise words from an 11-year-old and a worthy reminder of how powerful photography can be.

You can read more about the project at WePresent and see more of Mitaru's work on his website.

Magnum Photos, a cooperative agency since 1947, boasts an extensive photographic archive covering a vast range of global events. Naturally, much of that collection is film, with images that haven't seen the light of day in some time. The agency aims to address this with its newly launched "A World in Color" project, aiming to digitize its Paris color library archive.

The French color library, housed in the historic Saint-Cyr Fort in Paris's suburbs, contains over 43,000 slide sheets—approximately 650,000 color slides—from the 1950s to the early 2000s. Organized by country, theme, and personality, these images provide a valuable historical record of the second half of the 20th century.

Photo: Magnum Photos

Some of the slide cabinets have remained untouched for 20 years, potentially holding surprises. The French color library represents the lesser-seen works of Magnum's members, including images from the foundational years of photography, making digitization and preservation particularly meaningful. "Our commitment to preserving this unique photographic heritage ensures it remains an invaluable resource, honoring the past while inspiring future generations to learn from and build upon this vibrant visual history,” notes Marine Merindol, Chief Operating Officer at Magnum Photos.

The project is supported by Magnum's long-term partner, Fujifilm, and the Médiathèque du Patrimoine et de la photographie (MPP). With that support, the Magnum Archive and Production teams will digitize each sheet of color slides to identify and index every image. Given that Fujifilm is a partner for the project, it shouldn't be much of a surprise that the digitization process will happen with the Fujifilm GFX 100 II medium format camera.

Photo: Magnum Photos

The Magnum teams will work through the collection country by country, starting with a focus on Europe. Each month, they will share a new selection of images from a different country. The first batch highlights Czechia, featuring images from the 1960s to the 1990s, including the Soviet Union invasion in 1968 and the Velvet Revolution in 1989. "As a counterpart to Josef Koudelka and Ian Berry’s iconic black-and-white images from the Prague Uprising in 1968, the archive now reveals a new perspective in color from Marilyn Silverstone, a year after she became one of the first five women to join Magnum as a Member," explains Magnum. There are also images by Elliott Erwitt, Thomas Hoepker, Marc Riboud and more.

You can follow along on the Magnum website or its social media platforms. In addition to the online content, Magnum will be hosting six in-person events across Europe as part of Fujifilm’s Fujikina events, starting with Prague, where Fujifilm just hosted an event to announce the GFX100RF. The Prague event is on display from March 22–23, with images curated by Magnum photographer Rafał Milach.

MAGNUM PRESENTS: A WORLD IN COLOR

Magnum Photos embarks on a historic project to digitize the agency’s Paris color library archive, which has remained dormant for decades.

Stored away at the historical Saint-Cyr Fort in the suburbs of Paris lies Magnum’s colossal French color library archive. Over 43,000 slide sheets, totaling approximately 650,000 color slides dating from the 1950s to the early 2000s, are estimated to be held there. Classified by Country, Theme and Personality, many of these images have remained, until now, unseen to the public eye. Revisiting the unexplored cabinets today is a step back into the workings of Magnum Photos as an agency in the pre-digital age, as well as a historical visual record of the second half of the 20th century.

Preserving the Magnum Archive

In January 2025, Magnum Photos began the monumental project of digitizing the color library archive, both as a step to preserve Magnum’s legacy for future generations and to unearth the unseen color images that have been hidden away for decades. With the support of long-term partners Fujifilm and the Médiathèque du Patrimoine et de la photographie (MPP), the Magnum Archive and Production teams will revisit the full archive and digitize each sheet of color slides, before identifying and indexing the unseen images, ensuring that they are preserved correctly for future generations.

An Invitation Behind the Scenes

Working country by country, the teams will begin by focusing on Europe, home of the color archive. Throughout the year, Magnum invites the public to join them behind the scenes in the digitization process, using the Fujifilm GFX 100 II medium-format digital camera. Every month, a new selection of unseen images will be unveiled, each reveal focusing on a different country. Six unique in-person activations will also take place across Europe as part of Fujifilm’s FUJIKINA events, giving the public the opportunity to discover a further selection of curated unseen images, as well as the physical slide sheets themselves, with the original photographer and editor annotations preserved. Beginning in March with Czechia, this year will also see exclusive reveals of unseen images from Italy, Belgium, the UK, France, Germany, and more, with aspirations to move beyond Europe and to the United States in 2026.

A Visual Time Capsule

The color archive has aged to represent a time capsule — a portal back to the second half of the 20th century, with many of the cabinets remaining untouched for over 20 years. The images revealed through this project represent the power of photography to bring the past to life, but they also revisit the lesser-seen archives of Magnum’s photographer Members, and the foundational years in the history of photography itself.

"With A World in Color, we celebrate a visual treasure trove too often overlooked: the color slides from Magnum’s vast archives. Developed in collaboration with Fujifilm and MPP, this project transforms the archive into a wellspring of opportunity — enhancing its value across press, editorial publications, and cultural partnerships. By uncovering unseen material, we open new doors for storytelling, collaboration, and creative exploration. Our commitment to preserving this unique photographic heritage ensures it remains an invaluable resource, honoring the past while inspiring future generations to learn from and build upon this vibrant visual history." writes Marine Merindol, Chief Operating Officer at Magnum Photos.

"We are very excited to know that some of the 650,000 images will now be brought to light and available to the public. This opens up an incredible window into the world and into our past — helping us understand our present. We would like to thank our partners for their interest and support, well as their solid contribution to our visual archive, which belongs to all of us." writes Emin Özmen, vice president of Magnum’s longstanding Paris office.

A New Chapter for Magnum and Fujifilm

A World in Color marks a new chapter for the long-term collaboration between Magnum and Fujifilm, offering the photographic community a rare glimpse into the unseen images of Magnum’s color archive, as well as a newly commissioned, exclusive series by Magnum photographers for each country, made in response to the archive, and shot using the Fujifilm GFX camera.

A series of exhibitions and talks will take place in six European countries throughout the year with Fujifilm’s traveling FUJIKINA global events, starting in Prague in March. Each exhibition, unique to that country, features unseen images from the same geography, tracing its history and culture during the 20th century, alongside the new series made in response to the archive. The Magnum photographer commissioned for each country will be present throughout the weekend, and will give a talk around their practice.

"This new collaborative series with Magnum Photos is key to our mission of contributing to the production and history of photography as it develops over the decades. No camera can shoot the past, and our inability to turn back time is central to the human desire to capture moments and memories through photography today. We are excited to be part of this project, which by using our GFX technology to digitize Magnum’s color library archive, we feel that we are helping to record a moment of history before it is lost — both the history of the countries we will be visiting with our FUJIKINA global events, and the history of photography," writes Kunio Aoyama, General Manager of Fujifilm Europe.

Chapter One: Czechia

The first drop of unseen images will be published on the Magnum website (magnumphotos.com) and social media platforms on March 17. The selection zooms in on Czechia from the 1960s to the 1990s, featuring two pivotal post-war events: the Soviet Union invasion in 1968 and the Velvet Revolution in 1989. As a counterpart to Josef Koudelka and Ian Berry’s iconic black-and-white images from the Prague Uprising in 1968, the archive now reveals a new perspective in color from Marilyn Silverstone, a year after she became one of the first five women to join Magnum as a Member. Images by Elliott Erwitt, Thomas Hoepker, Marc Riboud, and more follow suit, documenting the dawn of a new era following the Velvet Revolution — a visual journey from the deep reds of communism to the vivid blue, red and white of the independent Czech flag, now seen in striking color.

To launch the series of in-person events across Europe, the first FUJIKINA will take place in Prague from March 22–23, with Czechia as the focus. Curated by Magnum photographer Rafał Milach, the exhibition will present 10 unseen images and a number of slide sheets from the Magnum color library archive. Milach, in response to his findings in the color library archive, has also made a new series of 10 images in Czechia using a Fujifilm GFX camera, and will be hosting a talk during the weekend. Further FUJIKINA events will take place throughout the year in Milan, Brussels, London, Arles, and Germany.

Visit https://store.magnumphotos.com/pages/a-world-in-color or connect with Magnum Photos on Instagram to follow the digitization project in real-time and be among the first to discover the drop of unseen images each month.

Photo: SmallRig

Earlier today, Fujifilm announced the GFX100RF, a fixed-lens medium-format camera. There's plenty of excitement over the camera, but those interested will have to wait a little longer, as it isn't available for purchase until the end of April. However, accessory maker SmallRig has already announced cage kits for the GFX100RF, so you can get your cage or case before the camera even arrives.

SmallRig offers two different kits in two colors for the GFX100RF. The more minimal option includes an L-shaped mount plate with a dual-sided wooden grip. Unfortunately, the grip's back thumb pad portion is a separate piece that attaches with 3M adhesive. The baseplate offers Arca-Swiss quick-release plate compatibility and easy access to the battery compartment, card slot, and focus controls. It's available with either a black or silver L-shaped plate, though the wood is the same color with both. The kit includes a concave shutter button cap, though it doesn't come with a strap of any sort.

Photo: SmallRig

SmallRig also released a leather case kit for the GFX100RF, available in black or brown. The leather case covers the bottom portion of the camera, though retains full access to the battery card compartment, focus controls and card slot. It features a front foam handle, and, like the kit above, a separate back thumb pad that requires attachment with a 3M adhesive strip. A microfiber lining helps provide a snug fit on the camera and should also help protect it from scratches. It comes with a matching leather shoulder strap with an adjustable length of 100-110cm (3.3-3.6') and a concave shutter button cap.

Both kits are now available for pre-order and are expected to ship on April 15. They are each priced at $70, though you can get $10 off with the discounted early-bird pricing.

Pre-order now: Buy at SmallRig

Graphic: Leica

Leica has announced that the L-Mount Alliance is growing. Chinese lens and accessory maker Sirui (pronounced "Sue-Ray") is joining the alliance, becoming the ninth company to do so. The addition of another lens maker means more options for those who use L-mount cameras.

Sirui is perhaps best known for its reasonably priced anamorphic lenses, which offer a morte affordable route to cinematic looks than traditional options. The company already has a fairly healthy lineup of lenses in multiple series. That includes the relatively new Aurora series, which currently only features the Aurora 85mm F1.4, the company's first full-frame autofocus lens. More recently, Sirui launched the Vision Prime Series, a lineup of full-frame cine lenses. Outside of lenses, the company also makes a few tripods and lighting options.

For its part, Sirui says it is "set to significantly enhance the L-Mount Alliance lens ecosystem." The lens maker already offers four L-mount lenses: two cine lenses and two anamorphic lenses. Joining the L-mount Alliance means that more are on the way, and, given what Sirui currently makes, it should add greater variety to the L-mount lineup. "Our aim is to introduce a broader range of outstanding, high-value L-mount lenses to the market," said Li Jie, Founder and CEO at Sirui Optical.

Leica, Sigma, and Panasonic are current members of the L-mount Alliance producing L-mount lenses, but none of those offerings are anamorphic lenses. Plus, while there are options that work well for cinematography, none are dedicated cine lenses. Given that Blackmagic Design joined the alliance in 2023, it is likely a welcome addition to have the promise of more cine lenses on the way. The two companies didn't share any specific product announcements along with the reveal of the partnership, though, so only time will tell what will eventually be on the table.

SIRUI joins the L-Mount Alliance and utilizes the L-Mount standard developed by Leica Camera AG in future product development

Teaneck, March 20th, 2025. As a new member, SIRUI is the 9th company to join the L-Mount Alliance since the public announcement of the L-Mount standard at Photokina in 2018. The alliance consists of founding members Leica Camera AG, SIGMA, and Panasonic, as well as Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, and Blackmagic Design. This collaboration enables SIRUI to develop products with the L-Mount, which will present great benefits for a wide range of photo and video applications.

The L-Mount was developed by Leica Camera AG with the aim of providing customers with a future-proof, flexible, robust, and precise bayonet mount that would fulfil even the most demanding photographic needs. Since its initial appearance, development of the L-Mount was continued by Leica as well as by its strategic partners. This led to significant improvements and an effectively new and more polished L-Mount technology, resulting in an ever-growing portfolio of cameras and lenses from all existing and new alliance partners. All lenses made for the different systems within the L-Mount Alliance can be used on all cameras without adapters and without any functional limitations – this illustrates one of the numerous benefits of the common bayonet.

Valentino Di Leonardo, Managing Expert Technology & Licensing at Leica Camera AG: “The L-Mount Alliance stands for openness, innovation, and the highest quality in photography. By welcoming SIRUI as a new member, we are not only expanding our network with another strong partner but also reinforcing our commitment to diversity and fresh impulses within the ecosystem. SIRUI brings new perspectives and expertise to the Alliance, enriching the L-Mount system with forward-thinking approaches. Together, we aim to provide photographers and filmmakers with an even more comprehensive and flexible system that meets the highest standards.”

Li Jie, Founder and CEO at SIRUI Optical: “SIRUI is a globally recognized brand in optical imaging, offering a diverse product lineup that includes optical lenses and photography and videography equipment. Our company operates with its headquarters in China and has subsidiaries in the United States, Germany, and Japan. With its in-house optical R&D and manufacturing facilities, SIRUI has established a fully integrated system encompassing research, production, and sales, with a distribution network spanning over 60 countries and regions worldwide. By leveraging its proprietary brand, independent technological innovations, vertically integrated supply chain, and cost advantages, SIRUI is set to significantly enhance the L-Mount Alliance lens ecosystem. Our aim is to introduce a broader range of outstanding, high-value L-mount lenses to the market.”

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Product Photos: Richard Butler

The Fujifilm GFX100RF is a 100-megapixel medium format digital camera with a fixed 28mm equivalent F4 lens.

Key features

• Medium format (44 x 33 mm) 102MP sensor
• 35mm (28mm equiv) F4 lens w/ leaf shutter
• 5.76M dot OLED EVF
• Weather sealed when using filter ring and filter (included)
• Subject recognition autofocus
• Aspect ratio dial
• 3.2" tilting rear touchscreen
• 4K video up to 30fps
• Built-in 4EV ND filter
• 14 film simulations

The GFX100RF will retail for $4899 and will be available starting April 24th. It will come in either black or black and silver, and includes a braided strap, filter ring, filter and a color-matched square lens hood.

Buy now:

Buy at B&H Photo Index:

• What's new
• How it compares
• Body and handling
• Initial impressions
• Sample gallery
• Specifications
• Press Release

What's New Fixed lens medium format body

The GFX100RF occupies a new space in Fujifilm's lineup and comes with a new design. It's essentially the long-rumored 'medium format X100,' in that it takes the formula of classic styling, direct controls and a wideangle prime lens permanently mounted on the front.

Don't take the rangefinder implications of the letters 'RF' too seriously though: this is essentially the world's most ambitious compact camera, lacking not just a rangefinder but also the X100/X-Pro hybrid viewfinder that gives the appearance of a classic rangefinder camera. Instead, the RF's EVF is a relatively standard 5.76M dot affair located in the top left corner of the back of the camera.

While the body is nowhere near as large as the interchangeable lens GFX cameras, it still has a lot of presence. You'll never forget that you have it on you and would be hard-pressed to fit it into a pocket. That's especially true when it's fitted with the included square lens hood, which adds style points but has to be mounted on the adapter ring, adding a substantial amount of depth, substituting flare for flair.

Like the X100VI, the GFX100RF can be weather-sealed when the adapter ring and a filter, though this too makes it bulkier. The hood can still be fitted to the adapter ring when the filter installed.

The fixed lens

Fujifilm says it went with a 28mm equivalent for two reasons: to make the camera as compact as possible while also letting users shoot with relatively lower shutter speeds without the aid of IBIS or optical stabilization. That ability – which will largely depend on how still your hands and subject are – will come in handy given the lens' relatively slow F4 (F3.2 equiv) 9-blade aperture.

The lens is made up of 10 elements in 8 groups, with two aspherical lenses. It has a minimum focus distance of 20cm (7.9") and can accept 49mm filters when fitted with its adapter ring.

The fixed lens also allows the provision of a leaf shutter, allowing the GF to sync with flashes up to 1/2000 (technically, it can sync all the way up to 1/4000, but you risk cutting off some of the flashes' burst using such a brief exposure).

Aspect ratio dial

Looking at the back of the camera, the first thing that sticks out is the large dial above the screen. Its singular purpose is to let you apply various crops to your image, changing your JPEG's aspect ratio – and reducing how much of the sensor's area and resolution you're using.

There are nine options to choose from, and the camera gives you a few ways to preview your chosen aspect ratio. It can use black borders, a bounding box or raise the opacity of the portions of the image that will be cut off.

Amusingly, the label for the XPan-emulating 65:24 aspect ratio is a bit too wide for the window; you can see the labels for neighboring aspect ratios peaking through.

There's also a "C" setting that lets you control the aspect ratio via one of the camera's command dials or the menus. If you decide you're unhappy with the crop after the fact, you can use the in-camera Raw reprocessing feature to change the aspect ratio, assuming you've been shooting in Raw + JPEG, as the camera maintains the full sensor Raw file and saves the intended crop as metadata.

Crop zoom 28mm equiv. 35mm equiv. 50mm equiv. 63mm equiv. GFX100RF | F9 | ISO 80 | 1/125

Photos: Mitchell Clark

In addition to its choice of aspect ratio crops, the GFX100RF has a crop mode that punches in to give the impression of using a longer lens. You physically control the crop using a toggle switch situated under the power switch and front control dial.

As always, cropping reduces the area of the sensor being used, meaning a reduction in resolution and of total light capture. This has a consequent reduction in tonal quality if viewed at the same scale as full-sensor images. The table below indicates the equivalent focal length that each of the crops gives, both with reference to the camera's 44 x 33mm sensor, which is how the camera reports the 'focal lengths' of the crops, and in terms of their full-frame equivalents for reference.

In 44x33 terms In 'full-frame' terms Effective focal length Crop Equivalent focal length
(vs full-frame) Crop factor Pixel count
(4:3) 35mm 1.00x 28mm equiv. 0.79x 102 MP 45mm 1.29x 35mm equiv. 1.00x 62 MP 63mm 1.81x 50mm equiv. 1.42x 31 MP 80mm 2.28x 63mm equiv. 1.79x 20 MP

As you can see, hitting the lever once essentially turns the camera into a "full-frame" camera with a 35mm F4 equiv lens, before dropping down to nearer APS-C and Four Thirds image quality.

As with the aspect ratio crops, the zoom is only applied to the JPEG, leaving your Raw untouched. You're also able to remove it using the in-camera Raw reprocessing feature, though you can't select a different crop in-camera, though: it's the crop you shot the image with or the full sensor, only.

How It Compares

The fixed-lens camera market is small but has several strong competitors, especially if you're willing to spend this much money on one. Leica's Q3, with its high-resolution full-frame sensor and 28mm focal length, is the most obvious point of comparison, but Fujifilm's X100VI is also a potential competitor for those who prefer the 35mm field of view or want a substantially smaller, less expensive option.

We've also included the Hasselblad X2D, which has a similar sensor but with an interchangeable lens mount. The Fujifilm GFX 100 S II is perhaps a more direct competitor in both specs and price, but the Hasselblad's size and use of leaf shutter lenses prompted us to include it instead.

Fujifilm GFX100RF Leica Q3 Fujifilm X100VI Hasselblad X2D MSRP $4899 $6295 $1599 $8,199 Sensor 102MP medium format (Bayer) 60MP full-frame (Bayer) 40MP APS-C
(X-Trans) 100MP medium format (Bayer) Lens (full-frame equiv.) 28mm F3.1 28mm F1.7 35mm F3.1 Interchangeable - Hasselblad X mount Stabilization? No Optical IBIS / Optical IBIS Built-in ND? 4EV No 4EV No Weather sealing With included filter Yes With optional filter No Viewfinder res / mag 5.76M dot
0.84x
OLED
electronic 5.76M dot
0.79x
OLED
electronic 3.69M dot
0.66x
OLED
electronic / optical 5.76M dot
0.79x
OLED
electronic Video capture 4K/30p 8K/30p
4K/60p 6.2K/30p
4K/60p None Rear screen 3.2" tilting

3" tilting

3" tilting 3.6" tilting Storage formats 2x UHS-II SD,
external SSD 1x UHS-II SD 1x UHS-1 SD 1TB internal, CFexpress Type B Flash sync speed 1/4000 s 1/2000 s 1/4000 s up to 1/4000 s* Battery life
(CIPA) 820 shots 350 shots 420 shots 420 shots Dimensions 134 x 90 x 77mm 130 x 80 x 93mm 128 x 75 x 55 mm 149 x 106 x 75mm Weight 735g (25.9oz) 743g (26.2oz) 521g (18.4oz) 895g (31.6oz) *Flash sync speed is lens-dependent

The GFX100RF's sensor may appear to be in a class above many of its fixed-lens peers, and in good light, we'd expect its larger sensor to give it a proportionate image quality advantage.

But it's worth considering raw light-gathering ability if low-light shooting is a big concern for you. Wide-open, the Q3's much faster lens gives it a 1.7EV potential advantage despite its smaller sensor, and there are lenses substantially faster than F4 available for the X2D (though they do come at significant expense). Even the APS-C-equipped X100VI* can gather a bit more light per-whole-image than the GFX can in its 35mm crop mode.

While the difference in focal length is a deal-breaker for some photographers, those who like 35mm equiv may find that Fujifilm's smaller offering provides a more engaging shooting experience thanks to its standout hybrid viewfinder – the GFX100RF, meanwhile, has a good but otherwise standard EVF. It's also the only camera in this lineup without any form of stabilization, which further reduces its capability as light level drops, even if you take into account the reduced risk of shake from its leaf shutter.

*It's impossible to mention the X100VI without acknowledging that, over a year after its announcement, it's still extremely hard to get. Persistent stock issues mean you'll have to be patient or willing to pay a reseller a substantial premium over MSRP if you want one.

Body and Handling

The GFX100RF is relatively wide and boxy, though a small grip helps make it easier to hold. While it's undoubtedly large for a fixed-lens camera, it's not particularly heavy, making it easy to tote around all day.

The rear touchscreen display can be tilted up and down, though not left and right, as with some of Fujifilm's other cameras. The EVF is bright and crisp, making it easy to compose your shot.

From the top, the family resemblance to the X100VI is obvious. Though that top plate sits on an appreciably larger camera.

The GFX100RF is brimming with controls. There are two programmable command dials: a knurled barrel on the front and a conventional dial in the back, with the rear one being clickable to cycle through functions. There's also a dedicated exposure compensation dial and autofocus mode control.

Shutter speed and ISO control share a dial, with the latter requiring you to pull up on the bezel before rotating. The lens has an aperture ring, which includes an automatic setting and two opposed nubs that make it easy to turn.

On the left of this shot, top-to-bottom are the camera's power switch, the barrel-style front command dial and the 'digital teleconverter' toggle at the bottom. To the right is the front plate lever (designed to look like the self-time control on a film camera). This can be flicked in either direction to access two functions or held in either direction to access two more.

Also fixed in function is the zoom toggle on the front, as well as the aspect ratio dial; neither can be reconfigured. The lever on the front plate, however, is entirely customizable, and you can assign up to four functions to it, as it can differentiate between a flick and a pull and hold. The latter action takes around three seconds to activate. It also has a customizable button in the center.

The Q button, which by default brings up a customizable, on-screen control panel, is on the edge of the grip, which makes it difficult to press without adjusting your hand. This sort of placement makes a bit of sense on smaller cameras where there's nowhere else to put it, but is baffling on a camera that has so much room on the back. Also hard to hit while using the camera is the small, unlabeled button on the top plate right above the exposure compensation dial, which can be customized. As with many of Fujifilm's cameras, you can also have up to four settings that are controllable by swiping up, down, left or right on the touchscreen.

You can also use the touchscreen to position the autofocus point, though the camera has a dedicated joystick for that purpose.

The dual UHS-II SD card slots live on the right-hand side of the camera, while a door on the left opens up to reveal headphone and microphone sockets, the USB-C port, and a micro-HDMI port.

Battery

The GFX100RF uses the 16Wh NP-W235 battery, the same that powers cameras like the GFX 100 II or X-T5. It's rated to get 820 shots in its normal mode, which is a frankly stunning performance. We consider ratings – which rarely reflect the number of shots most people get but rather act as a standard benchmark to measure cameras against each other – of around 400 shots or more to be sufficient for a heavy weekend of shooting, and the GFX100RF almost doubles that figure.

Initial Impressions

By Mitchell Clark

Sometimes, it's just nice to see a swing for the fences. To an extent, the GFX100RF is a variation on the X100-series' winning formula, though the changes it brings may mean it's destined to be a cult classic rather than an immediate blockbuster. It has a different focal length – Fujifilm's 28mm fixed lens cameras historically haven't set the world on fire – isn't quite as pretty, doesn't have the hybrid viewfinder, comes in a much larger body and, of course, has a much larger price tag.

It's also a camera with plenty of quirks, though that could make it more appealing to a certain audience. The biggest are the two non-programmable controls, the zoom toggle and the aspect ratio dial. There is a cleverness to the former in that, in conjunction with the medium format sensor, it adds back a little bit of the flexibility fixed-lens cameras usually give up. It's not only a 102MP camera with a 28mm equiv. lens, but also effectively a 62MP full-frame camera with a 35mm lens, a 31MP ∼APS-C camera with a 50mm equiv. lens, and a Four Thirds-ish camera with a 63mm equiv. lens.

As fans of the RX1 series are likely to attest, a fixed lens camera with the a7R V's sensor and a 35mm lens could certainly be attention-grabbing. In some ways, the GFX100RF can become that with the flick of a switch – or, at least, a version of that with a lens that's substantially slower than what you'd normally find on a fixed-lens camera.

Fujifilm says it went with an F4 lens to make the camera as small as it could. And indeed, the GFX100RF isn't all that much larger than some of the company's ASP-C cameras, though it certainly weighs more.

That's where the camera's footing starts to wobble a bit. With the zoom and aspect ratio choices each cropping into the sensor, you're utilizing less and less of the light-gathering ability you paid so dearly for. The chart below shows just how much you're giving up: using an admittedly extreme aspect ratio and crop, you can get down to a 9MP image from a 19x7mm region of the sensor. The lack of sensor or optical stabilization also means that, even when utilizing the whole sensor, you have to be cognizant of lighting conditions and shutter speed if you want sharp images.

Aspect ratio 28mm equiv. 35mm equiv. 50mm equiv. 63mm equiv. 4:3 102MP
44x33mm 62MP
34x26mm 31MP
24x18mm 20MP
19x14mm

3:2

90MP
44x29mm 55MP
34x23mm 28MP
24x16mm 17MP
19x13mm 16:9 76MP
44x25mm 46MP
34x19mm 23MP
24x14mm 15MP
19x11mm

65:24

50MP
44x16mm 30MP
34x13mm 15MP
24x9mm 10MP
19x7mm 17:6 48MP
44x16mm 29MP
34x12mm 15MP
24x9mm 9MP
19x7mm 3:4 57MP
25x33mm 35MP
19x26mm 18MP
14x18mm 11MP
11x14mm 1:1 76MP
33x33mm 46MP
26x26mm 23MP
18x18mm 15MP
14x14mm 7:6 89MP
38x33mm 54MP
30x26mm 27MP
21x18mm 17MP
17x14mm 5:4 95MP
41x33mm 58MP
32x26mm 29MP
23x18mm 18MP
18x24mm Shaded to show highest resultions (dark) to lower resolutions (light)

Realistically, though, none of that is really what this camera is about. It's about being an object that proves to yourself and others that you are a 'Photographer' and about giving you direct control over the image-making process. And, yes, it's about being able to create some gorgeous, high-resolution shots while still having the freedom to crop away that resolution if it fits your vision.

In some ways, this camera feels like peak Fujifilm. It's a culmination of everything the company has been doing for the last few years, with its physical controls for the camera's key features and focus on creating the image you want in-camera without the need to crop or color grade in an external program. It's also one of the most photo-focused releases we've seen from the company in a while. Because while it has the same video capabilities as the GFX 100S II, in this instance, they almost feel vestigial; the company isn't really talking about them because that's not what this camera is about.

We'll have to wait until we can get our hands on a production model to fully evaluate its autofocus and image quality performance, but one thing is already clear: this camera is anything but boring.

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Yuji Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group, holding the GFX100RF on stage.

Photo: Mitchell Clark

Fujifilm has announced the GFX100RF, a fixed-lens medium format camera, at its X Summit event in Prague. It uses a 102MP sensor, paired with the X-Processor 5 chip found in the rest of the company's lineup and a 35mm (28mm equiv.) F4 lens with a leaf shutter – a first for the GFX lineup.

Read our GFX100RF initial review

The company says it's the "most compact and lightweight" model in the GFX series. It comes in at 735g, which is slightly lighter than the GFX50R, which weighs 775g. It also says the "RF" stands for "Rangefinder style Fixed lens." The emphasis is on style – the camera doesn't feature an actual optical passthrough window, but instead uses a 5.76M dot EVF with 0.84x magnification – the same found on the GFX100 S II. There's also a 3.2" LCD, with a redesigned user interface to match the 3:2 aspect ratio.

The lens gives a 28mm equiv. field of view.

Image: Fujifilm

The company says it designed the 35mm F4 lens with compactness in mind, trying to keep the unit small despite the large sensor it has to cover. The lens doesn't have any optical image stabilization, and the sensor is also unstabilized. The leaf shutter allows you to sync flash "at any shutter speed," according to the company. The camera also features a built-in ND filter.

The top plate is made out of aluminum, and the company says it tried to make the camera feel even more luxurious than the X100VI, giving the controls a "precise and tactile feel." The camera will be available in black and silver finishes.

On stage, Divisional Manager of Fujifilm's Professional Imaging Group Yuji Igarashi said the camera is "a combination of two things: our cutting-edge technology and our history of film cameras." The camera features a dial for controlling your aspect ratio, simulating the shooting experience from several of the company's film cameras, and letting you shoot images in 1:1 and even 65:24.

Image: Fujifilm

The camera also features a lever to control the "digital teleconverter," letting you crop in to several different focal lengths in-camera: 45 (35mm equiv.), 63 (50mm equiv.), and 80mm (63mm equiv.).

The company says the GFX100RF's autofocus algorithms are specifically "tuned" for it.

Fujifilm also says that it's developing a "workflow online using encryption technology" that will help you check the Content Credentials of an image, verifying that it's authentic, though it's currently still in the testing phase. The company joined the C2PA and CAI content authentication organizations in 2024.

The camera will be available in April and will cost $5,499 Euro, inclusive of VAT. In the US, it'll retail for $4,899 before sales tax.

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This summit's "one more thing" announcement was a look at the GFX Eterna cinema camera.

Image: Fujifilm

During the event, the company also revealed that some of the footage from its announcement video was shot with its upcoming GFX Eterna cinema camera. Yuji Igarashi confirmed that the camera is still on track to launch by the end of the year, as originally announced.

Today seems to be the day for teasers, with March 26 shaping up as the day for announcements. Canon just shared a teaser suggesting two new cameras coming on March 26, and now Sony has shared a mysterious YouTube video teasing a new camera also coming on the same date.

The video is short and has very little information. Typical of teaser content, the camera is heavily cloaked in shadow. It primarily reveals the sensor and lens mount, along with a "Go small, shoot big" tagline. The first part of that phrase suggests a smaller form factor. The "shoot big" portion, though, along with the view of the lens mount, gives away that it is an interchangeable lens camera.

The rest of the video doesn't provide much other than a button labeled "5" and a 3.5mm jack. The video caption simply states, "Be ready for the announcement of a new product," and provides the announcement time as March 26th at 10:00 EDT / 14:00 GMT / 22:00 CST / 23:00 JST.

Naturally, the comment section is full of guesses. Many are speculating that it could be the FX3 II or FX6 II, while a few think it could be the a6900. Luckily, the announcement is only a week away, so the answer will be revealed soon.

Image: Canon

Canon posted a teaser across its social media channels, promising that something is coming soon. The post features two cameras shrouded in shadow, with a large "V" between them and the date March 26. "In one week, a new chapter begins! We promise it's worth the wait," says the Instagram caption. "Subscribe to our YouTube channel at the link in our bio to be among the first to know!"

Of course, as a teaser, details are minimal. But the photo does provide some worthwhile details. One of the cameras is less hidden in shadow than the other, revealing a bit more. It looks remarkably like the Canon PowerShot V1, which was recently released in Asia during CP+. You can even make out the 8.2-25.6mm lens, which is what the V1 features. So, it seems like a safe bet to guess that we will see a broader release of the new compact vlogging camera.

The second camera, though, is much darker. Even when brightened, it doesn't reveal any additional details. However, the giant "V" in the image suggests that both cameras will fall in the company's V series of vlogging and creator cameras. It looks to be only slightly larger than the PowerShot V1, though the lens seems quite a bit larger than the V1's. It's hard to tell if it's another fixed-lens compact or if it could be an interchangeable lens system for vloggers.

Luckily, the announcement is only a week away, so we don't need to wait much longer to find out what Canon is hinting at.

2012's XF1 was just one of a range of high-end compacts Fujifilm produced in the past.

Photo: DPReview.com

In our interview with Yuji Igarashi, Fujifilm's Divisional Manager, Professional Imaging Group, he seems to hint at more affordable models, aimed at first-time photographers.

"I think now that cameras have become quite expensive, that’s maybe why young people are going to second-hand cameras for their first camera," he says: "I think maybe there’s a gap for young people to start shooting with digital cameras."

"Maybe there’s a gap for young people to start shooting with digital cameras"

The public awareness generated by the X100V and VI puts them in a good position, he suggests: "We’re getting a lot of interest from the younger generation. The younger generation and also a more female audience. Because in the past it was a more male-dominated industry."

"That's an opportunity for expansion: the younger generation, both male and female."

This audience isn't necessarily familiar with cameras, he suggests: "I think you know many people are the first-time buyers of cameras, so I think that's a huge difference. People who were coming to our system maybe five or ten years ago had experience in shooting with other cameras and then starting with X-series, whereas now we’re seeing people for whom X-series is the first camera in their entire life, so they’re comparing their experience to smartphones, rather than comparing to other cameras."

"Now we’re seeing people for whom X-series is the first camera in their entire life"

"To be honest, we’re still trying to figure out what is the right camera. Of course many young people are interested in X100, X-M5, X-T30 and even X-T5 so they’re quite diverse: we can’t really categorize that audience."

But, he hinted, addressing this audience might mean an expansion beyond its existing models. "They want what’s right for them," he says: "it’s not like there’ll be one camera that’s right for everyone."

"I think [X100VI] has helped raise awareness of other X-series cameras," says Igarashi

Photo: Richard Butler

Could be compact

Could there be room in Fujifilm's lineup for a compact camera, again, we wondered. "I think there is demand for compact cameras," says Igarashi.

"I think that smartphones have actually helped people get into photography because everybody takes pictures. So I think there's potential for compact cameras."

The younger generations' relationship with photos is different from their established users, he suggests: "When young people now take a picture and then look back at a picture they took maybe 10, 15 years ago, it may look almost exactly the same because image quality has remained very good."

"I think there's a lot of potential in compact cameras as long as we can provide something unique"

"So they’ve never experienced this kind of nostalgia in their images. I think second-hand compact cameras are perhaps unique because the images look kind of old and the body looks old and gives this nostalgic feeling to it."

"For my generation, when we were children we had film cameras: we already experienced that, so it’s not a new thing for us, but it’s a new thing for a younger generation."

"I think there's a lot of potential in compact cameras as long as we can provide something unique, and provides a unique experience for the users."

Must be engaging

Experience, is a critical consideration Igarashi says: "I think that the shooting experience is probably the most important thing that distinguishes smartphones," he says: "For our cameras, at least."

"I think that experience is what young people are looking for: the fact that you’re intentionally capturing this moment in time, the way you want to capture it."

"Smartphones can be a great tool, but I think there’s more emotion you can add by using a camera to capture the scene."

Interview conducted by Dale Baskin and Richard Butler, at the CP+ 2025 show in Yokohama, Japan. Answers edited for flow.

Fujifilm's Makoto Oishi and Yuji Igarashi at the company's booth at CP+ 2025.

Photo: Dale Baskin

Fujifilm is still committed to both the X-Pro and X-E lines, says Yuji Igarashi, Divisional Manager of its Professional Imaging Group, as we discussed the future of those cameras, the challenges of autofocus and addressing the X100VI backlog.

X100VI backlog

Igarashi was keen to explain how the X100VI has ended up back-ordered and clear up the mistaken impression that the shortages are intentional.

"The number of pre-orders on Day One was so big that some people have been waiting for a year," he acknowledges: "It was an extraordinary volume of orders and, of course, we're doing our best to catch up with that. We've been shipping consistently, and we continue to do our best."

"We've increased our production of X100VI quite a lot," he says. To put it in context, he tries to give an idea of how they got caught off-guard: "if you look at the X100 series’ history, we’ve had five cameras preceding this camera and we've already sold in a year what they would have sold in three or four years."

"We've already sold in a year what they would have sold in three or four"

Ramping-up production is harder for a camera like the X100VI, he says: "Generally speaking, a premium product is more difficult to produce. For example, the top plate of X100VI, you can see the sharp edges are made from aluminum, and it goes through many processes like stamping and milling, and filling in the colored details. So, it's not like you can simply increase production, quickly. But of course, we will continue to do our best to make a camera available to everyone who wants one. "

Autofocus concerns

Igarashi also said he recognized the concerns some users and reviews have expressed about autofocus.

"I don't think we are at the point where I can say, ‘Ok, this is good enough and we’re not going to do any more', he says: "So even today, we're working on making improvements."

"Of course, we always continue to improve our autofocus and also we are aware that we have room to improve as well. And so we’re making a continuous effort."

"We are aware that we have room to improve... so we’re making a continuous effort"

One aspect is that the evolution and expansion of the X-series is exposing their cameras to new photographic challenges, he says: "Picking up the X100 autofocus, and then using an X-H with a telephoto prime lens and trying to capture wildlife is a completely different story."

"Of course we know that shooting wildlife or sports is not our bread and butter: it’s not what we’ve been doing for years, and that’s what we’ve been learning as we create these longer lenses. We’ve been expanding our field of photography as we’ve been expanding our lens lineup."

"The areas we’re used to, I think we’re better at, and the new areas we’re expanding into, those are both the spaces we think we have room to improve."

On X-Pro and X-E

"Our plan hasn't changed, we still plan to launch a successor to X-Pro3, but we don’t have a date, yet. And X-E of course, too. We haven’t abandoned the line either."

But, especially in the light of what he'd said about a younger audience, we wondered whether it was likely that the X-E series would return to its more enthusiast-focused roots, given how much the X-T series has now expanded to address that audience.

"We’re always considering what's right, so it's never fixed," he says: "I think we look into every product, not just X-E. There’s nothing that’s perfect, which is totally unchangeable: it’s something we consider every time we come up with the next version."

There are limits to this, he suggests: "I think everybody would be surprised if it wasn’t rangefinder style," he jokes.

"Some people really liked the latest X-E"

But, he says, it's impossible for one product to serve everyone: "Some people really liked the latest X-E we had: X-E4, but some did not, so while we can’t make everyone similarly happy, we try to come up with the best possible solutions. We try to listen to the latest feedback and make improvements from there."

Jun Watanabe, Product Planning Manager, explained the sorts of users they will be building the next X-E for: "They love the rangefinder style, and they don’t have a specific shooting subject [in mind]," he says: "They love daily life photography [and using X-E] as a snap camera." Importantly, "they love the style and the design," he confirms.

The future of photo-focused cameras

Existing photographers shouldn't be alarmed at the company's efforts to broaden their appeal, Igarashi stresses. If anything, the broadening product line lets each camera be a bit more focused: "I think improving cameras for photographers is very much possible. Very small things, but for example, because we have more hybrid cameras like the X-H, that's allowed us to make the X-T5 screen a tilting screen instead of flip out screen. We can probably separate our cameras more between stills and hybrid models."

"We just need to be mindful of who the audience is, and how to provide the right fit for those people."

Interview conducted by Dale Baskin and Richard Butler, at the CP+ 2025 show in Yokohama, Japan. Answers edited for flow.

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

Viltrox has announced that its highly regarded AF 135mm F1.8 Lab lens is now available for Nikon Z-mount. The lens was initially released last fall for E-mount, offering a much more affordable prime portrait lens alternative to Sony's FE 135mm F1.8 GM lens. Now, Nikon users will have a budget-friendly version of Nikon's 135mm F1.8 S Plena.

The Viltrox Lab lineup is the third-party lens maker's high-end series, offering flagship quality and more premium features than its other series of lenses. As a result, Viltrox promises edge-to-edge sharpness in the 135mm F1.8 Lab. The E-mount version has received excellent reviews for the quality it provides, especially for the price, and the Z-mount model should be the same, given that the mount is the only difference between the two.

The lens uses the Viltrox HyperVCM motor for autofocus, which Viltrox claims offers 150% faster autofocus than traditional STM motors. It says the lens will provide 100ms near to far focus point switching for fast yet smooth transitions. It also promises silent autofocus with minimal focus breathing, making it a worthy lens for video purposes. It offers a 0.72m (2.4') minimum focusing distance with 0.25x maximum magnification, roughly the same as Sony's 135mm and slightly closer than Nikon's Plena lens.

Image: Viltrox

The AF 135mm F1.8 Lab features an 11-blade aperture diaphragm for attractive bokeh. The optical design is comprised of 14 elements in 9 groups, which include four ED low-dispersion lenses and two high-refractive-index elements. It's made to be durable, with a dustproof and splash-resistant design and magnesium alloy barrel.

Like the E-mount version, it features a small screen on the top of the lens that can be customized to show relevant information. The lens also offers an AF/MF switch and an aperture de-click switch. A multifunction ring enables adjustable function modes such as aperture adjustment, exposure compensation or ISO control on Nikon cameras. Finally, a USB-C port allows for firmware updates.

One of the tradeoffs for the budget price is more weight. 135mm prime lenses aren't known for being very lightweight, but the Viltrox lens is an especially hefty offering. At 1265g (2.8lbs), it is a bit heavier than the Nikon 135mm F1.8 S Plena, which weighs 995g (2.2lbs). Saving money, in this case, means added weight.

The Viltrox AF 135mm F1.8 Lab lens for Nikon Z-mount is available now on the Viltrox website for $854, which is a temporary discount from its $899 price.

Buy now: $854 at Viltrox

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

Viltrox has announced that its highly regarded AF 135mm F1.8 Lab lens is now available for Nikon Z-mount. The lens was initially released last fall for E-mount, offering a much more affordable prime portrait lens alternative to Sony's FE 135mm F1.8 GM lens. Now, Nikon users will have a budget-friendly version of Nikon's 135mm F1.8 S Plena.

The Viltrox Lab lineup is the third-party lens maker's high-end series, offering flagship quality and more premium features than its other series of lenses. As a result, Viltrox promises edge-to-edge sharpness in the 135mm F1.8 Lab. The E-mount version has received excellent reviews for the quality it provides, especially for the price, and the Z-mount model should be the same, given that the mount is the only difference between the two.

The lens uses the Viltrox HyperVCM motor for autofocus, which Viltrox claims offers 150% faster autofocus than traditional STM motors. It says the lens will provide 100ms near to far focus point switching for fast yet smooth transitions. It also promises silent autofocus with minimal focus breathing, making it a worthy lens for video purposes. It offers a 0.72m (2.4') minimum focusing distance with 0.25x maximum magnification, roughly the same as Sony's 135mm and slightly closer than Nikon's Plena lens.

Image: Viltrox

The AF 135mm F1.8 Lab features an 11-blade aperture diaphragm for attractive bokeh. The optical design is comprised of 14 elements in 9 groups, which include four ED low-dispersion lenses and two high-refractive-index elements. It's made to be durable, with a dustproof and splash-resistant design and magnesium alloy barrel.

Like the E-mount version, it features a small screen on the top of the lens that can be customized to show relevant information. The lens also offers an AF/MF switch and an aperture de-click switch. A multifunction ring enables adjustable function modes such as aperture adjustment, exposure compensation or ISO control on Nikon cameras. Finally, a USB-C port allows for firmware updates.

One of the tradeoffs for the budget price is more weight. 135mm prime lenses aren't known for being very lightweight, but the Viltrox lens is an especially hefty offering. At 1265g (2.8lbs), it is a bit heavier than the Nikon 135mm F1.8 S Plena, which weighs 995g (2.2lbs). Saving money, in this case, means added weight.

The Viltrox AF 135mm F1.8 Lab lens for Nikon Z-mount is available now on the Viltrox website for $854, which is a temporary discount from its $899 price.

Buy now: $854 at Viltrox

Photo: Google

Google has announced its latest budget smartphone, the Pixel 9a, which does away with the iconic camera bar by making the cameras smaller. The tech giant claims the new model offers an ideal balance of features and price. Despite that, the team acknowledged that the camera is what draws people to the Pixel lineup, so Google says it aimed to provide quality image-making features on the budget-focused device, claiming it is the best camera in its class.

Resolution Sensor size Aperture Field of view Wide rear camera 48MP Type 1/2
(6.4 x 4.8 mm) F1.7 82°
(25mm equiv) Ultra wide rear camera 13MP Type 1/3.1
(5.0 x 3.7mm) F2.2 120°
(12.5mm equiv) Front camera 13MP Type 1/3
(4.7 x 3.4mm) F2.2 96.1°
(∼19mm equiv)

Like the Pixel 8a, the 9a features a wide-angle main camera and an ultra-wide. Those who want a dedicated telephoto camera will need to upgrade to the Pro lineup of Pixel phones. While the dual camera layout remains consistent, Google opted for a different main camera sensor in the new model. Instead of the 64MP wide-angle main camera on the 8a, the 9a uses the same 48MP Quad PD Dual Pixel sensor as the Pixel 9 Pro Fold.

Main camera resolution Main camera sensor size Main camera aperture Main camera field of view Pixel 8a 64MP Type 1/1.7
(7.3 x 5.5mm) F1.89 80°
(26mm equiv) Pixel 9a 48MP Type 1/2
(6.4 x 4.8 mm) F1.7 82°
(25mm equiv)

This move to a smaller effective sensor is interesting since it's a bit of a downgrade from the 8a in terms of resolution, sensor size and aperture. Granted, due to pixel binning – the process of combining adjacent pixels together to function as a larger pixel – the dip in resolution isn't quite as significant as it may initially seem. The Pixel 8a typically produces 16MP images, while the main camera of Pixel 9a uses pixel binning to produce 12MP images.

Even though the difference isn't massive, it is still less, and it's not typical to see lower resolution in a newer model. This, combined with the slightly smaller sensor and aperture, means the computational photography and processing will need to work that much harder.

While all smartphones rely on computational photography, it seems that the hardware downgrade in the 9a makes it even more dependent on AI image processing.

While all smartphones rely on computational photography, it seems that the hardware downgrade in the 9a makes it even more dependent on AI image processing. Those computational photography tools involve image processing for every image you take in the standard camera modes, along with some specialized options currently found on the Pixel 9 Pro.

One such feature is the Macro Focus setting, which is coming to a-series phones for the first time. This mode allows users to get as close as 2cm (0.8") to create pseudo-macro images or videos without a dedicated macro lens. It uses AI to detect when you are close to a subject and automatically switches to the main lens (due to its higher resolution) and macro focus setting instead of requiring a manual switch to a macro mode.

The Pixel 9a's main camera also provides optical and electronic image stabilization, though the ultra-wide rear and selfie camera do not. The main camera uses Google's Super Res Zoom, a form of digital zoom that relies on software and machine learning algorithms to crop and upscale, offering up to 8x magnification. It's no replacement for dedicated telephoto cameras, but it is better than nothing.

As we've seen with other Pixel phones, there are plenty of AI-based editing tools at play on the 9a. Google AI promises the ability to fix blurry images with Photo Unblur. The Magic Editor can automatically crop your image for you or expand the image to invent what's beyond the edges of the frame, much like you can in Photoshop. The Reimagine tool in Magic Editor can even completely change the image using AI, such as making grass green or adding entirely new items to a photo to change the scene.

Image: Google

Of course, the most obvious change with the 9a is the new design that ditches the protruding "camera bar" that has become synonymous with Pixel phones, in favor of a flatter design. Google says this design is inspired by "nature and water droplets," which seems like a stretch, but it is certainly more minimal. It's also slightly more durable than previous models, with a bump from IP67 to IP68 protection and a new scratch-resistant Actua display.

The Pixel 9a steps up to the Tensor G4 chipset, which is the same chip that's in the Pixel 9 and Pixel 9 Pro. It also features the largest battery in the a-series, promising up to 30 hours of battery life or 100 hours in Extreme Battery Saver mode. When it needs a charge, the phone supports fast charging and wireless charging. Google has also promised seven years of OS and security updates, prolonging the life of the phone.

Image: Google

The Pixel 9a will be available for purchase beginning in April for $500. It comes in 128GB or 256GB storage capacities and is available in four colors: Obsidian, Porcelain, Peony and Iris (the black, cream, pink and blue colors pictured above).

A still shot from Zafra's timelapse of the event.

Photo: Dan Zafra

Capturing the total lunar eclipse is special enough, but one photographer took things to the next level. Dan Zafra saw the forecast for a period of high solar activity during last week's lunar eclipse and traveled from his Las Vegas home to the Alaskan Arctic to capture the rare event.

Aurora trips are typically best with a new moon because it ensures the darkest possible skies, enhancing the aurora's visibility. This time was an exception, though the eclipse yielded a similar result. "The total lunar eclipse meant that the Moon would darken, allowing the northern lights to shine even brighter," Zafra said.

Photo: Dan Zafra

Getting the timing and location right was a significant challenge, Zafra said. He had to calculate where to be to ensure both the Moon and potential aurora were in the same composition. Location scouting was part of this process, though the subzero temperatures added to the challenge. He finally settled on a frozen lake south of Fairbanks, Alaska, which offered an unobstructed horizon.

The weather made things challenging the night of the event, too. Zafra had to contend with -23°C (-10°F) temperatures, requiring he switch between thin glove liners for dexterity and thicker gloves to keep feeling in his fingers. Cold temperatures also drain batteries quickly. He kept spares in his jacket, swapping them out as needed. He says he used six batteries in total between his three cameras.

Adding to the difficulty was the predictably unpredictable aurora. "At one point, my timelapse framing was completely off—the aurora surged higher in the sky than I expected," Zafra said. "I had to quickly reframe the shot mid-sequence, all while monitoring my other cameras."

Photo: Dan Zafra

Despite the challenges, Zafra managed to capture multiple shots of the event. A telephoto image, created using a 400mm telephoto lens on a Benro Polaris start tracker, enabled a close-up view to show detail on the surface of the Moon. On the opposite side of the spectrum, a 20mm wide-angle lens allowed him to capture a wide view of the entire scene, showing how grand the aurora was. He also created a timelapse of the event to show it all in motion, which you can see below.

Due to the extreme contrast between the Moon and the surrounding aurora, the final images involved some post-processing. Zafra says he bracketed multiple exposures during the shoot. He then used PixInsight to extract details from the Moon and Photoshop to blend them together with the aurora background. The wide-angle image required less editing, with a single exposure for the Moon and one for the landscape. The timelapse was processed with LRtimelapse.

Zafra says that of all of the images he captured that night, the telephoto shot is his favorite. "I’ve seen countless lunar eclipses and auroras separately, but never like this," he said. "It was as if the entire sky was working together to put on a show."

You can see more behind-the-scenes content and more of Zafra's incredible work on his Instagram page or website.

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

As part of our ongoing review of the Panasonic Lumix DC-S1RII, we shot our standard test scene, to see how its sensor performs.

We're moving to a pattern of shooting test scenes together in batches, rather than risking delays to reviews, but the S1RII is a camera built around a sensor we've not seen before, so we rushed it straight into our studio to see how it performs.

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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 results are pretty positive. In terms of detail capture, the S1RII performs as we'd expect, capturing less detail than the 61MP Sony a7R V but with no meaningful difference vs the likes of the Canon EOS R5 II, Nikon Z8 or its own predecessor.

There's a fair bit of moiré visible in various places suggesting there's no anti-aliasing filter. But it's not significantly more pronounced than in most of its rivals, suggesting we were just unlucky that we got to see some artefacts in one of our real-world shooting. If anything, looking around various high-frequency targets in the scene, Panasonic's JPEG engine seems to be doing a pretty good job of suppressing the effects of moiré.

In terms of color rendition the Panasonic looks a lot like its immediate peers, with no significant differences in most colors, compared with its peers. The light skin tone patch is perhaps a fraction more pink than Canon's rendering, but there aren't any nasty surprises: something backed up by our experiences of shooting with the camera.

Noise levels seem competitive at low to moderately-high ISO settings but it looks like noise reduction is being applied to the Raws at the higher ISO settings, with distinct blurring of the noise patterns. JPEG noise reduction strikes a pretty good balance between noise suppression and detail retention, but gets a bit overwhelmed at the highest settings.

Dynamic range:

The S1RII's sensor is a modern design with dual conversion gain; it has Panasonic's 'Dual Native ISO' function that lets you decide exactly where the switch in modes happens, but at default settings, it's at ISO 400 that the switch happens. Sure enough, if you brighten an ISO 320 image, you'll see it has slightly more noise than images shot at ISOs above that point, with the same exposure.

The further you venture into the ISOs from that low gain mode, the more noisy you'll find the very deep shadows (this is exactly the read noise that using the higher gain step minimizes). So the widest possible dynamic range is encountered at ISO 80, but if you're tempted to underexpose in low light, to protect highlights, you shouldn't venture below ISO 400.

The S1RII has a lower base ISO than its predecessor, so you can't make a direct comparison (the new camera receives 1/3EV more light), but even with that slight discrepancy, it's results seem comparable. It's a competitive result, even compared with the best of its peers.

Summary

It's pretty apparent that the Panasonic Lumix DC-S1RII is built around the IMX366 sensor from Sony Semiconductor. So we see a sensor with dual conversion gain giving lots of dynamic range at base ISO and well-controlled noise once you move to the second gain mode. Its BSI design means its high image quality should be maintained right to the corners of the image, as it means the pixels can reliably receive light from more acute angles than on older FSI sensors.

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It does this while being fast enough to deliver 8K footage at an acceptable rate (though not great by video camera standards), despite taking the unusual step of using a slower, 13-bit readout mode, which should give it a DR edge over its peers. We'll be looking more closely at that in the coming weeks. But on the stills side of things, the S1RII seems to be built on predictably firm foundations.

Photo: Abby Ferguson

As a tech journalist and photography educator, I've been lucky enough to get my hands on a variety of cameras. While each differs somewhat regarding menu systems, button placement and ergonomics, they are mostly subtle differences that haven't drastically altered my shooting style or process. That was not the story with the Nikon Zf, though, which surprised me by how much it changed the way I photograph.

The Nikon Zf has been available since October 2023, but I only recently had a chance to use it for the first time. As someone who learned photography on film (with a Pentax K1000, to be precise) and still shoots film, I have admired the camera's looks since it was first announced. I'm a sucker for that vintage film camera vibe, after all. Plus, I like having physical dials for my exposure settings, mainly for nostalgia.

My first time using the Zf was on a hike. It was a last-minute decision to bring it, so I didn't put any thought into using it instead of my trusty Sony a7 III. I knew the physical dials would change how I interacted with the camera and assumed there would be an adjustment period, but that was all. I certainly didn't set out with the intention of using the camera differently or think that my fundamental process would change. I simply tossed the Zf in my backpack as I would any other camera and set off.

Almost immediately, though, I noticed that the way I interacted with the camera was altered. In many ways, it felt much more like using a film SLR than a mirrorless camera. For starters, I exclusively used the viewfinder, not the rear display, to compose my images. That hasn't been the case since I switched to mirrorless many years ago.

The more significant change, though, was that my process slowed down.

The more significant change, though, was that my process slowed down, and I was much more selective about what I took photos of. On that hike, I took less than half of the images I typically take on a hike of a similar distance. Of course, some of this could be attributed to the location and general mood that day, but I was also distinctly aware of a shift in my mindset.

When I take photos during hikes with my Sony, I snap away. I pay attention to composition and subject matter, but it's often a more rushed process. I'm willing to take a handful of shots to get the composition or exposure right instead of slowing down and getting one shot that does what I want. I even take quite a few photos while still walking and not looking closely at the display. With the Zf, though, I was much more intentional about getting the composition where I wanted it in the first frame. I also didn't take photos at all unless I was excited about the scene, and I didn't take any frames while walking.

Photo: Abby Ferguson

Overall, using the Zf was much more reminiscent of how I shoot with film when I have limited frames to work with, and each one costs at least a dollar or so. Whether it was the physical dials and their placement that made me slow down, the vintage design that tricked my brain into thinking I was shooting film or a combination of the two, I'm not sure. But it was truly surprising how a very modern mirrorless camera could shift my process so dramatically.

Of course, Nikon isn't the only camera company offering vintage design and dedicated control dials. It wasn't even the first. This design choice has been a trend in recent years, and cameras from other companies could indeed provide the same effect.

No matter what the cause, the Zf brought back a sense of mindfulness to my photography that I had missed when shooting with digital cameras. In fact, I recently came back to shooting film after years away because I missed the push to slow down. Whether or not this change is sustainable as I keep using the camera remains to be seen. It could also be that I can put that mindset into practice with other cameras without control dials now that I am more cognizant of the change. No matter what, it was a refreshing change that certainly made me more aware of my approach and how different tools can shape my process.

Image: SmallRig

When Canon released the R5, a common talking point was the camera's tendency to overheat when recording video. Canon improved those problems with the R5 Mark II, but all cameras overheat at some point, especially when recording long takes in high resolutions. To help cool things down, SmallRig has adapted its Cooling Fan, originally designed for Sony cameras, to work with the Canon R5 Mark II and R5.

The SmallRig Cooling Fan is more than just a basic fan. It features multiple layers to efficiently pull heat away from the camera body, including a silicone thermal conductive gel, a thermoelectric cooling (TEC) component and an aluminum alloy heat sink. The fan blades sit on top of those layers to blow away the camera's heat. The fan offers two levels: A Cool Mode with a 4500 RPM fan speed for quieter operation and an Ice-Cold Mode with a stronger 7000 RPM fan speed.

SmallRig claims that at 40°C (104°F), the fan can increase shooting time by 30% for 8K 30p recording. It also claims that when shooting 4K 60p at 25°C (77°F), the fan can completely prevent shutdowns from overheating.

The Cooling Fan is easy to use with quick snap-on installation. No tools are required, so users can pop it on or take it off as needed. There are some potential downsides, though. First, it attaches where the screen folds, so you have to operate the camera with the screen folded out. Additionally, it lacks a built-in battery, requiring an external power source via a 5V USB input. It is compatible with the SmallRig V-mount battery ecosystem, though, making it a convenient option for those already invested in SmallRig products.

While SmallRig made this version specifically for the Canon R5 and R5 Mark II, it is compatible with Sony cameras as well. SmallRig designed the fan's bracket to be removable so it can be switched back and forth if needed. It is available for purchase today for $60 through SmallRig's website.

Buy now: $60 at SmallRig