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Sigma announced its BF mirrorless camera today, with a "purposefully minimal" design that "cuts out everything that distracts, limits or stifles creativity." The "radical" simplicity is obvious looking at it – it only has five buttons, including the power and shutter release, and a dial.

The biggest concession to minimalism, though, may be what the BF lacks. It's not the first camera to omit a viewfinder or mechanical shutter, but it is one of the only modern cameras we've seen without a slot for a storage card of any kind, be it SD, CFexpress or something more exotic. As far as we can tell, the camera will only record to its 230GB of internal memory, which you can access via its admittedly quite fast 10Gbps USB-C port – the only port on the camera, by the way.

It almost goes without saying that this is a very unusual decision. There are obvious benefits to a camera having internal storage – most photographers have had the experience of going to take a picture only to realize they've left their SD card at home. That's why it's not surprising that a few other photographer-focused cameras, such as the Leica M11 and Ricoh GR III, have it. However, its inclusion (almost) never comes at the cost of the ability to use external storage.

The BF is undeniably small. Maybe there was just no room for a card slot?

Image: Sigma

The company hasn't said much about why it decided to forego a card slot on the BF, though we have reached out for comment. There's an argument to be made that it helps achieve the company's ultra-simplistic vision; with the BF, you won't have to worry about remembering your SD card or making sure that it's fast enough to record 6K video. And while SD card slots aren't small, it's possible excluding one made it easier to make the camera as compact as it is. Cynically, it also gives people something to talk about, generating extra buzz around a major launch. In a market full of 24MP full-frame cameras around $2,000, this is just one more thing that sets the BF apart.

There are some downsides, though, beyond just the lack of flexibility. If you want to offload images to your computer but don't have a USB-C lead, you'll be out of luck. The same goes for if you're planning a mammoth shooting session that will generate more than the 14,000 JPEGs, 4300 uncompressed DNG Raws or 2.5 hours of video that Sigma says the internal storage is good for.

Perhaps the most concerning point, though, is repairability. Flash storage has a limited number of write cycles before it starts to fail. While you almost certainly won't hit that limit anytime soon – good flash chips can have hundreds or even thousands of terabytes written to them before starting to have issues – there are myriad ways it can break even before that happens. If this happens to your SD card, it's not a huge deal; you can just get another one. That's not the case for internal storage, though, especially if it's soldered to the camera's mainboard. Fixing it when it breaks could require sending the camera to Sigma, which could take time.

We'd like to hear what you think, though. Is internal storage enough, or is the lack of a card slot more foolish than beautiful? Sound off in the comments below.

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Sigma's new logo and word mark shows up on its latest products and on its pop-up store in Manhattan.

Image: Sigma

Sigma has had a busy day. It's unveiled a new visual identity for its brand, alongside announcements of a new mirrorless camera with a striking design that feels like it came from Jony Ive or Teenage Engineering, a refresh of its I-series primes, a flagship sports/wildlife telephoto lens and a do-it-all APS-C lens.

Its new wordmark, aka the way it writes its name, now uses a seriffed font, which wouldn't look out of place atop a newspaper of record or on the tag for a piece of designer clothing. The previous style, which you'll find printed on the company's lenses, used a modern-style sans serif font. The company says this new style "will be gradually introduced across Sigma’s products, website, social media and product packaging." The new wordmark already shows up on its website and all the new products the company released today.

Images: Sigma

Sigma is also updating its symbol, giving it a "contemporary update." The company says its new way of writing the Greek letter sigma – used in math to notate a summation – is meant to symbolize "the guiding idea behind our manufacturing philosophy: every single product is the sum of the technology, experience, passion and expertise of everyone involved in its creation."

The new look comes alongside a push to emphasize the fact that the company's products are made in-house in Japan, a fact it highlighted in a recent video showing off its production process of a 24-70mm F2.8 lens.

Alongside the new look, Sigma announced a new "Art Projects" initiative, where it will "collaborate with artists to produce and share their work." The first two artists involved in the program are Sølve Sundsbø and Julia Hetta, and the company's site now features pages showing off the two's work.

Press release:

Sigma Announces New Visual Identity & New Art Projects Initiative

On February 24, 2025, Sigma Corporation (CEO: Kazuto Yamaki) will adopt a new visual identity for its products and brand.

Since Sigma’s founding in 1961, we have continued to innovate and push the standards of optical engineering out of a deep respect for the creative ways photographers and filmmakers engage with the world. With our new visual identity, we refocus on the essence of our manufacturing philosophy and communicate our desire to provide outstanding products and services to our customers.

The way cameras and photography relate to our lives is constantly changing, as the industry undergoes constant evolution and occasional revolutionary leaps. At the same time, the fundamental desire at the heart of photography – to capture and share moments – remains unchanged. Our new visual identity reflects our unwavering commitment to supporting this pursuit through exceptional craftsmanship and creativity.

Wordmark & Symbol

The most striking changes concern Sigma’s wordmark and symbol.

The new symbol is a contemporary update of the symbol that has been in use since Sigma’s founding. Based on the Greek letter Σ, it reflects the name of our company and symbolizes the guiding idea behind our manufacturing philosophy: every single product is the sum of the technology, experience, passion and expertise of everyone involved in its creation. Our new visual identity will be gradually introduced across Sigma’s products, website, social media and product packaging.

Sigma Aizu Japan

Sigma’s production is entirely based in Japan, with every lens, camera and other product manufactured at Sigma’s factory in Aizu and our supply chain concentrated in the Tohoku region. Our commitment to keeping everything local has resulted in the unique levels of craftsmanship, know-how and technology that define our products today.

In our future brand communication, we will place more emphasis on the origin of our exceptional quality: Made in Aizu, Japan.

Art Projects and Deeper Commitment to the Arts

As a camera and lens manufacturer, we have always been deeply motivated by the art of photography. We are inspired by the passion of photographers and filmmakers everywhere and hope that our relentless pursuit of quality and innovation will help artists realize their visions.

Supporting the photographic and visual arts is a core tenet of our corporate mission. In addition to our ongoing sponsorships and partnerships with numerous festivals and cultural events, as well as maintaining, growing, and exhibiting our library of photobooks, we will continue to expand and deepen our support of the arts through several new endeavors.

With the launch of our new visual identity, we are introducing Art Projects, a new initiative in which we will collaborate with artists to produce and share their work.

The first artists to work with us are Sølve Sundsbø and Julia Hetta.

For more details and further updates on the Art Projects, please visit https://www.sigma-global.com/en/art-projects

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Sigma had a big day yesterday, announcing multiple new lenses and a bold new camera. The Sigma BF takes a new approach to mirrorless cameras, simplifying things to only the essentials. On top of that, it also revealed the do-it-all APS-C 16-300mm F3.5-6.7 lens, powerful 300-600mm F4 lens for wildlife and sports and nine restyled I-series prime lenses.

Following yesterday’s announcements, we’re inviting you to participate in the discussion in our forums. We’re also collecting your feedback and questions for our editors. They are on the ground in Japan and will be getting their hands on Sigma’s new gear. As a result, they will be able to answer some of your inquiries this week.

Those interested in discussing the Sigma BF can visit the discussion thread dedicated to the new camera. Or, if you are intrigued by Sigma’s new 16-300mm F3.5-6.7 and 300-600mm F4 lenses, head over to the discussion thread here.

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

Sigma has revealed the BF, a radically minimalist 24MP full-frame L-mount mirrorless camera.

It's a compact mirrorless body with a single rear-plate dial and three buttons that haptic feedback when pressed. Sigma says the interface has been designed to be simple and intuitive. Other than these three rear buttons, the camera has shutter and power buttons.

It becomes Sigma's first camera to offer phase-detection autofocus, which is combined with a subject recognition system designed to detect humans, dogs and cats.

The BF has 230GB of internal memory instead of any removable media cards and uses the USB slot to transfer data off the camera. Sigma says this is sufficient for 14,000 JPEGs, 4300 uncompressed DNG Raws or 2.5 hours of video shot in its highest quality settings.

The body is milled from a single block of aluminum, which Sigma says is a first (though this may include caveats in the smallprint as both Leica and Hasselblad have made similar claims in the past). It weighs just 388g (13.7oz) without battery.

However, the camera has no mechanical shutter, which means it risks exhibiting rolling shutter when used to shoot fast-moving subjects. There's also no stabilization.

The BF is a small rectangular body with a texture cut into the front surface to provide grip. A small settings display to the right of the fixed live view display displays either the ISO, shutter speed or aperture value, so that the main composition panel doesn't have to have camera settings intruding on the view.

In addition to stills, the BF can capture 6K video at up to 30p, or 4K footage derviced from 6K capture. This can be in H.264 or H.265 and has the option to use Leica's L-Log response curve for preserving flexibility for making tone and color adjustments in post.

There are no ports on the camera, other than a single, exposed USB-C socket on the side of the body.

The Sigma BF will be available in a choice of black or silver, with the black version retailing for around $2000. Silver versions of Sigma's i-series primes will be available in L-mount, to match the camera.

{PressRelease}

Announcing the “Radically Simple” Sigma BF camera

Ronkonkoma, New York - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the Sigma BF, a 24-megapixel full-frame L-Mount camera. The Sigma BF presents an uncompromising new vision for the digital camera. Stripped to the essence but packed with power, innovative yet rooted in the origins of photography, it is designed to accompany you throughout your day and to capture the spontaneous beauty of everyday life. The BF balances performance with simplicity and returns the focus to what matters most: your photographs. The Sigma BF will retail for $1,999 and be available in April 2025.

A radically simple camera that evokes the essence of photography
A full-frame mirrorless camera offering an unprecedented intuitive shooting experience

Staying close to the photographer, the Sigma BF captures the beauty that lies hidden in everyday life, and becomes the catalyst to be aware of that beauty.
The BF focuses on the joy of photography that only a camera as a tool can provide. By simplifying and stripping away all excess elements, this full-frame mirrorless camera redefines the process of taking a photograph as a natural act.
The unique user interface, which provides a new sense of connection between the photographer and the camera in a true seamless unibody, is more intuitive than ever with its pressure-sensitive haptic buttons and dial. The high-definition expression of the approximately 24-megapixel full-frame sensor and the reliable dual autofocus system bring your vision to life.

Key features Simple, clear, and completely new user interface

The user interface has a completely new information structure compared to conventional digital cameras, with the main shooting-related settings stored on the live view screen, secondary settings in the optional menu, and management functions and detailed settings in the system menu. Users can easily operate the shutter speed, aperture, ISO sensitivity, EV compensation and color mode, along with other important shooting-related elements at the touch of a finger. Combined with the auto setting, the functions of the general shooting mode dial are also covered.

Clear live view and status monitor

The default live view screen displays only the minimum necessary information and can be changed to display no information at all. Since the currently active setting is displayed on the status monitor, the users can concentrate solely on composition and the subject on the live view screen.

Minimal controls and haptics

All controls are integrated into just three buttons, one dial, the shutter release, and the power button. The BF is the first mirrorless camera* to incorporate haptics into its Dial, Center button, Option button, and Playback button, resulting in minimal physical wear. The buttons are always accurate and comfortable to press.
 * As of February 2025, by Sigma.

Unibody structure

The BF is the first camera in history* to feature a true unibody, which boasts unprecedented rigidity. Each camera is carved from a single, solid block of aluminum over the course of seven hours. The reliable, comfortable weight of its seamless all-metal body harmonizes perfectly with any attached lens.
* As of February 2025, by Sigma.

Internal storage

The BF features 230 GB of internal memory, capable of storing more than 14,000 JPEG files, 4,300 uncompressed RAW images or 2.5 hours of video at the highest-quality setting, with the USB-C port offering fast charging and data-transfer speeds.

Various color modes

Thirteen different color modes are available to open up new avenues of creativity. The modes range from unique options like Teal and Orange, Powder Blue, and Warm Gold to creative yet versatile options such as Rich, and Calm.

Evolved autofocus

A hybrid autofocus system combining image phase detection and contrast detection utilizes state-of-the-art algorithms to capture subjects accurately and reliably. In addition to people, dogs and cats can be detected in the subject detection mode.

Video shooting (6K, L-Log)

The BF supports high-resolution 6K and L-Log recording, enabling video production that takes advantage of the wide dynamic range of a full-frame sensor.

Equipped with L-Mount

The L-Mount lens mount allows the camera to be used with a wide variety of interchangeable lenses for mirrorless cameras from Sigma as well as other L-Mount Alliance partners.

{/PressRelease}

Sigma BF specifications PriceMSRP$2000 (Black version)Body typeBody typeRangefinder-style mirrorlessBody materialAluminumSensorEffective pixels25 megapixelsSensor photo detectors25 megapixelsSensor sizeFull frame (36 x 24 mm)ImageUncompressed formatRAWScreen / viewfinderArticulated LCDFixedScreen size3.2″Screen dots2,100,000Touch screenYesLive viewYesViewfinder typeNoneStorageStorage typesInternal onlyStorage included230GBConnectivityUSB USB 3.2 Gen 2 (10 GBit/sec)USB chargingYesMicrophone portNoHeadphone portNoPhysicalDimensions130 x 73 x 37 mm (5.12 x 2.87 x 1.46″)

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Sigma has announced the 16-300mm F3.5-6.7 DC OS Contemporary lens, a wide-angle to telephoto, image-stabilized zoom for APS-C cameras that provides a 24-450mm equivalent focal length. Sigma claims it's the longest zoom ratio available in an APS-C lens and that it will be ideal for applications ranging from landscape to sports photography. It will be available in L-mount, E-mount, X-mount and RF-mount.

Optically, the lens comprises 20 elements in 14 groups and includes 1 FLD, 4 SLD and 4 aspherical elements. It contains one high refractive index glass element, which Sigma says has "significant thickness variation."

The lens has a close focusing distance of 17cm (6.7") at its widest angle and 105mm (41.4") at the telephoto end. The maximum magnification of 1:2 occurs at 70mm and is 1:3 at 16mm, and 1:4 at 300mm. The front element includes a water and oil-repellent coating. According to Sigma, the lens is designed to suppress focus breathing, making it useful for video work and applications like focus stacking.

Sigma says the autofocus is driven by its high-response linear actuator motor to provide fast and smooth autofocus. Image stabilization is rated at 6 stops at the wide, and 4.5 stops at the telephoto setting. A zoom lock switch is included to prevent lens creep when mounted on a camera.

Physically, the lens is 73.8mm (2.9") in diameter and 121.4mm (4.8") long and includes threads for a 67mm filter. It weighs in at 615g (1.4 lbs). Sigma rates it as dust and splash-resistant.

The Sigma 16-300mm F3.5-6.7 DC OS Contemporary has a retail price of $700 and will be available beginning April 17.

Sigma presents the world's first mirrorless lens with an approximate zoom ratio of 18.8x. Powerful yet portable, the 16-300mm F3.5-6.7 DC OS | Contemporary delivers outstanding results in any situation.

Ronkonkoma, New York - SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the 16-300mm F3.5-6.7 DC OS | Contemporary lens for the US market. the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features an 18.8x zoom ratio, the world’s largest*1 for an APS-C format mirrorless lens. Equivalent to 24-450mm in 35mm format, this portable lens covers everything from wide-angle for landscapes and interiors to super-telephoto for sports, wildlife and aviation. This extremely versatile lens brings the full range of photographic subjects within reach, from landscapes and portraits to wildlife and sports photography. The lens is available in L-Mount, Sony E-Mount, Fujifilm X Mount and Canon RF Mount and will retail for $699 through authorized US retailers.

Sigma presents the world's first*1 mirrorless lens with an approximate zoom ratio of 18.8x. Powerful yet portable, the 16-300mm F3.5-6.7 DC OS | Contemporary delivers outstanding results in any situation.

The all-new Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features an 18.8x zoom ratio, the world’s largest*1 for an APS-C format mirrorless lens. Covering the entire range from wide-angle to super-telephoto, this extremely versatile lens brings the full range of photographic subjects within reach, from landscapes and portraits to wildlife and sports photography.

With a maximum magnification ratio of 1:2, the 16-300mm F3.5-6.7 DC OS | Contemporary captures detailed close-ups with ease. Its HLA (High-response Linear Actuator) motor provides exceptionally fast, smooth and accurate autofocus - ideal for fast-moving subjects such as birds and aircraft. The lens offers 6 stops of image stabilization at the wide end and 4.5 stops*2 at the telephoto end, helping photographers achieve blur-free results even at longer focal lengths and in low light.

This ultra versatile all-in-one zoom is the perfect tool for creative photographers who want to work in a wide range of photographic genres.

*1 As an AF compatible interchangeable lens exclusively for mirrorless, as of February, 2025 by Sigma.
*2 Based on CIPA guidelines. (Measured at a focal length of 16mm and 300mm using an APS-C camera)

Wide-angle, super-telephoto and macro photography in one lens The world's first 18.8x zoom with a 16mm wide-angle setting

The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary is the world's first mirrorless lens with an 18.8x zoom ratio. Equivalent to 24-450mm* in 35mm format, this portable lens covers everything from wide-angle for landscapes and interiors to super-telephoto for sports, wildlife and aviation.
* Approximately 25.6-480mm for the Canon RF Mount version.

Maximum magnification ratio of 1:2 at 70mm for striking close-ups

With a maximum magnification ratio of 1:2 at 70mm, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary provides excellent close-up performance, perfect for capturing flowers, insects and other small subjects in great detail. With a maximum magnification of 1:3 at the wide end and 1:4 at the telephoto end, photographers have access to a huge range of creative expression.

Small, lightweight and portable

Despite its impressive zoom range of 16-300mm, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary prioritizes high portability, measuring just 73.8mm in diameter by 121.4mm in length and weighing just 615g*. This is achieved through advanced mechanical and optical design, including a high refractive index glass element with significant thickness variation and an aspherical lens element.
* The figures are for the L-Mount version.

High-speed autofocus and image stabilization for effortless shooting with reliable results Accelerated AF speed and accuracy with HLA autofocus

To help photographers capture even the most fleeting moments, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary uses a High-response Linear Actuator (HLA) to achieve high-speed autofocus functionality with excellent drive accuracy.

Outstanding optical stabilization powered by the OS2 algorithm

Inspired by the same technology that powers Sigma's super-telephoto lenses used by professional wildlife and sports photographers, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features 6 stops of optical stabilization at the wide end and 4.5 stops at the telephoto end. The latest OS2 optical stabilization algorithm provides superior image stabilization to mitigate the effects of camera shake, helping photographers achieve blur-free results without the need for a tripod, even when shooting in low light and at full zoom.

* Measured using an APS-C camera at focal lengths of 16mm and 300mm according to CIPA standards.

Equipped with a zoom lock switch at the wide end

The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending.

Dust- and splash-resistant structure* and water-repellent coating

Designed to help photographers work in all environments, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary features a dust- and splash-resistant structure for use in harsh conditions. In addition, the front element features a water- and oil-repellent coating that helps keep the lens free of contaminants.

* The structure is designed to be dust- and splash-resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Uncompromising optical quality that redefines the standard for super-zoom performance Consistently high image quality across the entire zoom range

Thanks to its advanced optical design with 1 FLD, 4 SLD and 4 aspherical elements, the lens has excellent aberration correction and delivers sharp results throughout the whole zoom and focus range.

Engineered to minimize flare and ghosting

By measuring light incidence under all conditions and using advanced simulation technology, the Sigma 16-300mm F3.5-6.7 DC OS | Contemporary guarantees superior resistance to flare and ghosting, allowing photographers to capture crisp, clear images in even the most challenging lighting conditions - just as an all-in-one lens should.

Suppressed focus breathing for consistent framing

The Sigma 16-300mm F3.5-6.7 DC OS | Contemporary is designed to effectively suppress focus breathing, making it a perfect choice for filmmakers as well as photographers working with multi-shot techniques such as focus stacking. Throughout the zoom range, changes in angle of view are kept to an absolute minimum when changing focus.

Sigma 16-300mm F3.5-6.7 DC OS specifications Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length16–300 mmImage stabilizationYesLens mountCanon RF-S, Fujifilm X, L-Mount, Sony EApertureMaximum apertureF3.5–6.7Minimum apertureF22–45Number of diaphragm blades9OpticsElements20Groups14Special elements / coatings1 FLD, 4 SLD, 4 asphericFocusMinimum focus0.17 m (6.69″)Maximum magnification0.5×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight615 g (1.36 lb)Diameter74 mm (2.91″)Length121 mm (4.76″)Filter thread67 mmHood suppliedYesHood product codeLH706-03

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Sigma has announced the 300-600mm F4 DG OS Sports lens, designed specifically for applications like sports, action and wildlife photography.

Optically, the lens is built around 28 elements in 21 groups. It includes 6 FLD and 1 SLD element, anomalous dispersion glass, high refractive index glass, and a water and oil-repellent front coating. It's designed to provide a high level of correction for chromatic aberration throughout the entire zoom range. Sigma claims the new zoom will deliver the same optical performance as a prime lens.

Autofocus is driven by a high-thrust HLA (high-response linear actuator) motor that drives a lightweight lens focus group located close to the camera body for good balance and fast and precise AF performance.

The image stabilization system provides 5.5 stops of stabilization at 600mm. It includes two stabilization modes: Mode 2 is designed to be widely used for most still and video applications and Mode 2 is designed specifically for panning shots in the horizontal, vertical or diagonal directions.

The lens barrel is constructed from magnesium alloy, and the lens hood is made of carbon to deliver a sturdy but lightweight design. It's painted with thermal insulation paint to reduce heat absorption. The inner zoom mechanism is designed to minimize center of gravity fluctuations throughout the entire zoom range.

The lens also includes a newly added function ring that offers two modes. With the Focus Preset Mode, twisting the ring right or left will instantly shift to a pre-registered focus position. The Power Focus Mode is intended to make it easier to focus the lens at a constant speed for applications like video and supports two steps; focus speed can be changed in two steps, depending on how far the ring is turned.

Other controls include four AFL buttons, a focus mode switch, a focus limiter and OS mode switch and a custom mode switch. The L-mount version is also compatible with teleconverters.

There is a drop-in holder for 40.5mm filters. According to Sigma, it has developed a new drop-in circular polarizer and a variable ND filter with 7 stops of adjustment to use with the lens. Sigma says the lens is dust and splash-resistant.

The lens is 167mm (6.6") in diameter by 467.9mm (18.4") long. It weighs 3,985g (8.79lbs)

The Sigma 300-600mm F4 DG OS Sports lens will be available from April 2025 at a retail price of $6000.

The Sigma 45mm F2.8 DG Contemporary, showing Sigma's new typeface.

Rendering: Sigma

Sigma's I-series prime lenses will become the first to adopt the company's revised logo and branding, with updated versions of all nine lenses losing the 'DN' designation from their names.

All nine lenses retain their original optical formulae and change only in their external appearance. The exception to this rule is the original 45mm F2.8 DG Contemporary, which has now been made compatible with the magnetic lens caps used across the rest of the series.

Silver versions of the I-series lenses will also be available, to match the silver version of Sigma's new BF mirrorless camera. Prices for all nine lenses remain unchanged.

New designation for Sigma's I-series lenses: US MSRP:

• Sigma 17mm F4 DG Contemporary
• Sigma 20mm F2 DG Contemporary
• Sigma 24mm F2 DG Contemporary
• Sigma 24mm F3.5 DG Contemporary
• Sigma 35mm F2 DG Contemporary
• Sigma 45mm F2.8 DG Contemporary
• Sigma 50mm F2 DG Contemporary
• Sigma 65mm F2 DG Contemporary
• Sigma 90mm F2.8 DG Contemporary

$599
$699
$639
$549
$639
$549
$639
$699
$639

Sigma CEO Kazuto Yamaki

Photo: Richard Butler

We're at Sigma's pre-CP+ event at its headquarters in the suburbs of Tokyo. CEO Kazuto Yamaki is talking and we'll be reporting live on what he reveals.

About the company

He says they've been working hard to provide "the best of the best." But, since he took over the company on 2012, the image quality of smartphones has increased and "the importance of the dedicated camera is gradually being questioned."

This caused him concern, he says. But he found himself encouraged when he went back to the founding ethos of his father: "technological innovation is an art in itself."

He says the company will focus on "technology, craftsmanship and art." To reflect this, the company is introducing a new look and new logo, with the tag-line: "The art of engineering, engineering for art."

As part of this, Yamaki says the company is establishing the Sigma Foundation that will promote the art of photography. The foundation's first actions will be to publish photo books by two photographers: Sølve Sundsbø and Julia Hetta.

But, he says the company's focus will remain the same: "to develop, manufacture and deliver the very best products to our customers."

"Since 1973 we have been making all our products in Aizu, Japan," he says, "and we remain committed to the people and the community of Aizu."

Two new lenses:

Sigma CEO Kazuto Yamaki reveals the 16-300mm F3.5-6.7 DC OS lens for APS-C mirrorless.

Photo: Dale Baskin

The first lens is the 16-300mm F3.5-6.7 DC OS, an 18.8x zoom lens for APS-C, as part of its Contemporary range of lenses.

He describes the design as compact and lightweight, with a diameter of 73.8mm and a length of 121.4mm. It weighs 615g (L-mount). The lens is ideal for travel, landscape, street and family photos, where flexibility is important, he says.

The autofocus is driven by the company's HLA linear motor and the optical stabilization can deliver 6.0 stops of shake compensation at the wide end.

It can deliver a 1:2 magnification ratio at 70mm. It will be available for L-mount, Sony E-mount, Fujifilm X-mount and Canon RF-mount. It will cost $699 and be available in April.

The second lens is a Sigma 300-600mm F4 DG OS Contemporary. The World's first zoom to reach 600mm with a maximum aperture of F4.

He says they aimed to make it compact and lightweight enough for handheld use. It weighs around 4Kg and is 467.9mm long. It has a diameter of 167mm.

The optical stabilization is able to deliver 5.5EV of correction. It has 28 elements in 21 groups include six FLD elements and one SLD element. The lens has a switch to change stabilization modes, for when you're panning.

The lens is an internal zoom design, minimizing shifts in the center of gravity. It can take internal filters. It will be available for both L-mount and E-mount. It will cost $5999, and is also available in April.

New camera: Sigma BF Photo: Dale Baskin

"Smartphones are now the most used camera in the world," says Yamaki: "the very raison d'etre of dedicated question is brought into question."

While situations like sports and wildlife photography still require a dedicated camera, it's less obvious whether a dedicated camera is needed for day-to-day photography. "We believe it is," he says.

Modern digital cameras are not compatible with frequent day-to-day use. We wanted to create a camera that was small, simple and well-suited to everyday use.

"An everyday system camera for creative minds."

L-mount camera with 24MP CMOS sensor. He says the design concept is one of "radical simplicity."

He highlights three features: Unibody construction, Single-finger interface and Dual Layer menu system.

The body is a unibody/monocoque construction. It takes over seven hours to mill the camera from a single ingot. On one side there is a strap lug, on the other a USB 3.2 10Gbps port. Beyond this, just a tripod socket and battery compartment.

There is no memory card slot. Instead. 230GB of internal memory. This allows storage of up to 14,000 JPEGs, 4300 DNG Raws and over 2.5 hours of video at the highest bit-rate.

Single-finger interface: Photo: Dale Baskin

He suggests the complexity of modern camera interfaces stems from them being based on film camera operation. He says they've simplified everything to allow everything other than the shutter button to be operated with your thumb. The buttons on the back use piezoelectric actuators to provide haptic feedback as you operate it.

The BF costs $1999 and will be available in April. We're told we'll be able to get our hands on a working sample shortly.

He points out that many menus have a great many options and can require a lot of exploring and button pressing. On the BF they have simplified all the options into two menu screens: the main menu screen with all the key shooting parameters: aperture, shutter speed, ISO, exposure comp and color modes. At the top of the screen: aspect ratio, AF mode and white balance.

Separately, there is a second screen with settings you change less often are grouped in a Options menu. More complex settings are stored one layer deeper, in a more conventional menu structure.

He acknowledges it may take some time to learn this new system, especially if you already know how to use another camera, but in time he says you will learn to enjoy the BF. "This is the easiest camera to use," he says.

The BF includes two new color modes, in addition to the ones on the existing fp and fpL models. These are Calm and Rich modes, one of which is subtle, the other quite bold.

"The BF is chiefly a photo camera but it can shoot video," Yamaki says. It can shoot up to 6K/30 in H.264, H.265 and Leica L-Log formats.

The BF will be available in black or silver, with silver versions of the I-series primes available in L-mount, to match. The BF weighs 388g (without battery).

It features a hybrid AF system combining phase detection and contrast detection.

Editors' photo challenge: Winter Games

The theme for our February Editors' photo challenge was 'Winter Games', and we asked you to show us the coolest winter fun through your lens.

As usual, DPReview photographers iced it! We got snowed under with amazing entries, making judging an absolute blizzard of a task. Our top picks on the following pages are presented in random order.

Want to participate in some other photo challenges? Visit our Challenges page to see currently open or upcoming challenges or to vote in a recently closed challenge.

Harris Hill, VT

Photographer: jshepka

Description: With its 100th anniversary, Harris Hill in Brattleboro, Vermont, is one of the oldest ski jump hills in the US. It is a FIS-approved 90-meter hill that has been around since 1922. This image is a view of a jumper passing in front of the judge's tower on the way down!

Equipment: Canon EOS 70D + Canon EF 16-35mm F4L IS USM

New Year's Day polar bear swim

Photographer: Lensmate

Description: Polar Bear Swims are a New Year's Day tradition. Hundreds of adults, teenagers and families with children attend the event to race and swim in the chilly winter waters. This freezing winter plunge activity takes place all over the world.

Equipment: DJI Mini 3 Pro

Winter bike

Photographer: BernhardK

Description: Not enough snow for skiing, but perfect for mountain biking. Provided you have heated socks. We climbed 700 m in deep winter conditions. We made our first tracks in the snow on the deeply snow-covered slopes of the Alps.

Equipment: Olympus OM-D E-M1 Mark III + Olympus M.Zuiko Digital 45mm F1.8

Family skating in snowfall at outdoor rink

Photographer: Hooyat

Description: At the winter festival, there were activities and games for everyone. People watched an ice sculpting competition, tried out snowshoes, and children played in a gigantic snow playground. Snow or shine, people immersed themselves in the festival. On our way to the sledding and tubing hill, we met a family on an ice skating rink. They had much fun skating, oblivious to the heavy snowfall. I took this shot, and it was my favorite of the day. I am happy to report that my camera survived the snow, ice, cold, and rough weather; the camera still works and still makes great memories to this day.

Equipment: Nikon Z6 II + Nikon Nikkor Z 24-70mm F4 S

Ryland Bell

Photographer: owenleve

Description: Professional snowboarder Ryland Bell on location with Warren Miller Entertainment. This was shot in the Chugach Mountains with Points North Heli-Adventures, a heli-ski operation based out of Cordova, AK. This is a seldom-ridden line as conditions have to line up just perfectly.

Equipment: Nikon D800

Take off

Photographer: mmkarb

Description: Heliskiing was a bucket item I thought I'd never get a chance to experience, but I got an opportunity in 2019 and couldn't pass it up. It allowed the group to experience amazing skiing and breathtaking views. One of my favorite views came together with the helicopter dropping us off at the top of the mountain and being able to take in the entire view.

Equipment: GoPro Hero5 Black

A walk in the park

Photographer: rshoub

Description: This is a view of Humber Bay Park, as seen from our Toronto apartment. A gentle snowfall had done some extra cake decorating overnight by powdering the trees with a delicate, sugary frosting. For me, the days of hip-shattering ice rinks and arduous ski and hiking trails are behind me. I’m 80. Nevertheless, I still participate in the winter games by enjoying an unhurried walk through this serene yet exhilarating landscape. After I took this shot, I switched the camera for Nordic walking poles and, with my wife of 55 years, followed the same trail as the couple you see in this picture. And, like the lamp they will soon pass under, ours still shines bright.

Equipment: Sony Cyber-shot DSC-RX10 III

Aletch Glacier, Switzerland

Photographer: mattalatta

Description: The genera of Adventure Photography can be quite challenging. One has to have the stamina to manage the trip while expending extra energy to carry camera gear and capture photographs. This often requires anticipating shots, running ahead and photographing as your partners move through your frame. In this photo, safety was a primary concern as we skied along a crevassed glacier with seracs hanging above us. I was in the back, waiting for my friends to create a leading line to the peak framed in the picture. Moving quickly through this section of the glacier was important, so I only had a moment to capture the frame.

Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

The huntsman and the hounds

Photographer: ebaphoto

Description: I had the chance to photograph an organized hunt club where mounted riders follow a pack of hounds as they chase wild fox. The huntsman maintains control of the hounds, and no harm comes to the fox when these chases occur. The fox runs through the country cunningly evading the hounds until they eventually lose his scent, the fox “goes to ground” in his den, or the fox goes onto public or private land where the club does not already have permission to be. I rode with a "car follower" who showed me the places where I would most likely get good images.

Equipment: Nikon D90 + Nikon AF-S Nikkor 70-300mm f/4.5-5.6G VR

Eerie art

Photographer: TheColdDark

Description: This is a local ice art competition in Fairbanks, Alaska. International teams arrive to carve the ice blocks. The blocks are transported from a local lake and brought to the site to be sculptured. This is the beginning of one team working on their multi-block piece. I'm not sure they even noticed I was grabbing the shot. Multi-block judging occurs four days after they begin.

Equipment: Canon EOS R6 Mark II + Canon RF 35mm F1.4 L VCM

Friendly polar bear

Photographer: JannisN

Description: We encountered this polar bear on a tour of the Ranua Wildlife Park in Finland. She was very friendly and took her sweet time posing for the cameras.

Equipment: Sony Cyber-shot DSC-RX10 IV

Slip slidin' away

Photographer: swald

Description: One of the local golf courses also serves as a winter recreation area, with cross-country skiing, fat tire biking, disc golf, and sliding. The very steep tenth fairway hosts the sleds and snow tubes, and this family joined several tubes to enjoy a thrilling ride to the bottom.

Equipment: Nikon D300 + AF Nikkor 300mm F4 ED

Mountain biking in snowy Finland

Photographer: Hotel12

Description: This was my first photoshoot with remote controls, and it worked excellently. The sun was shining, and fresh snow had come in the night. The trail was covered with light snow, and it was like I was riding a motor-powered dirt bike, though it was a mountain bike. Taken with the OM System OM-1 II with 40-150mm f2.8, human subject tracking and AF-C using Hahnel remote controls.

Equipment: OM System OM-1 Mark II + Olympus M.Zuiko Digital ED 40-150mm F2.8 Pro

Alaska: Dog sled racing

Photographer: summicron

Description: The Alaska Dog Mushers Association hosts the Open North American Championships, the world’s premier sprint sled dog race, annually in and around Fairbanks, Alaska. Teams gather from around the world to compete in a series of fast sprint races. Shown is from the race in March 2013.

Equipment: Nikon D800E + Nikon AF-S Nikkor 70-200mm f/2.8G ED VR

Images: DJI, Insta360, Godox, Angelbird

Happy weekend, folks! This week was a fairly quiet one for accessories, but that doesn't mean were left empty-handed. We'll look at a new light, plenty of gimbals and a memory card. But first, as always, deals.

Nikon sales Photo: Richard Butler

The Nikon Z8 is one of the company's best-ever cameras, with features beyond its price. You can grab one for $600 off right now.

Buy at B&H Buy at Adorama Photo: Dan Bracaglia

If the Z8 is a bit more than you need, the Nikon Z7 II is also a fantastic choice with excellent image quality, great ergonomics and a well-rounded feature set. It's currently on sale for $1,000 off as a standalone item, with additional savings for bundles with the FTZ II Mount Adapter. Adorama is also throwing in a memory card and an extra battery.

Buy at B&H Buy at Adorama Let it rain Photo: Godox

A few weeks ago, we shared the Godox P1200R Hard Pro light panel with an IP65 weather resistance rating. This week, Godox expanded its water-resistant lighting lineup for photographers with the KNOWLED M600Bi Pro Bi-Color LED Monolight. It features an IP54 rating for protection when working on outdoor sets. The 600W light offers 2800-6500K color temperatures and an output of up to 21,400 lux at 1m (3.3'), plus a long list of controls and 11 unique and customizable effects for more control over the light in your images.

$1529 at B&H $1529 at Adorama Speedy CFexpress Type B memory cards Image: Angelbird

European memory card maker Angelbird has introduced a new lineup of extra-fast CFexpress Type B cards. The Angelbird AV Pro SE CFexpress v4 Type B cards use CFexpress 4.0 technology, which is twice as fast as CFexpress 2.0. It's important to note that no cameras currently take advantage of all that speed, but it will be beneficial when transferring files. Plus, it is a bit of a future-proofing move. The new cards are available in 512GB, 1TB, 2TB and 4TB capacities with a promised maximum read speed of 3700 MB/s and sustained read speed of 3500 MB/s.

$180 at B&H $180 at Angelbird Gimbals galore Image: Insta360

It was certainly a busy week for gimbal and gimbal accessories. First up was the Insta360 AI Tracker, which made Insta360's popular yet Apple-centric Flow 2 Pro smartphone gimbal accessible to Android users. The little accessory uses a dedicated camera to support AI-driven tracking no matter what phone is on the gimbal or what app you use to record video. It also sports a built-in light with three adjustable brightness and color temperature settings. We covered the launch in its own article, which you can read here.

$40 at Insta360 Image: DJI

DJI announced three new gimbals this week, starting with the Osmo Mobile 7 and Mobile 7P smartphone gimbals. Both feature DJI's seventh-generation three-axis stabilization and ActiveTrack 7.0, meaning they can automatically track subjects even in crowds or when moving. The Mobile 7P is the more advanced model of the two and comes with the company's new Multifunctional Module, which is quite similar to Insta360's AI Tracker. You can read more in our article about the release.

$89 at DJI $89 at B&H Image: DJI

Finally, DJI announced its latest lightweight camera gimbal, the RS 4 Mini. The new offering streamlines the gimbal process, making it easier and faster to get up and running or pack things away. It is also more compact when folded down and promises better stabilization and battery life. Plus, DJI released yet another gimbal accessory similar to its Multifunction Module, albeit without the light. The RS Intelligent Tracking Module comes with the RS 4 Mini Combo and enables ActiveTrack with any camera or phone. You can find more details in our announcement article.

$369 at DJI $369 at B&H A DIY accessory

Finally, we always try to share some bits of knowledge from around the internet in this roundup. Today's video walks you through a bit of a DIY project, offering a different way to carry your camera without dropping loads of cash on specialized accessories.

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Read last week's roundup

Underwater Photographer of the Year 2025 winners

Photos: Abdulaziz Al Saleh, Enric Gener, Bryan H. Blauvelt, Ruruka, Alvaro Herrero (Mekan), Jenny Stock, Wojciech Dopierala, Bryant Turffs and Shunsuke Nakano / UPY 2025

The winners of the 2025 Underwater Photographer of the Year contest have been announced, showcasing spectacular underwater scenes. The UK-based contest began in 1965, though it appeared in its current form in 2014/2015. It celebrates work across 13 categories, including Portrait, Behavior, Wrecks, Coral Reefs and Macro, with three categories focused on photos taken in British waters.

This year, the contest saw 6750 entries with photographers coming from 28 different countries. Peter Rowlands, Tobias Friedrich and Dr Alexander Mustard MBE served as judges this year. You can find out more and see additional winners at the Underwater Photographer of the Year website.

Underwater Photographer of the Year 2025: 'Radiant Bond'

Credit: Alvaro Herrero (Mekan)/UPY 2025

Nationality: Spain

Image caption: Radiant Bond

Country taken: French Polynesia

Location: Mo'orea

Camera: Nikon Z7 II

Lens: Nikkor Z 14-24mm 2.8 s

ISO: 1100

Aperture: F8

Shutter: 1/640

Lighting used: Natural Light

Housing: Isotta

Back story: A mother humpback whale accompanies her calf to the surface for its first breath early in the morning. The youngster is releasing a few bubbles as it rises, perhaps this is because it is still learning to control its breathing, or it is simply experimenting with its own body.

Every year, during the southern winter, I travel to French Polynesia to photograph these majestic animals. My favourite time of day is the early morning, because the light is soft and angled, allowing me to find the perfect angle to clearly define the shape of these animals in blue. For me, this photo is one that shows a mother’s love for her calf, communicating both the fragility and beauty of our oceans, and revealing one of the amazing species with whom we share our home world.

Underwater Photographer of the Year 2025: Macro winner

Credit: Paolo Bondaschi/UPY 2025

Nationality: Italy

Image caption: Magic backlit

Country taken: Anilao, Philippines

Location: Secret Bay, Anilao

Camera: Canon EOS R7

Lens: EF-S60mm f/2.8 Macro USM + wet lens AOI UCL-90PRO

ISO: 100

Aperture: F16.0

Shutter: 1/200

Lighting used: Backscatter MF-1 + Backscatter snoot OS-1

Housing: MARELUX MX-R7

Back story: At the end of this dive, I spotted a couple of underwater photographers focused on shooting and it piqued my curiosity about what they were photographing. I signalled to my guide to check what they were shooting. After realizing that it was one of my favourite subjects, a hairy shrimp, I waited patiently for my turn and used the time to plan and prepare for the shot. I chose to shoot it in profile, backlight with a snoot. My guide and my buddy played a fundamental role in expertly managing the light of the snoot. After a few test shots to find the right setting, I finally got the photo I was looking for.

Underwater Photographer of the Year 2025: Wrecks winner

Credit: Alex Dawson/UPY 2025

Nationality: Sweden

Image caption: Deep wreck

Country taken: Egypt

Location: Gulf Fleet No 31 wreck at Shaabruhr Umm Qammar

Camera: Nikon Z9

Lens: 8-15 fisheye

ISO: 800

Aperture: F4.5

Shutter: 1/80

Lighting used: ambient light

Housing: Nauticam Z9

Back story: The wreck sits on the reef at around 104m depth. When she sank she got wedged between the reef wall and a small reef so there is a swim through under the wreck. We did 25 min bottom time and about 2 1/2 hours of deco to produce this image.

Underwater Photographer of the Year 2025: Behavior winner

Credit: Shunsuke Nakano/UPY 2025

Nationality: Japan

Image caption: Face Off

Country taken: Japan

Location: Sado,Niigata

Camera: Nikon D850

Lens: af nikkor 28-70mm f3.5-4.5 d with Nauticam WACP-1

ISO: 200

Aperture: F16

Shutter: 1/250

Lighting used: INON Z330

Housing: Nauticam NA D850

Back story: This is a photo of two male Asian sheepshead wrasse fighting. The unique form of this species is characteristic of males, who form harems and claim territories during the breeding season. The one on the left in the photo is the harem king, who has defended his territory for more than 10 years and is estimated to be over 30 years old, while the one on the right is a young challenger.

Although I had planned carefully to capture the images, the 2024 season was more difficult to predict than usual, and despite staying there for a week during the breeding season, I was only able to observe this scene once, for just 10 seconds. And this was the only photograph I was able to take. The sight of them fighting in their flashy white outfits was so magnificent I can still remember it vividly.

Underwater Photographer of the Year 2025: Portrait winner

Credit: Abdulaziz Al Saleh/UPY 2025

Nationality: Kuwait

Image caption: Hydration

Country taken: Kuwait

Location: Al Wafra desert

Camera: Nikon Z8

Lens: Nikkor 8-15mm fisheye

ISO: 100

Aperture: F18

Shutter: 1/100

Lighting used: Inon Z330 (dual)

Housing: Nauticam NA-Z8

Back story: I had the idea of photographing the camels drinking water for about one and half a years. I wanted to photograph them drinking water from the underwater perspective because I did not see any images showing this. The weather was a critical, and it took me several weeks to get the best possible shots. The first week the camels were a bit hesitant to drink water while my camera was under the water and only few gathered to drink, which is not what i wanted. But after several days the camels had already accepted to me and my equipment.

After my first week of shooting the Camels, I changed to electronic synch cords for my strobes instead of fibre-optic cables because of problems. And finally the shots came together.

Underwater Photographer of the Year 2025: Coral Reefs winner

Credit: Catherine Holmes/UPY 2025

Nationality: United Kingdom

Image caption: Kaleidoscope of Colour

Country taken: Raja Ampat, Indonesia

Location: Gorgonian Passage, Wayil Batan Island, Misool

Camera: Nikon D500

Lens: Nikon Fisheye. 8-15 (3.5-4.5) @12mm

ISO: 320

Aperture: F11

Shutter: 1/160

Lighting used: Retra Pro strobes- with diffusers

Housing: NA-D500. Nauticam

Back story: Raja Ampat, Indonesia, is a magical destination where the colour, beauty, biodiversity and dense fish life can almost be an overload on the senses- a celebration of healthy reef life. I was lucky to find perfect conditions with clear water and schooling baitfish swirling amongst the canyons of a large coral bommie, adorned with verdant soft corals.

I aimed to capture the reef teeming with life and colour to inspire us all to protect this valuable habitat. All around the world, our oceans, and in particular the coral reefs, are under threat. They are vital habitat for the myriad of species they support, and critical for the oceans health. Climate change, pollution, overfishing and destructive fishing all threaten this environment, and the devastating outcomes are seen worldwide with bleached and dying reefs, with dwindling fish life. Awareness is essential to protect and sustain these precious environments for the future.

Underwater Photographer of the Year 2025: Black & White winner

Credit: Enric Gener/UPY 2025

Nationality: Spain

Image caption: Chasing Dolphins

Country taken: Egypt

Location: Red Sea

Camera: Canon5D Mark IV

Lens: Canon EF 16-35mm 1:2.8 L III USM

ISO: 160

Aperture: F4

Shutter: 1/500

Lighting used: No Lighting

Housing: SeaCam

Back story: This image was captured in the northern Red Sea during a freediving expedition in search of bottlenose dolphins. The moment portrays an intimate mating ritual, where several males—four visible in the picture, though others were nearby—were playfully chasing a female. It was a dynamic and ritualistic display, with the males engaging in friendly skirmishes and occasionally mating with the female, their bodies joining briefly for just a few seconds. Notably, the female was not attempting to escape; she actively participated, playing along and waiting for them. The entire group swam gracefully and at a slow, deliberate pace, creating a mesmerizing underwater scene.

Underwater Photographer of the Year 2025: Up & Coming winner

Credit: Ruruka/UPY 202

Nationality: Korea

Image caption: Aurora Underwater

Country taken: Mexico

Location: Cancun

Camera: Nikon Z8

Lens: Nikon Z 24-50mm F4 with Nauticam WACP-1

ISO: 800

Aperture: F9

Shutter: 1/60s

Lighting used: Natural Light

Housing: Nauticam NA-Z8

Back story: I first travelled to Cancun, Mexico, for a shoot two years ago, and since then, I’ve been captivated by its charm. These days, I find myself visiting Cancun frequently. From where I live, it’s a very long journey - about 24 hours by plane - but this place perfectly aligns with the direction of my photography and offers a variety of shooting opportunities. To capture this particular photo, I visited during the rainy summer season and worked with a local Korean guide as my model.

Underwater Photographer of the Year 2025: Compact winner

Credit: Bryant Turffs/UPY 2025

Nationality: United States

Image caption: The Beauty of the Swamp

Country taken: United States

Location: Everglades National Park

Camera: GoPro Hero 7 Black

Lens: AOI 0.73x Ultra Wide Lens

ISO: 791

Aperture: F2.8

Shutter: 1/180

Lighting used: N/A - Available

Housing: GoPro Supersuit

Back story: I captured this image at one of my favourite locations within the Everglades ecosystem. Historically, I primarily dove in saltwater, but I have become enamoured by this foreboding environment, with clear waters, light filtering through cypress trees, and the fish species, both native and introduced. I have revisited this spot many times trying to capture various subjects and the light just right. The water levels vary significantly, sometimes completely drying, during different times of year. The fish species are in constant flux, and this location is often dominated by exotics. Ironically, on this occasion, I hadn't invested too much thought and I was enjoying the scenery when this Florida Gar positioned itself perfectly in the frame of my GoPro.

Underwater Photographer of the Year 2025: British Waters Wide Angle winner

Credit: David Alpert/UPY 2025

Nationality: United Kingdom

Image caption: The Curious Seal

Country taken: United Kingdom

Location: Lundy Island

Camera: Canon 5D MKiii

Lens: Canon EF 16-35mm f/2.8L iii USM

ISO: 200

Aperture: F8

Shutter: 1/200

Lighting used: 2 x Inon Z330 Strobes

Housing: Nauticam

Back story: North Devon is easily one of the most beautiful coastlines in Britain. High jagged cliffs pounded by an unforgiving sea. With the second highest tide change in the world, the outgoing current whips up against waves and wind rolling in from the North Atlantic. Stand back and marvel.

Diving windows are limited so I based myself in the area for two months last year, exploring different locations. This shot shows a grey seal off Lundy Island, a marine protected area since 1973. Seals are delightfully curious creatures, more interactive than any other species I have dived with around the world. Briefly, I become one of the privileged few, crossing the bridge into the world of a sentient wild animal.

Underwater Photographer of the Year 2025: British Waters Macro winner

Credit: Dan Bolt/UPY 2025

Nationality: United Kingdom

Image caption: The Hitch Hiker

Country taken: UK

Location: Scotland

Camera: OM Systems OM-1

Lens: Panasonic 45mm macro

ISO: 250

Aperture: F13

Shutter: 1/250th

Lighting used: 2x Sea & Sea YS-D3Duo

Housing: AOI UH-OM1

Back story: Occasionally in my time under the water I have come across this medusa ‘Neoturris pileata’ in the open water but had not taken a decent photo of one. On this occasion however, my buddy and I were specifically targeting them and other similar creatures to try to explore the idea of UK ‘blackwater’ photographic opportunities. Of the many, many(!), images I took that day, this one revealed a larval crustacean within the bell of this medusa. The frames either side of this capture actually show that the larval crab (or lobster) is actually on the outside of the bell, but in this instant it was perfectly on the opposite side from me and hence the effect of being contained within the transparent body.

Underwater Photographer of the Year 2025: British Waters Living Together winner

Credit: Dan Bolt/UPY 2025

Nationality: United Kingdom

Image caption: Rusty Haven

Country taken: Scotland

Location: Loch Carron

Camera: OM Systems OM-1

Lens: Olympus 14-42mm with Nautocam WWL-1

ISO: 640

Aperture: F7.1

Shutter: 1/50

Lighting used: 2x Sea & Sea YS-D3 Duo

Housing: AOI UH-OM1

Back story: This images shows nature’s ability to make the best of a bad situation. The iron block and heavy chain are actually holding a small barge in-place on the surface where local scallop divers store their equipment. The barge itself is a floating reef system all of it own, and the anchor blocks have attracted many species too.

I was actually practising for a different underwater photography competition when I took this shot. For a couple of days before an on-the-day ‘splash in’ competition, this crab was consistently in this position, or very close by. Sadly on the day it was no-where to be seen! Happily for me though that meant I was able to use my practice photos for UPY!

'Save Our Seas Foundation' Marine Conservation Photographer of the Year

Credit: Robert Marc Lehmann/UPY 2025

Nationality: Germany

Image caption: 1 / 200.000.000

Country taken: Indonesia

Camera: CANON R5

Lens: CANON EF 24mm f/1.4L II USM with EF to RF Mount

ISO: 1000

Aperture: F5.6

Shutter: 1/6400

Lighting used: n/a

Housing: n/a

Back story: This tiger shark is just one of around 200 million sharks that lose their lives every year at the hands of humans.

Since I was six years old (35 years+), I have been intensively studying sharks. In all these years, hardly anything has changed and that is frustrating. Sharks protect their habitat, the sea, through their ecological function as "health police". Over a billion people depend on the sea every day and we all breathe the oxygen that is largely produced in the sea. If we continue to eradicate the animals that guard our largest and most important habitat, we are taking away our own livelihood. And that's why I've been fighting for people to see and understand sharks through my eyes. Every time I take a photo like this, it hurts, but through imagery I can inspire millions of people to understand sharks and their situation and make a difference.

Image: DJI

DJI announced the Osmo Mobile 7 and 7P smartphone gimbals earlier this week, but that wasn't the end of things. Now, the company has announced a new version of its lightweight camera gimbal. The RS 4 Mini sees quite a few upgrades over the RS 3 Mini, borrowing features from its more expensive siblings in the flagship RS 4 lineup. DJI focused most of its updates on providing a "more efficient and seamless filming experience," along with better performance.

In order to streamline the process of using the gimbal, DJI added its automatic axis locks to the RS 4 Mini, which were previously only found on DJI's flagship gimbals. These allow the stabilizer's three axis locks to automatically unlock when you turn the gimbal on and automatically lock when turning it off. It is the first DJI gimbal to use the company's 2nd-Gen axis lock technology that allows it to unlock in only a second. It should be easier and faster to get shooting or pack away the gimbal.

The 3rd-Gen Native Vertical Switch, which DJI says "offers the fastest switch experience in the RS series, " also makes things more efficient. Plus, DJI updated the folding structure, making the axis arms fold flatter so that they take up less space when packed away.

The DJI RS Intelligent Tracking Module enables automatic subject tracking with any phone or camera.

Image: DJI

One of the most exciting new features for solo vloggers is the DJI RS Intelligent Tracking Module, which is included in the RS 4 Mini Combo. This little device is similar to the Multifunctional Module released with the Osmo Mobile 7P, though without the fill light. Like the Multifunctional Module, the Intelligent Tracking Module features a dedicated camera to enable Active Track on any phone or camera. It can track subjects up to 10 meters (33 feet) away, and DJI promises it will function reliably even in complex scenes.

Of course, the main goal of any gimbal is to smooth footage; that has not fallen by the wayside on DJI's latest camera gimbal. DJI improved the stabilization of the RS 4 Mini, moving the device to its 4th-gen stabilization. This update relies on more advanced algorithms to provide better results for smoother footage. The company also added a new Responsiveness Mode, allowing the gimbal to react better to fast hand movements. As a result, it should provide better results when tracking fast or sudden movement.

Image: DJI

All of these features do result in a slightly heavier weight. The RS 4 Mini comes in at 890g (2lbs), compared to the RS 3 Mini's 795g (1.75lbs). It maintains the same 2kg (4.4lbs) payload, though, which means it can handle most mirrorless cameras and even quite a few lightweight cinema cameras. Plus, it promises 30% better battery life for a total operating time of 13 hours.

The DJI RS 4 Mini is available for purchase today from DJI's website and authorized retailers. The standalone DJI RS 4 Mini costs $369, while the DJI RS 4 Mini Combo is $459.

Buy now: $369 at DJI $369 at B&H

Press release:

DJI Launches All-New Compact and Lightweight Gimbal for Cameras and Smartphones DJI RS 4 Mini Delivers Efficient and Seamless Filming Experience for Content Creators

February 20, 2025 – DJI, the global leader in civilian drones and creative camera technology, today launched the DJI RS 4 Mini, an all-new compact and lightweight gimbal for cameras and smartphones that weighs just 890g (less than 2 pounds) and can carry payloads up to 2kg (4.4 pounds). Designed for the quick-filming needs of creators, the RS 4 Mini offers the automated axis locks first introduced in DJI’s flagship gimbals, allowing for faster setups, transitions, and breakdowns. Other features that deliver a more efficient and seamless filming experience include a new intelligent tracking module, faster switching to vertical shooting and Teflon™ coating for a smoother balancing experience.

"The Ronin Series continues to push the imaging industry forward as we bring new innovations to our ecosystem and democratize technology to more applications. Specifically, the DJI RS 4 Mini continues to feature our Emmy® Award-winning three-axis gimbal stabilization, offering seamlessly smooth and steady footage," says Ferdinand Wolf, Product Experience Director at DJI. "In adding the DJI RS 4 Mini to our offering, we have rounded out this generation of stabilizers to cater to every level of creator, from professional filmmakers to independent commercial videographers and content creators.

Next-Gen design for a more efficient workflow

The RS 4 Mini incorporates many proven features from DJI’s flagship gimbals, allowing creators to work more efficiently. With the 2nd-Gen auto-axis locks, creators can unlock the gimbal’s three-axis locks in one second, speeding up the filming, transition, and storage processes. The 3rd-Gen Native Vertical Switch offers the fastest switch experience in the RS series¹. With the meticulous upgrades to Teflon™ interlayers¹ and a fine-tuning knob, the RS 4 Mini can achieve smoother and more precise millimeter-level balancing when installing a camera.

Intelligent filming for stunning results

The RS 4 Mini Combo comes standard with the new DJI RS Intelligent Tracking Module¹ for intelligent framing and composition¹. Enabling ActiveTrack on any camera system or phone with or without the DJI Ronin app, it can keep a human subject in frame up to 10 meters, even in complex environments. Tracking can be enabled with one push of the trigger or an open-palm visual command.

In the new Responsive mode, the gimbal responds faster to hand movements upon start or stop, designed to suit fast-moving subject circling shots. Meanwhile, the classic Smooth follow mode provides a fluid gimbal response, ideally for normal subject following shots.

Other notable features include:

• Upgraded with 4th-Gen Stabilization: The RS 4 Mini strikes a superior balance between stabilization strength and camera movement's tactile feel, delivering excellent performance and an enhanced user experience. It also offers significantly improved stability when shooting vertically.
• Improved Battery Life: Compared to the DJI RS 3 Mini, the charging speed and battery life have increased by 30%¹, extending the operating time to 13 hours¹. It also supports fast charging, allowing 5 hours¹ of use after a 30-minute charge.
• Lightweight Build, High Payload¹: Weighing only 890 g (2 lbs), RS 4 Mini boasts a payload capacity of up to 2 kg (4.4 lbs). It supports a wide range of mainstream mirrorless cameras and lens combinations, delivering powerful performance.
• Next-gen RS Briefcase Handle¹: Designed especially for the RS 4 Mini, this new handle is 20%¹ smaller and 28 g lighter¹ than the current DJI RS Briefcase Handle.
• Quick-Release Magnetic Mount: The tracking module features a magnetic quick-release design, allowing it to attach to the tilt axis in just one second. The magnetic locking design will stay securely in place without loosening or falling off, ensuring a more reliable filming process.

Price and Availability

DJI RS 4 Mini will be available for purchase today from authorized retailers and at store.dji.com with two purchase options available.

The standalone DJI RS 4 Mini retails for $369 and includes one Gimbal, Quick-Release Plate, RS 4 Mini Tripod, L-Shaped Multi-Camera Control Cable, USB-C Charging Cable and one Screw Kit.

The DJI RS 4 Mini Combo retails for $459 and adds a RS Intelligent Tracking Module and RS 4 Mini Briefcase Handle.

1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the product page on the official DJI website.

Photo: Leica

Leica has announced an updated version of one of its iconic lenses, expanding the Leica Classic Line in the process. The Summilux-M 50mm F1.4 (I) was launched in 1959 as the first offering under the Summilux umbrella. Thus, the lens has 65 years of history under its belt. This marks the fifth lens in the Leica Classic Line, joining the ranks of the Summaron-M 28mm F5.6, Thambar-M 90mm F2.2, Noctilux-M 50mm F1.2 ASPH and the Summilux-M 35mm F1.4.

The Summilux name is derived from the Latin "summa lux," which means "maximum light," in reference to its wide F1.4 aperture. The new lens stays true to its roots in form and function. In fact, Leica says that the Summilux-M 50mm F1.4 (II) is "an almost unchanged version" of the lens that was produced from 1962 to 2004. Indeed, like the original, it features seven lens elements in five groups. It also keeps the 12-blade aperture diaphragm of the historic model.

Photo: Leica

Like the first iteration, the updated Summulux-M 50mm promises "impressive image quality" with soft bokeh at wide apertures. It isn't all original, though. Leica says that it will be sharper and have higher contrast than its historical predecessor due to modern production techniques. Leica didn't offer any more details about how that improved quality is achieved, though. "The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor," says Leica. Another benefit of the second edition is a shorter close focusing distance of 0.7m (2.3ft), down from the original version's 1m (3.3ft).

The Summilux-M 50mm F1.4 (II) features the "Made in Germany" label. It is made by hand from solid brass and comes with a round vintage lens hood. Leica also says it will be the first Leica lens in the newly designed packaging, which does away with all plastic.

The Leica Summilux-M 50mm F1.4 (II) is now available for purchase through Leica Stores, the Leica Online Store and specialist retailers for $3895.

Buy now: $3895 at Leica $3895 at B&H Sample images: Photo: Leica Photos: Leica Photo: Leica

Press release:

Leica Summilux-M 50 f/1.4

Wetzlar, 20 February 2025

Lenses from Leica boast a tradition that spans over 150 years. During this time, many handcrafted masterpieces have been created and have gone on to reach numerous milestones while defining trend-setting standards. The history of the legendary M-Lenses began over 70 years ago. Each of them tells a success story, with some of these legends now enjoying a renaissance decades later. This is the case for the new Leica Summilux-M 50 f/1.4.

The Summilux-M 50 f/1.4 (I) was launched onto the market in 1959 as the first lens released under the name Summilux. This is derived from the Latin “summa lux”, meaning “maximum light”. Since then, Summilux has become synonymous for particularly fast Leica lenses featuring an aperture of f/1.4 to f/1.7. The new interpretation combines the classic vintage look with state-of-the-art technology and is the fifth member of the Leica Classic Line. Just like the Summaron-M 28 f/5.6, the Thambar-M 90 f/2.2, the Noctilux-M 50 f/1.2 ASPH. and the Summilux-M 35 f/1.4, its timeless aesthetics are reminiscent of its historical predecessor.

The optical calculation is based on the second Summilux-M 50 f/1.4 (II), an almost unchanged version of which was produced from 1962 to 2004. It is noted for its impressive image quality and unmatched image characteristics at a wide aperture. The new Summilux-M also captures the moment in this unique look with particularly soft bokeh when a wide aperture is used, making it ideal for portrait photography. When stopped down, the new lens produces sharper and higher-contrast images than its historical predecessor. This is ensured by modern production techniques and the use of special types of glass. The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor. Compared to its historical predecessor, it offers even more creative freedom thanks to its extended close focusing distance of 0.7 m.

Like all M-System lenses, the new Summilux-M proudly bears the “Made in Germany” label and is testament to the quality for which Leica lenses are known all around the world. The new lens is made by hand from solid brass and fitted with a high-quality, round vintage lens hood. As the new standard lens in the Leica Classic Line, it combines a charming vintage design with technical precision par excellence.

The Summilux-M 50 f/1.4 is the first Leica lens to come in the newly designed packaging. The high-quality boxes do not contain any plastic at all and are also produced in Germany.

The Leica Summilux-M 50 f/1.4 is now available worldwide from all Leica Stores, the Leica Online Store and specialist retailers. The recommended retail price is EUR 3,850.00 incl. VAT.

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.

Product Photos by Dale Baskin

89%Overall scoreJump to conclusion

The Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, optional 32-bit float audio and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.

Key specifications

• 25.2MP BSI CMOS sensor with parallel gain readouts
• Phase-detection autofocus
• ProRes RAW / HQ internal recording
• 32-bit Float audio capture via optional accessory
• Arri LogC3 gamma profile (optional paid upgrade - see below)
• UHD or DCI 4K in 10-bit 4:2:2 up to 60p
• Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
• 5.7K full-width capture at up to 60p
• 5.8K full-sensor 'open gate'/anamorphic capture at up to 30p
• 60 fps burst shooting with AF and pre-capture
• External SSD recording
• LUT support for photos and video
• 1 x CFexpress Type B, 1 x UHS-II SD slot
• Tilting/fully-articulating rear screen
• Built-in fan for unlimited recording

The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022.

Additionally, Panasonic has partnered with Arri, a leading manufacturer of digital cinema cameras, to bring Arri's LogC3 profile to the GH7. LogC3 matches Arri's color and tone response and allows the use of LUTs designed for Arri cameras. Since enabling this feature requires paying a license to Arri, LogC3 is an optional $200 upgrade, and can be installed by purchasing Panasonic's DMW-SFU3A software upgrade key.

Index:

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

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What's new: Sensor

The GH7 is built around a revised version of the sensor from the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.

The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to maintain focus on a relatively static subject.

The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.

29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 ms

The other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.

On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.

Find out more about dual conversion gain, dual output gain and how they work

However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required in the GH6). This doesn't explain how Panasonic can offer a mode with a high-gain component while maintaining the same ISO 100 rating for standard gamma. Interestingly, when you exceed 60fps (where the dual output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.

32-bit Float audio The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input and three dials to control the gain of each input. It can power mics that accept 48V phantom power.

While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.

32-bit Float audio doesn't encode its data directly as numerical values. Instead, it captures them as scientific notation, with most bits encoding the value and the last few describing the magnitude (i.e., how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.

To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.

This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback during the edit.

When recording 4-channel audio, this display allows you to view all four channels' input levels simultaneously, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.

With the DMW-XLR2, you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.

There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.

Video

The GH7's headline video feature is support for internal ProRes RAW recording, with ProRes RAW and RAW HQ options, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.

ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.

Raw Codec Resolution Frame Rate Crop Destination

ProRes RAW

or

ProRes RAW HQ

5.7K (5728 x 3024)

• 29.97
• 25
• 24
• 23.98

Full width CFexpress card or external SSD* DCI 4K (4096 x 2160)

• 59.94
• 50
• 29.97
• 25
• 24
• 23.98

1.41x

*Supports SSDs up to 2TB capacity

The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.

The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.

In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.

Subject recognition AF

In addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.

Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.

Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.

Subject recognition works in both still and video modes.

Photography features

While initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.

Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.

The GH7 also gets Panasonic's Real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.

This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.

Photo by Dale Baskin

We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.

Other improvements

Image stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting.

Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud function, which automatically uploads video proxy files or images to Adobe's Frame.io service.

How it compares

The GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented models of their own.

Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30 and Fujifilm X-H2S. We'll also include the Nikon Z6III, a full-frame camera with a strong video feature set, in the comparison.

Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Nikon Z6III MSRP at launch $2200 $2200 $1800 $2500 $2500 Sensor size/type Four Thirds
BSI CMOS Four Thirds
BSI CMOS APS-C
BSI CMOS APS-C
Stacked CMOS "Semi-stacked" BSI CMOS Cooling Built-in fan Built-in fan Built-in fan Optional screw-on fan No fan High res modes 5.8K (4:3)
5.7K (1.9:1) 5.8K (4:3)
5.7K (1.9:1) None 6.2K (3:2)

6K (1.78:1)
5.4K (1.78:1)

High speed modes 4K/120p (full width)
FHD/300p 4K/120p (full width)
FHD/300p 4K/60p (1.04x crop)
4K/120p (1.56x crop)
FHD/240p

4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p

4K/120p (1.5x crop) Codec options ProRes RAW
ProRes RAW HQ
ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) X-AVC HS (H.265 Long GOP)
X-AVC I (H.264 All-I)
X-AVC S (H.264 Long GOP) ProRes 422 HQ
ProRes 422
ProRes LT
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP)

N-Raw
ProRes RAW HQ
ProRes 422 HQ
H.265 (Long GOP)
H.264 (Long GOP)

Assist tools Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Focus map
Custom LUT preview Zebras
Peaking
Fixed LUT preview

Zebras
Peaking
Fixed LUT preview
Waveforms

Profile options

V-Log
Arri LogC3*
HLG
CinelikeD2

V-Log
HLG
CinelikeD2 S-Log3
HLG
S-Cinetone

F-Log
F-Log2
HLG
Eterna N-Log
HLG Media type 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD 2x CFexpress A /UHS-II SD 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD Viewfinder 3.86M dot OLED
0.8x mag 3.86M dot OLED
0.76x mag None 5.76M dot OLED
0.8x mag 5.76M dot OLED
0.8x mag HDMI Full-sized Full-sized Full-sized Full-sized Full-sized Audio Up to 4ch with optional XLR2 unit, 32-bit float audio Up to 4ch with optional XLR1 unit Up to 4ch with optional XLR handle Up to 4ch with optional Tascam XLR unit Stereo audio Battery life (CIPA) LCD 380 360 570 580 390 Weight 805g (28.4 oz) 823g (29.0 oz) 646g (22.8oz) 660g (23.3oz) 760g
(26.8oz)

From a specs standpoint, the GH7's main advantages are ProRes RAW, which can also be found on the Z6 III, 32-bit Float audio, and the ability to add Arri's LogC3 gamma profile (as a paid upgrade).

Other than those callouts, the cameras are reasonably well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect. It is designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort exclusively focused on video and might not be a good choice as a hybrid camera.

The Nikon may seem like the odd duck here, given that it has a full-frame sensor. However, it has an impressively strong video feature set, and with a retail price within spitting distance of the GH7, it merits serious consideration as an alternative. One thing the table doesn't capture? The Nikon will surely surpass the other models in still image quality.

Body and controls

The GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.

There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.

EVF and rear screen

Remember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.

The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.

Audio button and 32-bit Float audio

The GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.

As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit Float recording.

All four audio channels are output over HDMI.

Built-in fan

The GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.

Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, opening the Thermal Management menu and changing the setting from standard to 'High' may be necessary in some of the more demanding modes.

"The GH7 can provide unlimited recording at all resolutions and frame rates."

The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.

Battery

The GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.

The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.

To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.

Video capabilities

The GH7 supports a dizzying array of resolutions, frame rates, and codecs to choose from, along with comprehensive tools to support a video workflow. This grows to an even greater number, thanks to the inclusion of both ProRes and ProRes RAW capture.

"The GH7 supports a dizzying array of resolutions, frame rates, and codecs."

Frankly, it would be impractical for us to list every possible combination here – something that takes 11 full pages out of the camera's 977-page user manual, not including special modes like VFR – so we're going to focus primarily on the 5.7K and 4K modes that will interest most users.

Before we dive into the details, it's worth noting that the GH7 can use autofocus and record sound at almost every resolution and frame rate, up to 240fps in FHD mode. If you need to go faster than that, there's a 300fps VFR mode without AF or audio capture. Also, with the exception of basic MP4 files, all video modes on the GH7 can capture 10-bit video.

Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials. 5.7K

The GH7 isn't the first GH camera to capture 5.7K video, but it is the first to support 5.7K ProRes RAW capture, which can be recorded either internally to the camera's CFexpress card or to an attached SSD. (The GH6, could capture 5.7K video using the standard ProRes or H.265 codecs.)

ProRes RAW provides additional flexibility when editing. It's possible to adjust settings like white balance or exposure offsets that are baked into gamma-encoded file types. A Raw workflow introduces other challenges, though: the data rates are enormous, and, while providing flexibility, the files might require more downstream processing than other formats, including sharpening and noise reduction. In many cases, it's a lot more efficient to use a non-Raw format unless you really require the benefits of a Raw workflow.

When shooting in 5.7K, the camera captures video in the DCI (17:9) aspect ratio.

Resolution Frame rate Chroma Comp. Codec Bitrate (Mbps) Card type 5.7K (5760 x 4320)

• 29.97

Bayer Lossy ProRes RAW 4200 CFexpress or SSD

• 25

3500

• 24

3300

• 23.98

3300

• 29.97

2800

• 25

2300

• 24

2200

• 23.98

2200

• 29.97

4:2:2 All-I ProRes 1900

• 25

1600

• 24

1500

• 23.98

1500

• 29.97

1300

• 25

1100

• 24

1000

• 23.98

1000

• 59.94
• 50
• 48
• 47.95

4:2:0 Long GOP H.265 300 CFexpress, SSD or SD

• 29.97
• 25
• 24
• 23.98

200 4K: DCI and UHD

Although 5.7K video is impressively detailed, we expect many video shooters will choose to use the camera's 4K modes unless they require flexibility to zoom or pan at the editing stage.

The GH7 can capture 4K video using either the 16:9 UHD or 17:9 DCI aspect ratio. However, ProRes and ProRes RAW are limited to the 17:9 DCI format.

Additionally, 4K ProRes RAW video comes with a 1.41x crop. By virtue of being a Raw format, it captures a native 4K region from the middle of the sensor rather than using oversampled (i.e. processed) data from the full width of the sensor.

Resolution Frame Rate Chroma Comp. Codec Bitrate (Mbps) VFR Card type

DCI (4096 x 2160)

1.41x crop

• 59.94

Bayer Lossy ProRes RAW HQ 4200 No CFe or SSD

• 50

3500

• 29.97

2100

• 25

1800

• 24

1700

• 23.98

1700

• 59.94

ProRes RAW 2800

• 50

2400

• 29.97

1400

• 25

1200

• 24

1100

• 23.98

1100 DCI (4096 x 2160)

• 59.94

4:2:2 All-I ProRes 422HQ 1900

• 50

1600

• 29.97

972

• 25

811

• 24

779

• 23.98

778

• 59.94

ProRes 422 1300

• 50

1100

• 29.97

648

• 25

541

• 24

519

• 23.98

519

DCI (4096 x 2160)

or

UHD (3840 x 2160)

• 120
• 119.88
• 100

4:2:0 LongGOP H.265 300 CFe, SSD or SD

• 59.94
• 50
• 47.95

4:2:2 All-I H.264 800 CFe or SSD 600 CFe, SSD or SD 4:2:0 LongGOP H.265 200 Yes

• 29.97
• 25
• 24
• 23.98

4:2:2 All-I H.264 400 LongGOP 150 No 4:2:0 H.265 Yes

With such a mind-boggling number of combinations, just finding the settings you want in the camera's menus can be a challenge. Fortunately, the GH7 continues the ability to filter video modes, including by frame rate, resolution, codec, VFR mode, HLG and proxy recording capabilities, and favorites can be saved to a designated "My List" for quick access.

5.8K / 4.4K Anamorphic

Like its predecessor, the GH6, the GH7 can capture 'open gate' 4:3 footage from its entire sensor. Open gate recording provides additional flexibility to zoom, pan or add stabilization in post-processing. It can also be used in combination with anamorphic lenses to leverage the full area of the camera's sensor when de-squeezed to a widescreen format.

1080 (Full HD)

While not a headline feature, the GH7 retains the ability to capture the full range of full HD video modes, which are directly comparable to the camera's 4K options. This includes the choice of All-I or LongGOP codecs as well as the choice of 4:2:2 or 4:2:0 color modes.

Full HD video can be captured at frame rates up to 240fps with support for autofocus and audio recording, or up to 300fps in VFR mode without AF or audio. It can be captured in ProRes 422 and ProRes 422 HQ at up to 60p

Image quality Studio Scene

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.

If you'd like to see a comparison to more photography-oriented peers, you can view the studio scene for the G9 II, which has the same photography specs and uses the same sensor.

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

The GH7 is capable of capturing impressive levels of detail, thanks to its 25MP sensor. At base ISO, the results are broadly comparable to its APS-C peers, though it's not quite up to the level of the full-frame Z6III.

The sensor handles noise well, outperforming its predecessor, the GH6, by a hair. It falls a short of the APS-C sensor in the X-H2S, while managing to keep a bit closer to the a6700, though it can't beat physics and match it. Predictably, the full-frame sensor in the Z6III outpaces the other models here. At very high ISOs, we observe much the same pattern.

JPEG images deliver good detail, visible in the fine stitched texture of The Beatles' clothing. It also handles natural textures, like hair, gracefully, without looking oversharpened.

At higher ISOs, the JPEG engine does a good job of controlling noise, however, this comes at the expense of fine detail, with the GH7 falling a behind the other cameras in this cohort.

The GH7 produces very good colors using its standard JPEG settings. A look at the color patches reveals slightly vibrant pinks, with subtly pale yellows and blues. In real-world photos, we found colors very natural and pleasing, similar to other recent Panasonic models we've used.

Olympus ED 40-150mm F2.8 Pro @120mm | F2.8 | 1/400 sec | ISO 1000
Photo: Dale Baskin Dynamic range

A sensor with a wide dynamic range provides more latitude to boost shadows with a minimal increase in noise, and our tests show that the GH7 has ample room for pulling up shadows at base ISO. Its performance isn't quite as good as the larger APS-C sensors in this regard, falling about 2/3 EV behind the other sensors across the image, but it will mostly be in the deepest shadows where you notice the difference.

I exposed this photo for the highlights in the sky, which left the foreground very dark. I raised the shadows approximately 3.5 stops in Adobe Camera Raw to recover details in and around the road.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F4 | 1/20 sec | ISO 400
Photo: Dale Baskin

Dynamic range is one of the GH7's most notable improvements relative to its predecessor, the GH6. That camera exhibited significant shadow noise at base ISO, only improving from ISO 800 upwards when its DR Boost mode engaged. By implementing dual parallel gain at ISO 100, Panasonic has enabled the GH7 to be much more competitive in this regard.

Exposure Latitude | ISO Invariance

Autofocus

The most notable – and possibly most anticipated – upgrade to the GH7 is the addition of phase-detect autofocus, in the form of Panasonic's Phase Hybrid AF system.

Performance

Not surprisingly, we found the GH7's autofocus system performed better than its predecessor, which relied on Panasonic's Depth-from-Defocus (DFD) system, delivering a more reliable, more confident experience.

The camera had no trouble identifying the bird in this photo when subject detection was set to 'Animal', even against this busy background.

Olympus ED 40-150mm F2.8 Pro @150mm | F2.8 | 1/2000 sec | ISO 1250
Photo: Dale Baskin

The camera's subject detection modes are very quick to identify subjects and work across both photo and video modes. However, subject tracking still lags behind the best-in-class AF systems we've used. Specifically, while the system is quick to identify subjects, it's not quite as tenacious at sticking to subjects as they move, particularly if they move quickly.

Video autofocus

Video is where phase-detect autofocus makes the greatest impact on the GH7's performance. DFD was notorious for not being decisive enough for video use; this frequently resulted in undesirable artifacts, most notably a slight fluttering of the image when the AF system attempted to confirm focus on a subject or predict focus when a subject started to move.

"Video is where phase-detect autofocus makes the greatest impact on the GH7's performance."

We haven't encountered this with the GH7, making it much more suitable for run-and-gun use or any other application that requires autofocus, for that matter.

Subject identification and tracking work impressively well in video mode, particularly human and animal identification. Combined with phase-detect autofocus, it delivers reliable and predictable results in most situations. It's a level of confidence we haven't previously experienced when using a GH camera.

Photography autofocus

Since the photography features of the GH7 are identical to the G9 II, we would broadly expect it to perform similarly, or the same, as that camera, and this has been consistent with our experience. In a nutshell, it performs very well but isn't quite as dependable as the best of its peers. One continued frustration: if the camera doesn't detect a subject right away, it will sometimes flash a red box and leave you waiting for up to a second before starting to focus.

To read our in-depth analysis of the G9 II's AF system for photography, which matches our experience with the GH7, you can read the autofocus section of our Panasonic G9 II review.

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

Panasonic's GH cameras set high expectations for video, and the GH7 continues this trend. It delivers essentially the same results as its predecessor, the GH6, though with improved dynamic range at lower ISOs (more on that below).

Straight out-of-camera, it doesn't look quite as crisp as rivals like the Fujifilm X-H2S or the Nikon Z6III. Historically, Panasonic hasn't baked quite as much sharpening into its files, resulting in a less crunchy out-of-camera look. However, those files typically sharpen up nicely in post-processing if desired, leaving a lot of flexibility for an editor.

The GH7 delivers very similar results even when shooting 4K/120p high frame rate video. In this mode, it continues to use the full area of its sensor to render oversampled 4K footage, and it solidly outperforms other video-oriented models here.

At its highest 5.7K resolution settings, the GH7 is capable of capturing quite a bit of additional detail. However, it still falls noticeably short of the level of detail generated by Panasonic's own S5II when shooting in 6K mode. For maximum flexibility, you can capture 5.7K using ProRes RAW, but you'll need to do some downstream processing to make the most of it.

DR Boost

The GH7 provides more flexibility than the GH6 to capture a wider dynamic range using an expanded range of ISO settings. For the comparison below, we shot our DR test wedge using both cameras so that the very brightest patch just reached the clipping point, as shown by the video waveforms from DaVinci Resolve Studio.

GH7 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH7 V-Log (24p)

ISO 500
1/160 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 500
1/320 sec
F10

The first two buttons illustrate the impact of Panasonic's DR Boost mode. Both cameras were shot in V-Log at ISO 2000, the lowest ISO at which the GH6 supports DR Boost mode (ISO 800 when shooting in standard color modes). Since both cameras benefit from DR Boost mode at this ISO, the waveforms look very similar, as do the resulting video images.

However, the GH7 gains the ability to use DR Boost mode all the way down to its nominal base ISO of 500 in V-Log (ISO 100 in standard color modes). The next two buttons illustrate the advantage this gives it over the GH6 when shooting at ISOs below 2000: we've had to give the GH6 a whole stop less light to prevent the brightest tones in our test chart from clipping.

Note that the sensor's dual output gain system, which makes DR Boost possible, can't operate at frame rates exceeding 60p, so if you're planning to shoot at higher frame rates, you can expect the dynamic range to match that of the GH6 without DR Boost enabled.

Image stabilization

The GH7 gains Panasonic's Active I.S. technology, first introduced on the S5II series. Active I.S. is designed to more effectively dampen dramatic movements when walking while filming or using longer lenses and takes advantage of a new, higher precision gyroscope, which it shares with the G9 II. It's not an option you can switch on and off, but something the camera does automatically.

"Active I.S. is designed to more effectively dampen dramatic movements when walking."

Recent GH cameras have delivered impressive image stabilization, particularly in Boost I.S. mode, which is designed to correct all camera movement to simulate the effect of using a tripod for a stationary shot. Active I.S. is intended to play a somewhat analogous role, but when the camera is moving to deliver a smooth, if not quite gimbal-like performance when walking with the camera. In our experience, it's quite effective.

When Active I.S. is combined with the camera's electronic stabilization modes, it turns in a very impressive performance that could be mistaken for a gimbal. It's not magic, though. As with a gimbal, it still requires good technique to get the best results, but if you can manage that, it's another useful tool in the camera's bag of tricks.

Conclusion What we like What we don't

• Excellent video quality
• Phase-detect autofocus
• Internal ProRes and ProRes Raw recording
• Expanded DR Boost mode captures wider dynamic range at lower ISOs
• Impressive image stabilization in both stills and video
• Strong video workflow support
• Magnified live view during video capture
• 32-bit float audio (with XLR2 adapter)
• Real-time LUTs
• USB-C SSD support

• Autofocus can hesitate to engage if the camera doesn't immediately find something to track
• Subject tracking still lags behind peers
• DR Boost is not available at frame rates greater than 60p

At a high level, the GH7 delivers exactly what we expect from a GH camera: excellent video quality with an extensive set of tools for video shooters. It even adds some new tricks to its bag in the form of internal ProRes RAW recording and the ability to capture 32-bit float audio when used with Panasonic's XLR2 adapter.

Whereas previous GH-series cameras were primarily aimed at video shooters, Panasonic included all the photography features from its sibling, the G9 II, on the GH7. If you want Panasonic's best Micro Four Thirds camera for either photography or video, this is it – you can get it all in one package.

The inclusion of phase-detect autofocus is a hugely beneficial addition, particularly for video, and it effectively eliminates our biggest pain point with previous GH models: the tendency of the AF system to pulse or flutter during video capture as it tried to confirm or predict a subject's movement. Still, autofocus continues to be an area where the GH7 still lags behind the best of its peers, most notably in photography. It's generally quite good at identifying subjects, but it's not always as effective at tracking them.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F2.8 | 1/40 sec | ISO 3200
Photo: Dale Baskin

It used to be that you could count on every new GH camera to be first across the line with the latest video features, and there was a time when a GH camera was the obvious go-to choice for serious video users, but the landscape has evolved. It's still one obvious choice for video aficionados, but can it still stand out in a market where almost every new model purports to be a "hybrid" camera?

In short, yes.

The GH7 sets itself apart not just with specs, but with an implementation that reflects the needs of a serious video shooter: shutter angle, a built-in fan, pro audio capture, a proven and flexible Log curve, and incredible image stabilization that's designed around videography use cases. It sports a vast, but sensible array of codecs and frame rates, and offers little touches like the ability to filter them and save your favorites to a custom list. Yes, other cameras include some of these features, but they don't all work in concert like they do on the GH7.

In essence, the GH7 is the result of continuous improvement that started with the original GH1 16 years ago, and at this point, it's pretty dialed in. If you just want a hybrid camera that excels at photos and can also capture good video, there are other options. But if you want a production tool that's been refined over generations and polished to a shine – while also being able to shoot stills when needed – the GH7 is a great choice, in a way that raw specs simply can't convey, and for that, it wins our Silver Award.

Scoring

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

Panasonic Lumix DC-GH7Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.Good forSerious videographers who need support for a video-centric workflow.Not so good forUsers who primarily want to shoot still photos rather than video.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcgh7","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 with its peers

Like the GH7, the Fujifilm X-H2S has a long list of advanced video features, though it doesn't have the same attention to detail around those features; the GH7's more polished video toolset makes it a more dependable camera for shooting video. However, photo image quality is better, and it's worth choosing for stills even if the AF doesn't live up to its fast shooting promise. It's also the only system to rival Micro Four Thirds' range of compact lenses.

If you would prefer a purpose-built camera for video, the Sony FX30 is worthy of consideration. Its boxy body is built from the ground up for video use and includes half a dozen threaded attachment points so you can build your rig, your way. It also has more dependable autofocus and better battery life, though you'll need an external recorder to capture Raw video. Whatever you do, don't get it for photography; it's not made for it and doesn't include a mechanical shutter.

If you have a significant interest in shooting stills and don't mind its larger lenses, the Nikon Z6III is a very strong choice, with much better image quality and a more sophisticated AF system. While its video specs are competitive on paper and it's capable of producing high-quality video, the GH7's dependability and refined video implementation make it a superior choice for video work.

Finally, it's worth considering Panasonic's own G9 II, particularly if video is more of a 'sometimes' activity rather than your primary focus. It includes the exact same photography features, and all but the most advanced video options, from the GH7, but in a body that's almost 20% lighter and less expensive. Also like the GH7, it benefits from a large catalog of size-appropriate lenses that can keep your kit small if desired.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Sample gallery

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Product Photos by Dale Baskin

89%Overall scoreJump to conclusion

The Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, optional 32-bit float audio and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.

Key specifications

• 25.2MP BSI CMOS sensor with parallel gain readouts
• Phase-detection autofocus
• ProRes RAW / HQ internal recording
• 32-bit Float audio capture via optional accessory
• Arri LogC3 gamma profile (optional paid upgrade - see below)
• UHD or DCI 4K in 10-bit 4:2:2 up to 60p
• Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
• 5.7K full-width capture at up to 60p
• 5.8K full-sensor 'open gate'/anamorphic capture at up to 30p
• 60 fps burst shooting with AF and pre-capture
• External SSD recording
• LUT support for photos and video
• 1 x CFexpress Type B, 1 x UHS-II SD slot
• Tilting/fully-articulating rear screen
• Built-in fan for unlimited recording

The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022.

Additionally, Panasonic has partnered with Arri, a leading manufacturer of digital cinema cameras, to bring Arri's LogC3 profile to the GH7. LogC3 matches Arri's color and tone response and allows the use of LUTs designed for Arri cameras. Since enabling this feature requires paying a license to Arri, LogC3 is an optional $200 upgrade, and can be installed by purchasing Panasonic's DMW-SFU3A software upgrade key.

Index:

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

Buy now:

$2155 at Amazon.com What's new: Sensor

The GH7 is built around a revised version of the sensor from the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.

The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to maintain focus on a relatively static subject.

The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.

29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 ms

The other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.

On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.

Find out more about dual conversion gain, dual output gain and how they work

However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required in the GH6). This doesn't explain how Panasonic can offer a mode with a high-gain component while maintaining the same ISO 100 rating for standard gamma. Interestingly, when you exceed 60fps (where the dual output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.

32-bit Float audio The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input and three dials to control the gain of each input. It can power mics that accept 48V phantom power.

While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.

32-bit Float audio doesn't encode its data directly as numerical values. Instead, it captures them as scientific notation, with most bits encoding the value and the last few describing the magnitude (i.e., how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.

To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.

This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback during the edit.

When recording 4-channel audio, this display allows you to view all four channels' input levels simultaneously, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.

With the DMW-XLR2, you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.

There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.

Video

The GH7's headline video feature is support for internal ProRes RAW recording, with ProRes RAW and RAW HQ options, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.

ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.

Raw Codec Resolution Frame Rate Crop Destination

ProRes RAW

or

ProRes RAW HQ

5.7K (5728 x 3024)

• 29.97
• 25
• 24
• 23.98

Full width CFexpress card or external SSD* DCI 4K (4096 x 2160)

• 59.94
• 50
• 29.97
• 25
• 24
• 23.98

1.41x

*Supports SSDs up to 2TB capacity

The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.

The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.

In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.

Subject recognition AF

In addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.

Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.

Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.

Subject recognition works in both still and video modes.

Photography features

While initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.

Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.

The GH7 also gets Panasonic's Real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.

This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.

Photo by Dale Baskin

We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.

Other improvements

Image stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting.

Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud function, which automatically uploads video proxy files or images to Adobe's Frame.io service.

How it compares

The GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented of their own.

Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30 and Fujifilm X-H2S. We'll also include the Nikon Z6III, a full-frame camera with a strong video feature set, in the comparison.

Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Nikon Z6III MSRP at launch $2200 $2200 $1800 $2500 $2500 Sensor size/type Four Thirds
BSI CMOS Four Thirds
BSI CMOS APS-C
BSI CMOS APS-C
Stacked CMOS "Semi-stacked" BSI CMOS Cooling Built-in fan Built-in fan Built-in fan Optional screw-on fan No fan High res modes 5.8K (4:3)
5.7K (1.9:1) 5.8K (4:3)
5.7K (1.9:1) None 6.2K (3:2)

6K (1.78:1)
5.4K (1.78:1)

High speed modes 4K/120p (full width)
FHD/300p 4K/120p (full width)
FHD/300p 4K/60p (1.04x crop)
4K/120p (1.56x crop)
FHD/240p

4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p

4K/120p (1.5x crop) Codec options ProRes RAW
ProRes RAW HQ
ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) X-AVC HS (H.265 Long GOP)
X-AVC I (H.264 All-I)
X-AVC S (H.264 Long GOP) ProRes 422 HQ
ProRes 422
ProRes LT
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP)

N-Raw
ProRes RAW HQ
ProRes 422 HQ
H.265 (Long GOP)
H.264 (Long GOP)

Assist tools Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Focus map
Custom LUT preview Zebras
Peaking
Fixed LUT preview

Zebras
Peaking
Fixed LUT preview
Waveforms

Profile options

V-Log
Arri LogC3*
HLG
CinelikeD2

V-Log
HLG
CinelikeD2 S-Log3
HLG
S-Cinetone

F-Log
F-Log2
HLG
Eterna N-Log
HLG Media type 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD 2x CFexpress A /UHS-II SD 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD Viewfinder 3.86M dot OLED
0.8x mag 3.86M dot OLED
0.76x mag None 5.76M dot OLED
0.8x mag 5.76M dot OLED
0.8x mag HDMI Full-sized Full-sized Full-sized Full-sized Full-sized Audio Up to 4ch with optional XLR2 unit, 32-bit float audio Up to 4ch with optional XLR1 unit Up to 4ch with optional XLR handle Up to 4ch with optional Tascam XLR unit Stereo audio Battery life (CIPA) LCD 380 360 570 580 390 Weight 805g (28.4 oz) 823g (29.0 oz) 646g (22.8oz) 660g (23.3oz) 760g
(26.8oz)

From a specs standpoint, the GH7's main advantages are ProRes RAW, which can also be found on the Z6 III, 32-bit Float audio, and the ability to add Arri's LogC3 gamma profile (as a paid upgrade).

Other than those callouts, the cameras are reasonably well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect. It is designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort exclusively focused on video and might not be a good choice as a hybrid camera.

The Nikon may seem like the odd duck here, given that it has a full-frame sensor. However, it has an impressively strong video feature set, and with a retail price within spitting distance of the GH7, it merits serious consideration as an alternative. One thing the table doesn't capture? The Nikon will surely surpass the other models in still image quality.

Body and controls

The GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.

There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.

EVF and rear screen

Remember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.

The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.

Audio button and 32-bit Float audio

The GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.

As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit Float recording.

All four audio channels are output over HDMI.

Built-in fan

The GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.

Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, opening the Thermal Management menu and changing the setting from standard to 'High' may be necessary in some of the more demanding modes.

"The GH7 can provide unlimited recording at all resolutions and frame rates."

The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.

Battery

The GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.

The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.

To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.

Video capabilities

The GH7 supports a dizzying array of resolutions, frame rates, and codecs to choose from, along with comprehensive tools to support a video workflow. This grows to an even greater number, thanks to the inclusion of both ProRes and ProRes RAW capture.

"The GH7 supports a dizzying array of resolutions, frame rates, and codecs."

Frankly, it would be impractical for us to list every possible combination here – something that takes 11 full pages out of the camera's 977-page user manual, not including special modes like VFR – so we're going to focus primarily on the 5.7K and 4K modes that will interest most users.

Before we dive into the details, it's worth noting that the GH7 can use autofocus and record sound at almost every resolution and frame rate, up to 240fps in FHD mode. If you need to go faster than that, there's a 300fps VFR mode without AF or audio capture. Also, with the exception of basic MP4 files, all video modes on the GH7 can capture 10-bit video.

Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials. 5.7K

The GH7 isn't the first GH camera to capture 5.7K video, but it is the first to support 5.7K ProRes RAW capture, which can be recorded either internally to the camera's CFexpress card or to an attached SSD. (The GH6, could capture 5.7K video using the standard ProRes or H.265 codecs.)

ProRes RAW provides additional flexibility when editing. It's possible to adjust settings like white balance or exposure offsets that are baked into gamma-encoded file types. A Raw workflow introduces other challenges, though: the data rates are enormous, and, while providing flexibility, the files might require more downstream processing than other formats, including sharpening and noise reduction. In many cases, it's a lot more efficient to use a non-Raw format unless you really require the benefits of a Raw workflow.

When shooting in 5.7K, the camera captures video in the DCI (17:9) aspect ratio.

Resolution Frame rate Chroma Comp. Codec Bitrate (Mbps) Card type 5.7K (5760 x 4320)

• 29.97

Bayer Lossy ProRes RAW 4200 CFexpress or SSD

• 25

3500

• 24

3300

• 23.98

3300

• 29.97

2800

• 25

2300

• 24

2200

• 23.98

2200

• 29.97

4:2:2 All-I ProRes 1900

• 25

1600

• 24

1500

• 23.98

1500

• 29.97

1300

• 25

1100

• 24

1000

• 23.98

1000

• 59.94
• 50
• 48
• 47.95

4:2:0 Long GOP H.265 300 CFexpress, SSD or SD

• 29.97
• 25
• 24
• 23.98

200 4K: DCI and UHD

Although 5.7K video is impressively detailed, we expect many video shooters will choose to use the camera's 4K modes unless they require flexibility to zoom or pan at the editing stage.

The GH7 can capture 4K video using either the 16:9 UHD or 17:9 DCI aspect ratio. However, ProRes and ProRes RAW are limited to the 17:9 DCI format.

Additionally, 4K ProRes RAW video comes with a 1.41x crop. By virtue of being a Raw format, it captures a native 4K region from the middle of the sensor rather than using oversampled (i.e. processed) data from the full width of the sensor.

Resolution Frame Rate Chroma Comp. Codec Bitrate (Mbps) VFR Card type

DCI (4096 x 2160)

1.41x crop

• 59.94

Bayer Lossy ProRes RAW HQ 4200 No CFe or SSD

• 50

3500

• 29.97

2100

• 25

1800

• 24

1700

• 23.98

1700

• 59.94

ProRes RAW 2800

• 50

2400

• 29.97

1400

• 25

1200

• 24

1100

• 23.98

1100 DCI (4096 x 2160)

• 59.94

4:2:2 All-I ProRes 422HQ 1900

• 50

1600

• 29.97

972

• 25

811

• 24

779

• 23.98

778

• 59.94

ProRes 422 1300

• 50

1100

• 29.97

648

• 25

541

• 24

519

• 23.98

519

DCI (4096 x 2160)

or

UHD (3840 x 2160)

• 120
• 119.88
• 100

4:2:0 LongGOP H.265 300 CFe, SSD or SD

• 59.94
• 50
• 47.95

4:2:2 All-I H.264 800 CFe or SSD 600 CFe, SSD or SD 4:2:0 LongGOP H.265 200 Yes

• 29.97
• 25
• 24
• 23.98

4:2:2 All-I H.264 400 LongGOP 150 No 4:2:0 H.265 Yes

With such a mind-boggling number of combinations, just finding the settings you want in the camera's menus can be a challenge. Fortunately, the GH7 continues the ability to filter video modes, including by frame rate, resolution, codec, VFR mode, HLG and proxy recording capabilities, and favorites can be saved to a designated "My List" for quick access.

5.8K / 4.4K Anamorphic

Like its predecessor, the GH6, the GH7 can capture 'open gate' 4:3 footage from its entire sensor. Open gate recording provides additional flexibility to zoom, pan or add stabilization in post-processing. It can also be used in combination with anamorphic lenses to leverage the full area of the camera's sensor when de-squeezed to a widescreen format.

1080 (Full HD)

While not a headline feature, the GH7 retains the ability to capture the full range of full HD video modes, which are directly comparable to the camera's 4K options. This includes the choice of All-I or LongGOP codecs as well as the choice of 4:2:2 or 4:2:0 color modes.

Full HD video can be captured at frame rates up to 240fps with support for autofocus and audio recording, or up to 300fps in VFR mode without AF or audio. It can be captured in ProRes 422 and ProRes 422 HQ at up to 60p

Image quality Studio Scene

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.

If you'd like to see a comparison to more photography-oriented peers, you can view the studio scene for the G9 II, which has the same photography specs and uses the same sensor.

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

The GH7 is capable of capturing impressive levels of detail, thanks to its 25MP sensor. At base ISO, the results are broadly comparable to its APS-C peers, though it's not quite up to the level of the full-frame Z6III.

The sensor handles noise well, outperforming its predecessor, the GH6, by a hair. It falls a short of the APS-C sensor in the X-H2S, while managing to keep a bit closer to the a6700, though it can't beat physics and match it. Predictably, the full-frame sensor in the Z6III outpaces the other models here. At very high ISOs, we observe much the same pattern.

JPEG images deliver good detail, visible in the fine stitched texture of The Beatles' clothing. It also handles natural textures, like hair, gracefully, without looking oversharpened.

At higher ISOs, the JPEG engine does a good job of controlling noise, however, this comes at the expense of fine detail, with the GH7 falling a behind the other cameras in this cohort.

The GH7 produces very good colors using its standard JPEG settings. A look at the color patches reveals slightly vibrant pinks, with subtly pale yellows and blues. In real-world photos, we found colors very natural and pleasing, similar to other recent Panasonic models we've used.

Olympus ED 40-150mm F2.8 Pro @120mm | F2.8 | 1/400 sec | ISO 1000
Photo: Dale Baskin Dynamic range

A sensor with a wide dynamic range provides more latitude to boost shadows with a minimal increase in noise, and our tests show that the GH7 has ample room for pulling up shadows at base ISO. Its performance isn't quite as good as the larger APS-C sensors in this regard, falling about 2/3 EV behind the other sensors across the image, but it will mostly be in the deepest shadows where you notice the difference.

I exposed this photo for the highlights in the sky, which left the foreground very dark. I raised the shadows approximately 3.5 stops in Adobe Camera Raw to recover details in and around the road.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F4 | 1/20 sec | ISO 400
Photo: Dale Baskin

Dynamic range is one of the GH7's most notable improvements relative to its predecessor, the GH6. That camera exhibited significant shadow noise at base ISO, only improving from ISO 800 upwards when its DR Boost mode engaged. By implementing dual parallel gain at ISO 100, Panasonic has enabled the GH7 to be much more competitive in this regard.

Exposure Latitude | ISO Invariance

Autofocus

The most notable – and possibly most anticipated – upgrade to the GH7 is the addition of phase-detect autofocus, in the form of Panasonic's Phase Hybrid AF system.

Performance

Not surprisingly, we found the GH7's autofocus system performed better than its predecessor, which relied on Panasonic's Depth-from-Defocus (DFD) system, delivering a more reliable, more confident experience.

The camera had no trouble identifying the bird in this photo when subject detection was set to 'Animal', even against this busy background.

Olympus ED 40-150mm F2.8 Pro @150mm | F2.8 | 1/2000 sec | ISO 1250
Photo: Dale Baskin

The camera's subject detection modes are very quick to identify subjects and work across both photo and video modes. However, subject tracking still lags behind the best-in-class AF systems we've used. Specifically, while the system is quick to identify subjects, it's not quite as tenacious at sticking to subjects as they move, particularly if they move quickly.

Video autofocus

Video is where phase-detect autofocus makes the greatest impact on the GH7's performance. DFD was notorious for not being decisive enough for video use; this frequently resulted in undesirable artifacts, most notably a slight fluttering of the image when the AF system attempted to confirm focus on a subject or predict focus when a subject started to move.

"Video is where phase-detect autofocus makes the greatest impact on the GH7's performance."

We haven't encountered this with the GH7, making it much more suitable for run-and-gun use or any other application that requires autofocus, for that matter.

Subject identification and tracking work impressively well in video mode, particularly human and animal identification. Combined with phase-detect autofocus, it delivers reliable and predictable results in most situations. It's a level of confidence we haven't previously experienced when using a GH camera.

Photography autofocus

Since the photography features of the GH7 are identical to the G9 II, we would broadly expect it to perform similarly, or the same, as that camera, and this has been consistent with our experience. In a nutshell, it performs very well but isn't quite as dependable as the best of its peers. One continued frustration: if the camera doesn't detect a subject right away, it will sometimes flash a red box and leave you waiting for up to a second before starting to focus.

To read our in-depth analysis of the G9 II's AF system for photography, which matches our experience with the GH7, you can read the autofocus section of our Panasonic G9 II review.

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

Panasonic's GH cameras set high expectations for video, and the GH7 continues this trend. It delivers essentially the same results as its predecessor, the GH6, though with improved dynamic range at lower ISOs (more on that below).

Straight out-of-camera, it doesn't look quite as crisp as rivals like the Fujifilm X-H2S or the Nikon Z6III. Historically, Panasonic hasn't baked quite as much sharpening into its files, resulting in a less crunchy out-of-camera look. However, those files typically sharpen up nicely in post-processing if desired, leaving a lot of flexibility for an editor.

The GH7 delivers very similar results even when shooting 4K/120p high frame rate video. In this mode, it continues to use the full area of its sensor to render oversampled 4K footage, and it solidly outperforms other video-oriented models here.

At its highest 5.7K resolution settings, the GH7 is capable of capturing quite a bit of additional detail. However, it still falls noticeably short of the level of detail generated by Panasonic's own S5II when shooting in 6K mode. For maximum flexibility, you can capture 5.7K using ProRes RAW, but you'll need to do some downstream processing to make the most of it.

DR Boost

The GH7 provides more flexibility than the GH6 to capture a wider dynamic range using an expanded range of ISO settings. For the comparison below, we shot our DR test wedge using both cameras so that the very brightest patch just reached the clipping point, as shown by the video waveforms from DaVinci Resolve Studio.

GH7 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH7 V-Log (24p)

ISO 500
1/160 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 500
1/320 sec
F10

The first two buttons illustrate the impact of Panasonic's DR Boost mode. Both cameras were shot in V-Log at ISO 2000, the lowest ISO at which the GH6 supports DR Boost mode (ISO 800 when shooting in standard color modes). Since both cameras benefit from DR Boost mode at this ISO, the waveforms look very similar, as do the resulting video images.

However, the GH7 gains the ability to use DR Boost mode all the way down to its nominal base ISO of 500 in V-Log (ISO 100 in standard color modes). The next two buttons illustrate the advantage this gives it over the GH6 when shooting at ISOs below 2000: we've had to give the GH6 a whole stop less light to prevent the brightest tones in our test chart from clipping.

Note that the sensor's dual output gain system, which makes DR Boost possible, can't operate at frame rates exceeding 60p, so if you're planning to shoot at higher frame rates, you can expect the dynamic range to match that of the GH6 without DR Boost enabled.

Image stabilization

The GH7 gains Panasonic's Active I.S. technology, first introduced on the S5II series. Active I.S. is designed to more effectively dampen dramatic movements when walking while filming or using longer lenses and takes advantage of a new, higher precision gyroscope, which it shares with the G9 II. It's not an option you can switch on and off, but something the camera does automatically.

"Active I.S. is designed to more effectively dampen dramatic movements when walking."

Recent GH cameras have delivered impressive image stabilization, particularly in Boost I.S. mode, which is designed to correct all camera movement to simulate the effect of using a tripod for a stationary shot. Active I.S. is intended to play a somewhat analogous role, but when the camera is moving to deliver a smooth, if not quite gimbal-like performance when walking with the camera. In our experience, it's quite effective.

When Active I.S. is combined with the camera's electronic stabilization modes, it turns in a very impressive performance that could be mistaken for a gimbal. It's not magic, though. As with a gimbal, it still requires good technique to get the best results, but if you can manage that, it's another useful tool in the camera's bag of tricks.

Conclusion What we like What we don't

• Excellent video quality
• Phase-detect autofocus
• Internal ProRes and ProRes Raw recording
• Expanded DR Boost mode captures wider dynamic range at lower ISOs
• Impressive image stabilization in both stills and video
• Strong video workflow support
• Magnified live view during video capture
• 32-bit float audio (with XLR2 adapter)
• Real-time LUTs
• USB-C SSD support

• Autofocus can hesitate to engage if the camera doesn't immediately find something to track
• Subject tracking still lags behind peers
• DR Boost is not available at frame rates greater than 60p

At a high level, the GH7 delivers exactly what we expect from a GH camera: excellent video quality with an extensive set of tools for video shooters. It even adds some new tricks to its bag in the form of internal ProRes RAW recording and the ability to capture 32-bit float audio when used with Panasonic's XLR2 adapter.

Whereas previous GH-series cameras were primarily aimed at video shooters, Panasonic included all the photography features from its sibling, the G9 II, on the GH7. If you want Panasonic's best Micro Four Thirds camera for either photography or video, this is it – you can get it all in one package.

The inclusion of phase-detect autofocus is a hugely beneficial addition, particularly for video, and it effectively eliminates our biggest pain point with previous GH models: the tendency of the AF system to pulse or flutter during video capture as it tried to confirm or predict a subject's movement. Still, autofocus continues to be an area where the GH7 still lags behind the best of its peers, most notably in photography. It's generally quite good at identifying subjects, but it's not always as effective at tracking them.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F2.8 | 1/40 sec | ISO 3200
Photo: Dale Baskin

It used to be that you could count on every new GH camera to be first across the line with the latest video features, and there was a time when a GH camera was the obvious go-to choice for serious video users, but the landscape has evolved. It's still one obvious choice for video aficionados, but can it still stand out in a market where almost every new model purports to be a "hybrid" camera?

In short, yes.

The GH7 sets itself apart not just with specs, but with an implementation that reflects the needs of a serious video shooter: shutter angle, a built-in fan, pro audio capture, a proven and flexible Log curve, and incredible image stabilization that's designed around videography use cases. It sports a vast, but sensible array of codecs and frame rates, and offers little touches like the ability to filter them and save your favorites to a custom list. Yes, other cameras include some of these features, but they don't all work in concert like they do on the GH7.

In essence, the GH7 is the result of continuous improvement that started with the original GH1 16 years ago, and at this point, it's pretty dialed in. If you just want a hybrid camera that excels at photos and can also capture good video, there are other options. But if you want a production tool that's been refined over generations and polished to a shine – while also being able to shoot stills when needed – the GH7 is a great choice, in a way that raw specs simply can't convey, and for that, it wins our Silver Award.

Scoring

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

Panasonic Lumix DC-GH7Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.Good forSerious videographers who need support for a video-centric workflow.Not so good forUsers who primarily want to shoot still photos rather than video.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcgh7","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 with its peers

Like the GH7, the Fujifilm X-H2S has a long list of advanced video features, though it doesn't have the same attention to detail around those features; the GH7's more polished video toolset makes it a more dependable camera for shooting video. However, photo image quality is better, and it's worth choosing for stills even if the AF doesn't live up to its fast shooting promise. It's also the only system to rival Micro Four Thirds' range of compact lenses.

If you would prefer a purpose-built camera for video, the Sony FX30 is worthy of consideration. Its boxy body is built from the ground up for video use and includes half a dozen threaded attachment points so you can build your rig, your way. It also has more dependable autofocus and better battery life, though you'll need an external recorder to capture Raw video. Whatever you do, don't get it for photography; it's not made for it and doesn't include a mechanical shutter.

If you have a significant interest in shooting stills and don't mind its larger lenses, the Nikon Z6III is a very strong choice, with much better image quality and a more sophisticated AF system. While its video specs are competitive on paper and it's capable of producing high-quality video, the GH7's dependability and refined video implementation make it a superior choice for video work.

Finally, it's worth considering Panasonic's own G9 II, particularly if video is more of a 'sometimes' activity rather than your primary focus. It includes the exact same photography features, and all but the most advanced video options, from the GH7, but in a body that's almost 20% lighter and less expensive. Also like the GH7, it benefits from a large catalog of size-appropriate lenses that can keep your kit small if desired.

Buy now:

$2155 at Amazon.com Sample gallery

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The Canon PowerShot V1 has a 16-50mm equivalent lens. Despite its vlogging focus it can capture Raw stills, too.

Rendering: Canon

Canon has announced the PowerShot V1 large-sensor vlogging compact, but for now, at least, it is only available in Asia. We get the impression it will be made more widely available at some point in the near future but Canon has given no details.

The V1 is a "video-first" compact camera with a 16-50mm equivalent, F2.8-4.5 zoom lens. It's built around a 22-megapixel Type 1.4 (18.4 x 12.3mm) sensor with Canon's Dual Pixel AF II system. It features a fully articulating rear display and a windscreen for its top-mounted microphones, but no built-in flash or electronic viewfinder.

Key specifications:

• 22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
• 16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
• Full-width 4K up to 30p from 5.7K capture
• 4K/60p from a 1.4x crop (1:1 pixel capture)
• Up to 30 fps stills capture in e-shutter mode
• Cooling fan for extended video recording
• Wired or wireless video streaming
• Multi-function hotshoe for flash or audio accessories
• Fully-articulated rear touchscreen
• Headphone and mic sockets

The camera has a control ring around its lens, but we don't know if it rotates smoothly or clicks when turned.

What is a Type 1.4 sensor?

The sensor is essentially the same size as a Four Thirds chip, but in the wider 3:2 aspect ratio. Its pixel size matches that of the 33MP EOS R7, strongly suggesting it is a variant or cropped version of that sensor: an approach Canon previously took with its G1X series of large-sensor enthusiast cameras.

Conceptually, the Canon PowerShot V1 is something like a PowerShot G1X Mark II (pictured), mixed with Sony's ZV-1 Mark II vlogging compact.

Photo: Richard Butler

The V1 can shoot 4K video at up to 30p using 5.7K readout from approximately the full width of its sensor, or can deliver 60p from a 1.4x cropped region. As with the EOS R7, that equates to a roughly 1:1 pixel region of the sensor. The camera has a built-in fan, and we're told it can shoot 4K/60 for over two hours if you set the overheat threshold to 'High.'

Even with that 1.4x crop, the 8.2-25.6mm lens still gives a 26-71mm equivalent field of view when shooting 60p video.

We were impressed by the sensor in the EOS R7, so the idea of a compact that can shoot Raw using a cropped version of that sensor is an attractive one. That's especially true as the V1 has the Human and Animal detection modes from the R7, and full P, A, S, M control modes.

Video capabilities Rendering: Canon

The V1 can capture 10-bit Log footage using the Canon Log3 response curve, giving the option to color grade after shooting. It can also tether to a smartphone over USB and Wi-Fi and, if connected to a computer, be used as a video camera for streaming. Though Canon's specs show its USB-C port as only supporting USB 2.0 speeds (480Mb/s).

The new compact has optical stabilization that can be combined with electronic stabilization in video mode. There's also a 'Subject Tracking IS' mode that uses the stabilization (optical and digital) to maintain the subject's position in the frame and correct for motion.

The camera also has dedicated movie scene modes for "close-up demos," where the autofocus will override face detection if you hold something up close to the camera and one that applies a skin-smoothing effect to the output.

Rendering: Canon

There are mic and headphone sockets to enable high-quality audio capture, along with Canon's multi-function hot shoe connector, which allows the use of audio accessories and a range of flashguns. The camera has an in-lens shutter, which should allow flash sync all the way up to its 1/2000 sec mechanical shutter limit. There's also a built-in 3EV neutral density filter to allow the use of video-appropriate shutter speeds when shooting in bright light.

For now, the PowerShot V1 is only being released in Japan, China, Korea, Hong Kong and Taiwan, with the company saying it will be available in late April 2025. Our first chance to get our hands on it will be at the CP+ trade show in Japan next week.

Rendering: Canon Canon PowerShot V1 specifications Body typeBody typeCompactSensorMax resolution5750 x 3840Effective pixels22 megapixelsSensor photo detectors24 megapixelsImageBoosted ISO (maximum)51200White balance presets6Custom white balanceYesImage stabilizationOpticalImage stabilization notes5.0EV correction (center)CIPA image stabilization rating5 stop(s)Uncompressed formatRAWFile format

• JPEG, HEIF, CR3 Raw

Optics & FocusFocal length (equiv.)16–50 mmOptical zoom3.1×Maximum apertureF2.8–4.5Normal focus range5 cm (1.97″)Screen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots1,040,000Touch screenYesLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed30 secMaximum shutter speed1/2000 secMaximum shutter speed (electronic)1/16000 secExposure modes

• P, Tv, Av, M, Scene Intelligent Auto, SCN, Creative Filter

Built-in flashNoExternal flashYes (Mutil-function shoe)Flash X sync speed1/2000 secContinuous drive30.0 fpsSelf-timerYes (2 and 10 sec)Metering modes

• Multi
• Center-weighted
• Partial

Videography featuresModes

• 3840 x 2160 @ 60p, MOV, H.265, Linear PCM
• 3840 x 2160 @ 50p, MOV, H.265, Linear PCM
• 3840 x 2160 @ 30p, MOV, H.265, Linear PCM
• 3840 x 2160 @ 25p, MOV, H.265, Linear PCM
• 3840 x 2160 @ 23.98p, MOV, H.265, Linear PCM
• 3840 x 2160 @ 60p, MOV, H.264, Linear PCM
• 3840 x 2160 @ 50p, MOV, H.264, Linear PCM
• 3840 x 2160 @ 30p, MOV, H.264, Linear PCM
• 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
• 3840 x 2160 @ 23.98p, MOV, H.264, Linear PCM

MicrophoneStereoSpeakerMonoStorageStorage typesSD (UHS II)ConnectivityUSB USB 2.0 (480 Mbit/sec)HDMIYes (Type D)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notes2.4GHz 802.11b/g/n + Bluetooth 4.2PhysicalBatteryBattery PackBattery descriptionLP-E17Weight (inc. batteries)426 g (0.94 lb / 15.03 oz)Dimensions118 x 68 x 53 mm (4.65 x 2.68 x 2.09″)Other featuresGPSNone

Image: Apple

Apple has announced its latest iPhone in an expansion of the iPhone 16 lineup. The iPhone 16e is the lineup's cheapest model, essentially serving as a replacement for the budget-focused iPhone SE, though at a not as budget-friendly price. While the 2022 iPhone SE started at $429, the iPhone 16e is available for pre-order for $599. Even though it's not exactly cheap, it is $200 less than the standard iPhone 16.

The iPhone 16e features the latest A18 chip and the brand new Apple C1 modem. It is the first iPhone to use a modem developed by Apple itself, which Apple has been trying to do for years. The 6.1-inch OLED display is the same size as the standard iPhone 16, so those hoping for the return of a smaller model are out of luck. Apple also killed off the iPhone's Touch ID interface with the 16e, instead relying on the Face ID-enabled notch.

While Apple built the iPhone 16e with plenty of new and advanced technology, as a budget model, it naturally comes with compromises to keep the price relatively low. Unfortunately, the camera system on the 16e seems to take the biggest hit with only a single rear facing camera.

A sample from the iPhone 16e's 48MP Fusion camera.

Photo: Apple

Instead of the multi-camera array we've got used to seeing on modern phones, the 16e relies on a single 48MP module with a 26mm equiv F1.6 lens. By default this is used to deliver 24MP images, giving a result mid-way between the 12MP resolution of the filter array and the 48MP resolution of the photo sites.

Apple describes it as a "two-in-one camera system," which it says can "zoom with optical quality," up to 56mm equiv. to give a telephoto option. This is a rather grandiose way of saying that it crops in to use the central quarter of its sensor. Even with the benefits of combining multiple images, using a significantly smaller sensor area will mean lower image quality than using the full chip.

It's an approach we first saw in the iPhone 15 models, where a 12MP region of the 48MP sensor is used to deliver a 2x 'zoom.' The central quarter of the sensor does have 12 million photosites but these will almost certainly be behind a Quad Bayer-style 3MP array, so the results will need to be re-interpreted to give 12MP output.

And while Apple describes that both the 26mm equiv camera and 52mm equiv crop are taken using an F1.6 lens, this is slightly misleading in that the photographic impact of F1.6 changes with sensor size.

Portrait mode on the iPhone 16e.

Photo: Apple

Both of the rear facing cameras offer optical image stabilization. As is expected for smartphone cameras these days, they rely on computational photography and provide access to Apple's Night mode and Portrait mode. Beyond the 2x telephoto offering, the phone offers 10x digital zoom. The front of the phone features a standard 12MP F1.9 selfie camera. For video, the iPhone 16e promises "stunning videos" in up to 4K resolution with Dolby Vision up to 60 fps.

Naturally, Apple still promises excellent image quality across the board. It certainly is a significant step up from the iPhone SE, which only offered a single 12MP main camera and no Dolby Vision video. Additionally, the iPhone 16 and 16 Plus both feature a 48MP Fusion camera, which provides excellent results despite the reliance on what is effectively virtual zoom. The 16 and 16 Plus, though, have the addition of an ultra wide camera as well. That is not the case on the 16e, so users will be more limited on the new model.

For those who want a smartphone camera for capturing for memories and to serve as, well, a phone, the iPhone 16e is certainly a worthy device. But photography enthusiasts or those looking to get the most out of their smartphone camera will likely be a bit disappointed and limited by the camera setup.

Though it doesn't seem possible, Photoshop is turning 35 today. Naturally, the powerful photo editing platform has undergone much growth and change since its launch in 1990. To celebrate the milestone and the inspiring stories of those who use Photoshop, Adobe has announced a new content series on YouTube with Adobe's Russel Preston Brown, Sr. Principal Designer as host. Brown is the longest-standing employee to date at Adobe, having worked for an incredible 40 years at the company.

The inaugural episode features a conversation between Brown and Joel Grimes, a professional photographer who has been recognized as a Canon Legend Photographer and a Top Pro Elite Photographer by FJ Westcott. Their conversation explores how far photography has come in the past few decades and how Photoshop has evolved over the years. The pair discusses the transition from film to digital and how tools in Photoshop evolved from analog techniques. "Going from film to digital was very painful, but I had the greatest revelation I’ve ever had in photography – that is, I’m just an artist with a set of tools," Grimes explains in the video. "There’s no definition that’s going to bind me to one way of doing something."

The conversation is interesting, even covering where the name Photoshop came from. But at nearly 30 minutes long, you'll want to be sure to set aside some time to sit down and watch.

Along with the video, Adobe has shared a blog post highlighting key Photoshop milestones over the years, "from the release of Photoshop 1.0 in 1990 and its pivotal contributions to Hollywood, to the product’s ongoing evolution through the 2000’s and what’s still to come."

Photo: GoPro

Rumors have been swirling for quite some time, but GoPro has finally officially (and quietly) announced an update to the Max 360, its 360-degree action camera. It first released the original GoPro Max 360 in 2019, so it was quite overdue for an update. Unfortunately for fans of the camera, a five-year wait didn't result in any groundbreaking changes and the updates are very minor. The fact that it shares the exact same name as the previous model is perhaps a hint that there isn't much new going on.

GoPro's blog post announcing the news only dedicated two sentences to the actual camera: "The 5.6K spherical camera now comes with a MAX Enduro Battery and an upgraded mounting system, making it compatible with all standard ¼-20 tripod mounts. All for only $349.99 MSRP." That's it.

The new Max 360 will feature the folding mounting fingers found on recent GoPro Hero Black cameras and a standard tripod mount. It will also use the larger-capacity Enduro Battery, though GoPro doesn't provide any details as to the expected battery life. The rest of the hardware, including its 5.6 K resolution, remains the same as the 2019 model.

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Instead of focusing on hardware, GoPro prioritized software changes via the GoPro Quik app. One of the benefits of shooting 360-degree video is greater editing flexibility; indeed, GoPro is leaning on that. The Quik app will offer AI-Powered Object Tracking. You will be able to pick a subject, and then the app will use AI to keep that subject in view and in focus for the entirety of the clip. It should make editing footage from the camera much faster and easier than manually adjusting framing as a subject moves around the 360-degree field of view.

The Quick app will also take advantage of all the data the camera captures to create new camera effects, such as backflips, barrel rolls and more, with only a tap. Plus, you can set your view where you want it using Reframe if you want manual control over the 360-degree footage. Those who prefer desktop editing will also be able to take advantage of the "magic of Reframe" with a new GoPro Reframe plugin for Adobe Premiere Pro and After Effects.

Photo: GoPro

"MAX never misses—and that’s why it’s the go-to 360 camera for the world’s most creative athletes, adventurers and content creators. Getting ‘the shot’ has never been this easy," says GoPro Founder and CEO, Nicholas Woodman. "And with the Quik App’s new 360 editing experience, featuring AI-powered Object Tracking and simplified but powerful editing tools, it’s never been this easy or fun to edit your 360 content into amazing sharable moments."

GoPro added that more 360-degree editing tools are in the works. "And this is just the beginning,” Woodman adds. “We’re excited to launch powerful new app features on an ongoing basis to keep taking the GoPro 360 experience further and further this year." Hopefully, that investment in 360 will eventually turn into a truly updated camera, though at least GoPro is catching up with editing tools already available for Insta360 users.

Photo: GoPro

It isn't clear whether these software updates will benefit existing Max 360 users. Given that the changes are in the GoPro Quik app, it seems likely they will, though GoPro hasn't specified.

Perhaps the biggest change for the Max 360 is the price. It originally sold for $500. Luckily, GoPro is dropping the price of the 2025 model to $350. It is available for purchase as of today through GoPro's website.

Buy now: $350 at GoPro

Image: Insta360

Insta360 released its highly popular Flow 2 Pro smartphone gimbal a month ago with an impressive list of features and tools. Unfortunately for Android users, though, those features were specific to iPhone users, leaving them unable to take advantage of the powerful stabilizer. Now, though, Insta360 has announced a new accessory, dubbed the AI Tracker, that unlocks the Flow 2 Pro for Android phones.

The Insta360 AI Tracker uses a dedicated camera to enable tracking no matter the operating system or app.

Image: Insta360

Insta360 calls the Flow 2 Pro AI Tracker "the ultimate add-on to take your mobile content to the next level." The company designed the device to enable support across Android phones along with a greater number of apps. That means that even iPhone users benefit from this little accessory. To accomplish greater compatibility, the AI Tracker features a dedicated camera. It connects to the gimbal using a USB-C connection, allowing it to track subjects independently no matter what phone is attached to it or what app is being used to record.

The AI Tracker relies on Insta360's AI tracking algorithms. As the product's name suggests, it uses AI recognition to keep subjects framed, even if there are obstructions or multiple subjects. The AI system also works on cats and dogs. Plus, it enables hand gestures to activate tracking, just like iPhone users have access to on the Flow 2 Pro.

The Insta360 AI Tracker also features an integrated light with adjustable brightness and color temperature.

Image: Insta360

This little accessory also has a built-in LED light, offering three brightness levels and three color temperature settings for greater control over how you light your subject. It is a simple plug-and-play device that can be used without adjusting any settings.

The Flow 2 Pro AI Tracker is available as of February 17. If you already own the Flow 2 Pro, you can purchase the AI tracker as a standalone accessory for $40. If you want to buy the AI tracker with the Flow 2 Pro, you'll have to wait a little longer. Insta360 says that the AI Tracker Bundle is "soon-to-launch" for $179, though didn't provide a specific date.

Buy now: $40 at Insta360