Image: DJI

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

Image: DJI

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

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

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

Image: DJI

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

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

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

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

Buy now: $89 at DJI

Press release:

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

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

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

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

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

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

Power of the Multifunctional Module

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

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

ActiveTrack 7.0: Smarter Than Ever

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

Other Standout Features

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

Price and Availability

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

Osmo Mobile 7P retails for $149.

Osmo Mobile 7 retails for $89.

Accessories available include:

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

DJI Care Refresh

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

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

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

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

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

Photo: Dale Baskin

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

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

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

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

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

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

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

Enter the February Photo Challenge

Images: Viltrox, Seagate, Nanlux

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

High performance, low(er) prices

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

Buy now:

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

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

Buy now:

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

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

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

Buy at Amazon For the tablet fans Image: Wacom

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

$380 at B&H Small SSDs Image: Seagate

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

Buy at B&H Image: Planck

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

Light Rain Image: Godox

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

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

Image: Nanlux

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

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

Pro Kit

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

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

Read last week's accessory roundup

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

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

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

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

Image: Cosina

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

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

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

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

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

Image: Tokina

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

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

Press release:

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

Feb 14, 2025

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

Sales will commence on March 14, 2025.

Overview

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

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

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

Highlighted Features

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

Photo: Harman Photo

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

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

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

Photo: Sue Evans / Harman Photo

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

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

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

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

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

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

Updated: February 14, 2025

These days, $2000 gets you a lot of camera. The picks on our list are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.

Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of the types of lenses you'd like to shoot with. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to look at that during your lens research.

Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, you may want to think about whether they're worth keeping around and adapting to a new system, or whether you'd be better off selling them and using the proceeds to buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.

Our Recommendations

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

Best camera around $2,000: Nikon Z6III

25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF

Photo: Richard Butler

Buy now:

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

• Very good image quality
• Good autofocus tracking with auto subject recognition mode
• Extensive choice of video resolutions and codecs

What we don't:

• Peak dynamic range lower than peers
• N-Raw video format has limited support
• Nikon controls 3rd-party lens options

The Nikon Z6III is Nikon's third-generation full-frame enthusiast mirrorless camera, with a 'partially stacked' 25MP CMOS sensor. The Z6III has an ample grip and easy-to-use control scheme. Nikon's menus and touchscreen layout are also well-refined, but the camera lacks the company's traditional AF mode button or front-corner switch. Autofocus is generally reliable, and the camera includes Nikon's 3D-tracking system and plenty of subject recognition modes. It can shoot 20 raws per second, or 60fps in JPEG mode. The Z6III is a genuine do-anything camera with excellent video and photo capabilities. Image quality is very good, with lots of detail and acceptable amounts of noise. There is a slight dynamic range tradeoff for speed, but it's only noticeable in extreme situations. The Z6III shoots many video formats, including Raw, and has dependable subject-tracking autofocus and a waveform display. Its 4K and 5.4K modes produce excellent detail, even in 60p, and its rolling shutter performance is outstanding. The Z6III is a significant step-up from its predecessor and is to-date the most all-round capable camera in its class. It excels in both stills and video.

Read our full review of the Nikon Z6III

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A close second: Canon EOS R6 II

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

Photo: Dale Baskin

Buy now:

$2399 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Simple, powerful AF for stills
• Fast 40fps shooting with continuous AF
• Excellent battery life

What we don't:

• AF less reliable in video mode
• SD cards limit burst duration
• E-shutter can distort fast-moving subject

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beat the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by the two companies' lens lineups and how they match your preferences... with the knowledge that they both tightly control which lenses third parties like Sigma and Tamron can produce for their systems.

The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.

Read our full review of the Canon EOS R6 II

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera under $2,000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

Buy at Amazon.com$1997 at B&H PhotoBuy at MPB What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

The Nikon Zf is a retro-styled camera built around an image-stabilized 24MP full-frame BSI CMOS sensor. The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our full review of the Nikon Zf

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2198 at Amazon.com$2198 at Adorama$2198 at B&H Photo What we like:

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

What we don't:

• No joystick control
• No fully mechanical shutter

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control. Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate. “The a7C II is a surprisingly capable camera for its size.” The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks. The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.

Read our full review of the Sony a7C II

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is tough to recommend in 2025. Its viewfinder, ergonomics, and full mechanical shutter, are improvements over the a7C II, but it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If you're sure you don't care about compactness, it might be worth paying a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system, which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.

What about APS-C?

There are a couple of high-end APS-C cameras priced around $2000 that are certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage compared to full-frame models, but also let you have much smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

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

The do-anything traveler: OM System OM-3

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

Photo: Mitchell Clark

Buy now:

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

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

{RoundupContent:omsystem_om3 section=cons}

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

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

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

Read our full review of the OM System OM-3

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

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

Best for vlogging: Sony ZV-E1

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

Photo: Richard Butler

Buy now:

$2199 at Amazon.com$2198 at Adorama$2198 at B&H Photo What we like:

• 4K footage up to 120p
• Auto-cropped modes aid one-person operation
• Effective autofocus

What we don't:

• Recording times can be short in warm conditions
• 12MP resolution not optimal for stills
• Cropped footage is upscaled to 4K

The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.

The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.

The ZV-E1 has two command dials, both on the back of the camera, which makes manual video control a little fiddly, there's a touchscreen-led interface to encourage more automated presenter/operator working, though. The ZV-E1's subject recognition system is highly reliable. The lack of a fan means it's much more susceptible to overheating than the otherwise similar FX3. It adds automated modes that crop and follow a recognized subject around the frame, adding dynamism to single-operator footage. "The ZV-E1 has some clever automated modes but can be a bit fiddly to operate. It's hard to match the power for the price, though" The camera's 4K footage (up to 120p) is detailed with relatively little rolling shutter, but you'll want to use the strongest level of image stabilization (with crop) for hand-held shooting as it's a little juddery in less intensive modes. The camera's 12MP sensor takes perfectly attractive images with plenty of dynamic range and pleasant JPEG color but the low resolution means it wouldn't be our choice if stills shooting is important to your work. The ZV-E1 tries to marry the capability of the FX3 cinema camera with automated ease-of-use, but can end up being quite confusing in the auto modes and quite fiddly if you try to take a more hands-on approach. It's hard to match the power for the price, though.

Read our initial review of the Sony ZV-E1

What if I want to shoot videos, not vlogs?

Realistically, all of our picks above have very capable video modes that should give you the flexibility to work on the occasional video project. If you're mainly buying a camera for video work, though, it's worth considering something like the Sony FX30, which is designed to be flown on gimbals and to produce 4K/60p video without having to crop in. Sony's more video-focused camera also has excellent rolling shutter rates, helping avoid a jello-like effect in fast-moving footage, as well as best-in-class autofocus.

The FX30 does have the downside of having an APS-C sensor, meaning it can't take in as much light as full-frame options. Its full-frame counterpart, the FX3, is priced way above $2,000. If you really value full-frame and video performance, the Panasonic S5 IIX has some serious video chops, including features like waveform displays and shutter angle settings. However, its autofocus is decidedly a tier below Sony's, as is its rolling shutter performance.

A fixed-lens option: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

$1987 at Amazon.com$1599 at Adorama$1599 at B&H Photo What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

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

While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

If you're looking to make an investment in a camera with a ton of versatility, the X100VI doesn't compete with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

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This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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

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

Photo: Richard Butler

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

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

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

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

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

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

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

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

Click here to see the post on Instagram

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

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

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

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

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

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

Photo: Wacom

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

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

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

Photo: Wacom

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

The Intuos Pro comes in three sizes.

Image: Wacom

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

Pre-order now: $380 at B&H

Press release:

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

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

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

Less Work, More Flow

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

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

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

Working Where the Creativity Leads

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

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

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

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

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

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

Updated February 13, 2025

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

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

Our recommendations

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

Portable full-frame: Sony a7CR

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

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

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

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

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

Read our full Sony a7CR Review

See the Sony a7CR studio scene

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

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

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

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

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

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

Read our full Sony a6700 review

See the Sony a6700 studio scene

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

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

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

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

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

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

Read our full Fujifilm X-T50 review

See the Fujifilm X-T50 studio scene

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

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

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

Buy now:

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

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

Photo: Mitchell Clark

Buy now:

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

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

What we don't:

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

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

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

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

Read our OM System OM-3 review

See the OM System OM-3 studio scene

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

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

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

Buy now:

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

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

Buy at Amazon.com$1997 at B&H PhotoBuy at MPB What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

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

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

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our review of the Nikon Zf

See the Nikon Zf studio scene

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

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

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

Photo: Barney Britton

Buy now:

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

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

What we don't:

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

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

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

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

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

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

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

Read our Ricoh GR III review

See the Ricoh GR III studio scene

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

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

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

The classic choice: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

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

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

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

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

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

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

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

Read our Fujifilm X100VI review

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

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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

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

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

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

Photo: Nikon

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

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

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

Press Release:

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

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

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

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

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

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

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

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

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

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

Price and Availability

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

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

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

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

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

3. Control ring operation is not supported.

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

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

Nikon Nikkor Z 28-135mm F4 PZ specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length28–135 mmLens mountNikon ZApertureMaximum apertureF4Minimum apertureF22Aperture ringNoNumber of diaphragm blades9OpticsElements18Groups13Special elements / coatings3 ED, 4 asph., 1 ED asph., Meso Amorphous coat, flourine coatFocusMinimum focus0.34 m (13.39″)AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight1210 g (2.67 lb)Diameter105 mm (4.13″)Length178 mm (7.01″)ColourBlackZoom methodRotary (internal)Power zoomYesFilter thread95 mmHood suppliedYesHood product codeHB-116Tripod collarYes

Image: Red

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

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

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

Image: Red

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

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

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

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

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

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

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

Key Features, Pricing and Availability

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

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

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

$1,500

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

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

RF Mount Transition

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

Trade-In Program

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

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

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

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

Image: Adobe

Adobe has announced its latest round of updates, with new features coming to Lightroom and Adobe Camera Raw. Unsurprisingly, many of the new tools utilize AI in some capacity. While most of the changes aim to make editing faster and better, there is also a useful update for tethered shooters.

Shooting tethered with Lightroom Classic will now allow users to select focus mode and focus points.

Image: Adobe

Lightroom Classic will now offer a Focus Point Selection tool, allowing users to change the camera's autofocus mode and focus point in the Tether Live View window. With this enabled, you can easily change your autofocus mode and simply click on the subject you want in focus. That's an ideal feature when the camera is in locations that make it challenging to access, such as in tight corners or high above your head. Plus, setting the focus point on a larger display is always easier than working with a small camera display. Focus Point Selection will work with supported Sony, Nikon and Canon cameras.

Image: Adobe

One of the most prominent updates regarding editing is the expansion of Camera Raw's Adaptive Profile. Adobe released Adaptive Profile for Camera Raw last fall to make editing images with high dynamic range easier, regardless of whether you plan on exporting them in SDR or HDR. The Adaptive Profile uses an AI model to analyze your photo and adjust tones and colors. These adjustments are made according to each individual image instead of simply applying universal settings like other presets and profiles.

Adaptive Profile builds on Adobe's existing HDR workflows, taking things to the next level. The profile can make a significant difference, breathing new life into images. It is certainly exciting to see this feature moving to Lightroom as well.

To use Distraction Removal in Camera Raw, you'll need to turn on Technology Previews in the Camera Raw settings menu.

Another tool that Adobe is expanding is the Distraction Removal tool. Adobe previously released Distraction Removal in Photoshop in October last year, with the option to use AI to automatically detect people, wires and cables, making it easy to remove them with one or two clicks. Now, the option to remove unwanted people will also be moving into Camera Raw as a Tech Preview. Adobe says it will also be coming soon to Lightroom but didn't specify a date.

Lightroom on the web can now flag duplicates to streamline the culling process.

Image: Adobe

Lightroom on the web isn't left out from the updates, either, with a change coming that aims to make it easier to work with large libraries. Culling through thousands of photos is one of the more time-consuming processes when selecting images to edit, so tools to help with that are always appreciated. To aid in that process, Adobe has added a Find Duplicates feature that is now available in early access. It is part of the Clean Up tool in Lightroom on the web and can identify duplicate shots, saving you the time of going through them. Clean Up can also flag blurry images, screenshots and other "unwanted images."

Finally, along with some smaller updates to provide easier link sharing, improved performance in Lightroom Classic and better Select Background performance on Lightroom for Mobile, Adobe also announced dual monitor support for Lightroom. Working with dual monitors can be a game changer for efficiency, so this is a welcome addition.

Image: Aftershoot

Photography community leaders or educators looking to host events this year have new support available thanks to AI-based culling and editing software company Aftershoot. The company announced the second year of its Create Together Fund, a grant program that provides funding support for photography events and communities worldwide. Submissions for funding are open through February 28.

The Aftershoot Creat Together Fund is open to professional photographers, photography educators, and emerging community leaders. Workshops, meetups, photowalks and styled shoots are all eligible for funding support. To apply for Cohort 2 visit the Create Together Fund website for more details and to fill out an application.

“Our goal has always been to support photographers – not just in their post-production workflow, but in their growth, connections, and creative journey,” said Harshit Dwivedi, Founder of Aftershoot. “We saw how impactful Cohort 1 was, and we can’t wait to help even more photographers bring their community-driven ideas to life with Cohort 2.”

Last year, Aftershoot supported 27 community leaders hosting photography events across 15 cities in 4 countries. Those events brought together more than 600 photographers as part of Cohort 1 of the Create Together Fund. From photo walks to workshops, the events offered in-person connection and learning opportunities.

"The experience of hosting an event as part of Cohort 1 was incredible. Organizing a
wedding-styled photoshoot for photographers had been a long-time goal of mine, and the
Aftershoot Create Together Fund gave me the support I needed to turn that vision into
reality. It allowed photographers to connect, learn, and grow together, and I’m grateful to
have been part of it!" said Lindsey Birchfield, wedding and event photographer from
Scottsdale, Arizona, USA.

This year, with Cohort 2, Aftershoot is even more ambitious and is expanding the program with $1M in total funding. By the end of 2025, it hopes to sponsor 750 events in the United States, Canada, the UK, Europe, Brazil, Australia and New Zealand. Funding depends on the event size and scope, with grants of $1000 for events with 15-25 attendees or $2000 for 25-50 attendees. Grants of $5000 are also possible for larger events, depending on the proposal.

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.

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.