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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.

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

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

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

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

Key Specifications

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

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

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

Buy now:

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

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

What's new

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

4:3

3:2

16:9

1:1

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

OLED viewfinder

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

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

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

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

DNG capture

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

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

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

How it compares

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

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

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

• JPEG
• DNG

• JPEG
• ARW

• JPEG
• HEIF
• RAF

• JPEG
• DNG
• PEF

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

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

Body and Handling

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

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

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

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

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

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

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

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

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

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

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

Battery

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

Image quality

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

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

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

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

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

Dynamic range

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

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

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

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

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

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

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

Video

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

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

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

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

In use

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

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

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

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

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

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

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

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

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

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

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

Conclusion Pros Cons

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

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

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

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

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

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

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

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

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

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

Scoring

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

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

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

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

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

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

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

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Photo courtesy of UC Riverside

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

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

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

Photo courtesy of UC Riverside

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

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

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

A slide from the CFEP collection.

Photo courtesy of UC Riverside

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

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

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

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

Photo: Abby Ferguson

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

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

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

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

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

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

Visit the challenge page to see all the rules

Photo: Mitchell Clark

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

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

Index:

• January
• February

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

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

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

See the sample gallery

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

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

See the sample gallery

Leica D-Lux 8 studio scene Photo: Richard Butler

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

See the studio scene

Leica SL3-S initial review Photo: Richard Butler

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

Read the initial review

Nikon Z50II review Photo: Richard Butler

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

Read the review

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

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

See the sample gallery

OM System OM-3 Review Photo: Mitchell Clark

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

Read the review

Images: Akuko Labs, Pgytech, ProGrade

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

Midrange madness Photo: Shaminder Dulai

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

Buy now:

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

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

Buy now:

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

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

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

High-capacity cards for Sony Image: ProGrade

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

Buy at B&H Get a grip Image: Pgytech

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

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

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

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

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

Asymptomatically approaching perfection

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

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

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

Read last week's roundup

Image: Lucky Film

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

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

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

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

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

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

See the sample gallery

Buy now:

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

Photo: Oliver Barnes

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

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

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

Photo: Unknown / Oliver Barnes

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

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

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

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

Photo: Unknown / Oliver Barnes

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

Photo: Leica

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

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

Photo: Leica

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

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

Photo: Leica

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

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

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

Press release:

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

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

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

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

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

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