Fujifilm’s latest compact, lightweight entry-level camera in its APS-C format X-system, the Fujifilm X-M5 was announced in October 2024. The firm says it’s aimed at “everyday storytellers” who are stepping up from a smartphone for the first time, and like to record both still images and video equally. At £799 body-only, or £899 with the XC 15-45mm F3.5-5.6 kit zoom, it’s one of the most affordable Fujifilm cameras, alongside the older SLR-style X-T30 II.

Fujifilm X-M5 at a glance:

• $799 / £799 body-only
• $899 / £899 with 15-45mm zoom
• 26.1MP X-Trans CMOS 4 APS-C sensor
• ISO 125-12,800 (standard)
• 8fps shooting; 30fps with 1.25x crop
• 6.2K 30p, 4K 60p, and Full HD 240p video recording
• 3in 1.04m-dot articulating screen

Design-wise, the X-M5 is a fairly simple camera, with a small, box-shaped body, no viewfinder, and a fully articulating screen. Fujifilm first used this body style with the original X-M1 back in 2013. There haven’t been any other X-M models in between, but instead a range of similarly styled X-A models up to the X-A7 of 2019.

Like the X-M1, the X-M5 employs Fujifilm’s proprietary X-Trans CMOS sensor, in contrast to the X-A cameras that used conventional Bayer-type sensors.

Unlike the superficially similar Sony ZV-E10 II, or the full-frame Panasonic Lumix S9, the X-M5 is not designed mainly as a vlogging camera. Instead it has a good set of photography features and controls, including a mechanical shutter. In this respect it’s more like the Nikon Z30 and Olympus PEN E-P7.

Fujifilm X-M5: Photo Features

While Fujifilm’s other recent models have used 40MP sensors, the X-M5 is built around a 26.1MP sensor. However, it boasts the firm’s latest X-Processor 5, which means that it shares a lot of its siblings’ latest features, including subject-detection autofocus and a full set of Film Simulation modes.

This sensor and processor combination is also employed by the Fujifilm X-S20, which sits above the X-M5 in the firm’s line of ‘hybrid’ models. So we can expect the X-M5 to deliver pretty much identical performance and image quality to the X-S20 – which means very good indeed.  

In terms of photographic specifications, the X-M5 naturally has a lot in common with the X-S20. The sensor offers a standard sensitivity range of ISO 125-12,800, extendable to ISO 25,600. Shutter speeds cover 30sec to 1/4000sec, or as fast as 1/32,000sec using the electronic shutter.

Continuous shooting is available at up to 8 frames per second using the mechanical shutter, 20fps with the electronic shutter, and 30fps with the electronic shutter and a 1.25x crop.

Subject detection covers animals, birds, cars, motorcycles and bikes, airplanes, and trains. As usual for Fujifilm, human face/eye detection is also available, as a separate but mutually exclusive option.

There’s no in-body stabilisation, so the camera relies on in-lens optical stabilisation for stills, which is complemented by electronic stabilisation for video.

Fujifilm X-M5: Video features

Video features are impressive for the price, with the X-M5 capable of 6.2K 30p ‘open gate’ recording, which uses all the sensor pixels for cropping to different aspect ratios in post-production. The camera can also record in 4K at up to 60fps, or Full HD up to 240fps. Uniquely, there’s also an option to record vertical Full HD video while holding the camera horizontally.

While many of the X-M5’s video modes use the full sensor width, chances are you’ll want to enable digital stabilisation, which imposes a 1.32x crop. This will take the 15-45mm kit zoom from 23mm equivalent at the wideangle end to 30mm.

In terms of recording times, the camera should keep going for up to an hour at 25 °C and is compatible with Fujifilm’s add-on fan unit for extended durations at higher ambient temperatures.

One notable new feature is the addition of a third capsule to the built-in microphone. This allows the recorded sound to be weighted in various different ways: front priority, back priority, front-and-back priority, and full surround.

Fujifilm says it has also improved the wind filter, and added a new option for suppressing continuous background noise such as air conditioning.

One nice touch is the inclusion of a headphone socket for monitoring audio, which is inexplicably missing from similarly shaped cameras. It’s also on the handgrip, along with the USB-C and HDMI ports, where it won’t interfere with the screen.

Fujifilm X-M5: Key features

• Audio: The camera has three built-in mics that offer a range of directional sound recording modes.
• Video: Vlog-friendly features include 6.2K open gate recording and a unique vertical Full HD option with the camera held horizontally.
• Viewing: There’s no electronic viewfinder, with the camera relying purely on a fully articulated rear screen.
• Retail box: Fujifilm has switched to more eco-friendly packaging, with a brown box made from recycled paper that minimises ink use and has no plastic laminate. 

Fujifilm X-M5: Build and handling

Despite its compact size and light weight, the X-M5 handles quite nicely, thanks to a small finger grip on the front and a thumb hook on the back. I think it looks pretty stylish in its silver incarnation, although the black version is somewhat plain in comparison. But this is very much a matter of personal preference.

Fujifilm has made good use of the limited body space to offer a decent set of controls. You got two electronic dials to change exposure settings, front and rear, while a small joystick on the back is used to move the focus area and change onscreen settings. The front dial can be clicked inwards, which provides quick access to ISO setting.

I found this to be a little challenging to get used to, at least at first. I managed to accidentally change the ISO when I didn’t want to on a number of occasions. With time you do get used to the placement and essentially train yourself to avoid it, but it’s something to think about when first using the camera and perhaps something for those with larger hands to consider, too.

There’s a new Film Simulation dial which sits on the top left of the body. Some will like this, others will prefer an unmarked dial that could be used for other purposes. Your feelings on it likely depend on how much you tend to use the different film simulation modes. I don’t mind it, but, I rarely find myself in such a desperate hurry to change film simulations that I feel the need for a dedicated deal. It’s a good reminder to use them though, so there is that.

It is after all one of the great attractions of Fujifilm cameras that they have such excellent film simulation modes. With them you can get a good range of different looks that unlike some other brands don’t look tacky or gimmicky – they’re genuinely ones you might want to use more than once. Everybody has their favourites – I like Classic Chrome and the new Reala Ace mode, while Acros has always been a winner for black and white.

During this review, I’ve been using the X-M5 with the XC 15-45mm F3.5-5.6 lens, which you can get with it as part of a kit. This is a great pairing in terms of size, and is a good walkaround option covering a 22.5-67.5mm equivalent in 35mm terms. You can pair the X-M5 with other X series lenses, of course, but it pays to be mindful of exactly which ones to go for, as any of the larger ones will likely be a bit of an imbalance and feel awkward to use.

To that end, I also used the XF23mm F1.4 R LM WR lens with it, a prime lens giving you a 35mm equivalent. This was just about acceptable paired with the X-M5, albeit a little bit front heavy. For a similar focal length, the XF27mm F2.8 R WR lens would be a good option for keeping things as small as possible, though of course you don’t get that lovely wide aperture.

Just to see what it was like, I also used the XF70-300mm F4-5.6 R LM OIS WR lens for wildlife shots. This was pretty cumbersome, but if it’s something you’d only do occasionally, it wasn’t too awful. If you’re likely to find yourself shooting with long lenses regularly, I really wouldn’t recommend the X-M5 as the right camera for you. But it’s good to have the option nonetheless.

Fujifilm X-M5: LCD Screen

As the X-M5 doesn’t have a viewfinder, you always have to use the LCD to set up your shots. This being at the lower end of Fujifilm’s range, the screen specification isn’t as high as those found elsewhere in the range. As such, you get a 1.04m-dot screen, compared with say the 1.84m-dot device of the X-S20. The X-M5’s screen fully articulates, rather than tilts, so you can film pieces to camera, and it is touch sensitive so you can do things like change the focus point by simply tapping where you want it to be within the frame.

With its small, unobtrusive size, the X-M5 could arguably be a good idea for street photography. However, for this I’d prefer a tilting screen where you could hold the camera at waist level and still get a good idea of what you’re shooting – things become a little more obvious when the screen is pulled out to the side.

Video users should be pleased that the articulation hinge of the X-M5’s screen isn’t impeded by any cables that you may have plugged in, such as for a microphone. Its port is on the back of the body, while the HDMI output is on the opposite side .

The lack of a viewfinder is going to be off-putting to some, and irrelevant to others. If you’re used to shooting with a smartphone, and have perhaps never even used a viewfinder, you might not be bothered at all. Similarly, if you’re mainly shooting video, then a viewfinder (or lack thereof) simply won’t be an issue. Personally, I struggle to fully get on board with using the screen only – and in bright light it can be a little annoying trying to angle it away from glare, but that’s exactly why Fujifilm makes other models in the range that you can opt for instead if you prefer.

Fujifilm X-M5: Autofocus

As already mentioned, the X-M5 inherits many of its specifications from elsewhere in the Fujifilm range. That includes subject-detection autofocus, which covers a range of subjects including animals, birds, cars, motorcycles and bikes, airplanes and trains. You can also switch on human face/eye detection, but this is available separately and can’t be used in conjunction with the other subject detection modes.

X-M5 · f/5.6 · 1/900s · 300mm · ISO640

I didn’t try it with every subject listed here, but I found that it works very well for animals and birds, doing pretty well to keep up with – admittedly reasonably placid – birds flying and swimming around my local lake.

For humans, it also did very well, locking onto the eyes for portraits with great effect almost all of the time. If you have a particularly erratic subject – such as a small child – and you’re shooting in lower light, you might find the kit lens doesn’t cope as well as some of the higher-end lenses. But that would be a challenging test for even the best of cameras.

X-M5 · f/1.4 · 1/100s · 23mm · ISO4000

With other general shooting scenarios, such as landscapes and architecture, I found the X-M5 locked on well most of the time, too.

Fujifilm X-M5: Performance

As the sensor and processor in the X-M5 is exactly the same as that which is found in the X-S20, I knew that the image quality would be excellent. Essentially, whether you’re interested in buying this camera comes down to how you use it, not whether or not the image quality is any good – as that’s already a given.

X-M5 · f/6.4 · 1/480s · 15mm · ISO160

Per Fujifilm’s usual output, the JPEG images are wonderful, with excellent colours that are consistent. Here is where your film simulation modes will be added too – I like to shoot in raw format as well so that I can go back to a “standard” look if I prefer, but I know some people who are so pleased with Fujifilm’s JPEGs that they don’t even bother to hedge their bets.

X-M5 · f/11 · 1/160s · 15.2mm · ISO160

Similarly, exposures are well balanced in the majority of situations, and I rarely felt the need to dial in some exposure compensation when shooting in my favourite mode (aperture priority).  

X-M5 · f/3.5 · 1/70s · 15mm · ISO12800

Shooting in low light yields some very good results too. You get nice and clean images up to ISO 640, and while it is obviously visible at ISO 3200 it’s not displeasing at this point. At ISO 12800 it’s a bit more apparent again, but for sharing or printing at small sizes it’s not obtrusive.

I accidentally switched to ISO 51200 on a couple of occasions when photographing my daughter at home. This is not an ISO speed I’d recommend, but even the grain in these isn’t totally offensive – so long as you accept them for what they are.

X-M5 · f/5.6 · 1/480s · 258.4mm · ISO800

One thing to think about here is that the X-M5 doesn’t offer in-body image stabilisation, whereas the X-S20 does. That’s fair enough at this price point, but it may mean at times you need to up the ISO – again, if consistently shooting in low light is your thing, this probably isn’t the camera for you.

Fujifilm X-M5: Value for Money

You can buy the X-M5 for less than $800/£800 body only, or less than $900/£900 if you also want it bundled with the 15-45mm lens, making it one of the most affordable Fujifilm cameras you can buy right now.

If you’re keen to get into the Fujifilm ecosystem, it’s a good place to start for that reason – but you should think about exactly what you intend to do with the camera.

For those who want a hybrid model, do a lot of video shooting, or perhaps just aren’t bothered by viewfinders, it’s a good shout. However, if you lean more towards photography, then you can get the older Fujifilm X-T30 II for around the same price.

Both have the same 26MP sensor, but the X-M5 has a newer processor, giving better autofocusing, and also better video specs, such as improved 6K recording. You also get other benefits with the newer model, such as new film simulation modes. The body is also smaller and lighter, but that may not necessarily be a good thing if you miss having a viewfinder.

Looking outside of Fujifilm, there’s the recently announced Nikon Z50II (£849 body only/£999 with 16-50mm lens). Not only is this more expensive, but there’s very few APS-C lenses available for Nikon Z mount. Not to mention, the X-M5 is certainly a lot more aesthetically pleasing, so the Fujifilm has the edge for sure in this respect.

Fujifilm X-M5: Verdict

The Fujifilm X-M5 is a lovely little camera, and is capable of producing excellent results. I’m not particularly in favour of viewfinder-less cameras, but, of those of its kind, this is probably my favourite – if for nothing else than style and looks alone.

Others will be far less bothered by the lack of a viewfinder than I am, and it’s that consumer that this model is aimed at. Those who are perhaps coming over from a smartphone, for example, or those who are true hybrid shooters and are equally at home shooting video as they are taking photographs.

For a sub $800/£800 camera (body-only), it’s very impressive. To have pretty much the same image quality as the excellent X-S20, as well as some advanced specifications such as subject-detection autofocus, is a clear winner.

The small size of the camera is a good thing on the whole, particularly for those who don’t want to cart around heavy gear. But there are some compromises to consider – the button layout can at times lead to accidental settings changes (especially when you’re new to the camera), and if you ever want to use larger lenses, it’ll probably feel a bit awkward. But, pair the X-M5 with appropriate glass and you’ve got a lovely little shooting companion.

For now at least, the SLR-style X-T30 II remains on sale, and it’s currently about the same price as the X-M5. You don’t get so many advanced specifications, but you do get a viewfinder and a slightly more comfortable body.

If I were buying, that would probably be that one I’d go for. But if you’re not so worried about that kind of shooting experience, the X-M5 is a great choice.

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Fujifilm X-M5: Full Specifications

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When Sony launched its original Alpha 1 at the start of 2021, it offered an unprecedented combination of resolution and speed. This was a camera that could shoot 50MP images at 30 frames per second and record 8K 30p video. Now the firm has transplanted these features, along with all its latest technologies, into a hugely upgraded body design borrowed from last year’s sports focused A9 III. The resultant Sony Alpha A1 II is, without doubt, the best Sony camera yet.

Sony Alpha A1 II at a glance:

• $6500 / £6300 body-only
• 50MP full-frame stacked-CMOS sensor
• 30 frames per second shooting
• 8K 30p, 4K 120p video recording
• 5-axis in-body stabilisation: 8.5-stop centre, 7.0-stop edge
• 9.44m-dot, 0.9x, 120fps OLED viewfinder
• 3.2in, 2.1m-dot 4-axis multi-angle LCD

When the original Sony Alpha 1 first appeared, it felt like a ground-breaking product, as the first camera of its type to work convincingly for any kind of shooting, either stills or video. But the market has moved on significantly since then, and its successor finds itself up against a couple of very impressive rivals, in the shape of the Nikon Z8 and Canon EOS R5 Mark II. Both can do essentially all the same things, but for a lot less money than the $6500 / £6300 Sony wants for the A1 II.

Naturally the A1 II gains a few new tricks of its own, although arguably, nothing that clearly makes it stand apart. Sony has finally added an Auto mode for its subject detection system, plus a Pre-capture option for burst shooting. But both Canon and Nikon offer these features, too. So the question is, does the Sony A1 II jump back to the top of its class, or has it now been overtaken by its competitors?

Features

In terms of its core photographic features, the A1 II offers much the same as the A1 did. It’s built around the same 50MP full-frame stacked CMOS sensor which offers a sensitivity range of ISO 100-32,000 as standard, with extended ISO 50-102,400 options also available. The mechanical shutter maxes out at 1/8000sec, while the electronic shutter extends this even further to 1/32,000sec, and you get a very useful 1/400sec flash sync, too. That stacked sensor means you don’t have to worry too much about rolling shutter distortion.

For shooting bursts, you get 10 frames per second using the mechanical shutter and an impressive 30fps with the electronic shutter. Both come with continuous autofocus and subject tracking while shooting full-resolution raw. Sony promises a buffer of at least 80 frames for uncompressed raw and JPEGs together, rising to 240 frames with compressed raw.

When it comes to video, alongside the headline 8K recording at 30fps, you also get 4K 120fps with a 1.1x crop, and 4K at 60fps from the full sensor width. Along with Sony’s standard S-Log 3 and S-Cinetone options, the camera can store 16 LUTs for custom colour output. Subject detection AF is available during video recording.

Some may be disappointed that there’s no headline speed or resolution update over the A1 here. But this is typical of how Sony operates: it tends to use the same sensor for two generations of camera, with much the same core specs, and update everything else in between. And let’s be clear, these numbers are still entirely competitive with the Nikon Z8 and Canon EOS R5 Mark II.

What you do get on the A1 II, of course, are all the features Sony has introduced over the past four years. Foremost among these is the addition of Sony’s AI processor, which brings a significant boost to the camera’s autofocus capabilities. It also promises improved exposure, colour, and auto white balance.

In a long-overdue move, Sony has finally brought its subject detection system up to date, with a new Auto mode that understands the subject type automatically, rather than needing it to be set in advance. Otherwise, the subject detection is the same as on the A9 III, being able to recognise humans, animals, birds, cars, trains, airplanes, and insects. Sony is promising a 30% – 50% improvement in subject detection performance over the original A1, thanks to the AI processor.

There are some other welcome updates to the autofocus, too. The system boasts 759 selectable focus points, with 92% frame coverage and the ability to operate in low light of -4 EV. New XS and XL focus area sizes are available, plus the option to set three custom focus areas with user-specified heights and widths.

The A1 II also gains Sony’s best-ever in-body image stabilisation. It’s rated for 8.5 stops of shake reduction in the centre of the image, and 7.0 stops at the edge, compared to 5 stops for the original A1. There are updates for video stabilisation too, with both Active Mode IS and Framing Stabiliser IS on board.

Sony has included various multi-shot modes, promising increased resolution or decreased noise. Unfortunately, these don’t produce composite files in-camera, but require processing on a computer in Sony’s Imaging Edge software. They’re probably best seen as niche options for special situations, and arguably exist more for marketing purposes than real-world use. 

More usefully, though, you don’t have to shoot huge 50MP files all the time. Instead, you can record both raw and JPEG files at reduced resolutions of 21MP or 12MP. You can also switch to a 21MP APS-C crop mode, which can be especially useful for sports and wildlife shooters.   

Pro-spec connectivity is built-in, including 2.4GHz / 5GHz Wi-Fi, Superspeed (10Gbps) USB 3.2, and 2.5Gbps wired LAN. Neither of its main competitors have an ethernet port built-in, which for pro sports shooters, may look like a clear advantage for the A1 II at first sight. But you can add one to the EOS R5 Mark II via a vertical grip, or with the Nikon Z8, simply plug an ethernet adapter into one of its two USB-C ports.

The A1 II does gain one small but welcome design update compared to the A9 III. Open the port covers, and you’ll find that the HDMI connector has swapped positions with Sony’s multi-connector socket. This is more convenient both for photographers plugging in a remote release, and videographers setting up a rig.

Sony Alpha A1 II: key features

• Viewfinder eyecup: While the camera comes fitted with a standard eyecup, a new, deeper, soft silicone option is also included in the box.
• Power: Sony’s standard FZ100 battery is notionally rated for 420 frames with the EVF and 520 with the LCD, but you can get many more shots than that when shooting bursts. It can be charged via USB-C, and a high quality USB-C dual battery charger comes as standard.
• Vertical grip: The A1 II is compatible with the same VG-C5 vertical grip that was introduced with the A9 III. It holds two batteries and boasts a full set of duplicate controls for vertical shooting.
• Connectors: On the side, there’s a comprehensive set of ports: microphone, headphone, USB-C, full-size HDMI, RJ 45 ethernet, Sony micro-USB multi-connector, and a PC flash sync socket.
• File storage: There are two card slots, each of which can accept either UHS-II SDs, or the faster CFexpress Type A media. The camera can’t record directly to SSD, though.
• Multi-interface shoe: Sony’s multi-interface (MI) hot shoe accepts both flash units, and Sony’s own microphones without needing a cable.

Build and Handling

To all intents and purposes, the Sony Alpha A1 II uses the same body design as the sports-focused Sony A9 III. This means you get a very similar control layout to the original A1, including all the same buttons and dials in all the same places. But the new version also gains the various updates and refinements Sony has introduced in the meantime.

Most obviously, the body is wider and boasts a much-improved handgrip, with more space between the grip and mount. This means it handles much better with the large lenses that are likely to be used on this kind of camera.  It’s also much easier to use when you’re wearing gloves in cold weather. However, the flipside is that it no longer has such a clear size advantage over its competitors. At 136 x 97 x 83 mm and 743g, it’s essentially the same size as the Canon EOS R5 Mark II (however, the Nikon Z8 is noticeably bulkier).

Elsewhere, the exposure compensation dial is now unmarked and rotates freely, so it can be re-allocated to other settings. A separate switch beneath the exposure mode dial selects between still, video, and S&Q (slow and quick motion) shooting. There’s also a new C5 button on the front that’s set to engage speed boost during continuous shooting. You get a much more flexible 4-axis multi-angle screen, too.

No fewer than four electronic dials are onboard for changing exposure settings, and that’s not even counting the aperture ring that’s found on most recent Sony lenses. There’s a conventional mode dial on top (which is unusual for a camera of this type), which has three custom positions alongside the familiar PASM modes. A switch underneath selects between stills, video, and quick/slow motion. On the top left, you get physical dials for selecting focus and drive modes, each with a locking button to prevent accidental operation.

A large AF-ON button is placed above the AF-area selector joystick, and you can customise it to activate tracking too, which I find really useful. Meanwhile the video button is tucked away next to the viewfinder. All the controls are highly customisable, so it should be possible to get the camera working the way you want.

One point worth considering, though, is that those AF and drive mode switches complicate using custom modes to switch quickly between camera setups. You always have to ensure those switches are set correctly, too. In contrast, on the EOS R5 Mark II in particular you can quickly change the entire camera setup by engaging a custom mode.

Sony’s menu system is still as huge and incomprehensible as always, with fully 64 pages of options. It also includes some horrible abbreviations that are impossible to parse (Cnt Sht Spd Bst Settings, anyone?). It’s in serious need to simplification, and as with all cameras, would benefit massively from some kind of search function. It’s worth compiling options you may wish to change into the customisable My Menu. Thankfully this is an unusually straightforward process – just press the delete key when you have a menu option selected. 

Overall, though, the A1 II still just slightly lacks the sheer refinement that comes from Nikon and Canon’s decades of working with professional photographers. I tested it immediately after reviewing the EOS R5 Mark II, and it’s noticeable how many small quality-of-life design details favour that camera. For example, its lens release button is much larger, making it easier to swap lenses in a hurry, and Canon includes a dedicated button for rating images in playback. These are little things, but they do make your life easier.

Viewfinder and screen

One area where the Sony Alpha A1 II is still indisputably class-leading lies with its viewfinder. It’s large and detailed, with a 9.4m-dot OLED panel and 0.9x magnification. It’s also free of any blackout during continuous shooting. Sony now even includes a second eyecup in the box, which is much deeper and made of a soft silicone material to block stray light better. It’s a real improvement and I’d be inclined to use it all the time.

The A1 II also incorporates the same excellent screen design as the A9 III and A7R V. It’s a 3.2in, 2.1m-dot LCD that combines both tilting and side-hinged articulation mechanisms. This gives the best of both worlds – you can point the screen in almost any direction you like shooting at awkward angles, while still having it tilt up and down behind the camera for waist-level or overhead shooting.

Sony previews colour, exposure and depth-of-field by default, which means you get a very good idea of how your images are going to turn out. A comprehensive array of viewing aids is available, too. You can display a small live histogram and electronic levels, although annoyingly, not at the same time. But there’s no option to get the viewfinder to emulate an optical finder, which both Canon and Nikon offer.

Autofocus

With its stacked CMOS sensor and AI processor, it almost goes without saying that the Sony Alpha A1 II’s autofocus is exceptional. With static subjects, it focuses instantly, silently, and perfectly accurately, no matter where the subject is within the frame. With moving subjects, it’ll lock on and follow them reliably.

ILCE-1M2 · f/8 · 1/200s · 35mm · ISO200

Click on any sample image to see the full-resolution version

Sony’s subject recognition is as near-magical as ever, at least when using the pre-set subject modes. It understands people, animals, birds, insects, cars, trains and airplanes, and has no problem with keeping track of even small, erratic subject such as birds in flight. It doesn’t necessarily need Sony’s own lenses, either; I used the affordable Sigma 100-400mm F5-6.3 DG DN OS and still got a high hit-rate. But while this kind of autofocus felt ground-breaking on the original A1, now it almost seems unremarkable – the other cameras at this level have caught up, too.

While Sony’s new Auto option generally works well, in my experience it gave a surprising number of false positives. For example, it confidently drew subject detection boxes around such things as Tower Bridge or an oak tree. With the latter, I established that the camera thought it was an insect, which suggests the system has no sense of scale.    

ILCE-1M2 · f/6.3 · 1/2000s · 383.4mm · ISO8000

In a way, this is just quibbling; the camera still focused on the subject I wanted it to, and you can always turn subject detection off when you don’t need it. You can also disable certain subject types in Auto mode, which can help narrow down the camera’s attention onto the things you want to shoot. But then again, you don’t need to do this with Canon and Nikon’s subject detection systems, because they’re not so over-complicated in the first place and have simpler, more sensible options. 

Performance

As we’d expect from a top-of-the-line professional camera, the Sony Alpha A1 II performs superbly while shooting. It’s ready to shoot the moment you flick the power switch and responds instantly to all inputs. The mechanical shutter is nice and quiet, too, firing with just a soft, unobtrusive clunk. If you want the camera to operate completely silently, you can switch to the electronic shutter with minimal image-quality penalty.

ILCE-1M2 · f/8 · 1/80s · 44mm · ISO100

There’s nothing to complain about regarding battery life. Sony specifies 420 shots per charge using the viewfinder, but this is using the CIPA standard test, which is representative of taking single shots at a time. However, this is a camera where you’ll probably spend just as much time in burst mode. In this kind of mixed scenario with single frames and bursts, I got as many as 900 shots per charge. Replacement FZ100 batteries are easy to find and reasonably affordable, too.   

Continuous shooting performance is, of course, remarkable. Even if you use a UHS-II SD card, and shoot full-resolution raw and Fine JPEG files together, the camera will happily deliver bursts of over 100 frames at 30fps before pausing or slowing down. Switch to a CFexpress Type A card, and it’ll fire off about 150 frames at 30fps, before first throttling back to 15fps for another 50-odd frames, and then settling down to 10fps indefinitely (i.e. until you run out of card space, battery power, or motivation).

ILCE-1M2 · f/6.3 · 1/2000s · 400mm · ISO1250

Of course, few people want, or need to shoot this fast for this long. Aside from anything else, sorting through all the files is a nightmare. But at times, the capability can be genuinely useful.

I was lucky enough to get to shoot a Premier League football match between Manchester City and Nottingham Forest, courtesy of Sony UK. Here, the A1 II’s combination of speed and resolution allowed me to experiment with shooting wide – sometimes extremely wide – and cropping heavily after the event. You can see this in the example below.

This is a 100% crop showing Kevin de Bruyne scoring on a rare good night for the club during a spell of poor form. It’s not super-sharp, but let’s zoom out a bit and show more context…

This crop shows a rather wider view of the action, and actually looks decently sharp. But it’s still only 4MP. Let’s see what the full image looks like…

ILCE-1M2 · f/4 · 1/200s · 18mm · ISO1000

That’s right, this image was shot at 18mm to cover the entire pitch, using the Sony FE 16-35mm F4 ZA lens wide open at f/4. The 100% crop is a little blurry as the shutter speed is probably a bit too slow. Obviously this isn’t how you’d shoot sports most of the time, but it still illustrates the sensor’s huge cropping potential.

In the less glamorous surroundings of my local park, I was also able to record precise moments of action, such as with birds squabbling or touching down on water. In short, the A1 II helps you capture exactly the moment you want with relative ease, and with lots of leeway for cropping. For sports and wildlife photographers, this can be invaluable. Here’s another example, this time shot slightly more conventionally with the FE 70-200mm F2.8 GM II lens.

ILCE-1M2 · f/2.8 · 1/500s · 80mm · ISO800

To get the best performance, though, you need to shoot in Sony’s compressed raw format. However, this comes with a risk of posterization in very dark tones, so it’s better to use uncompressed raw whenever you might encounter extreme dynamic range, such as for landscapes.

Thankfully, you can set up custom modes so they record different raw file types, and even use different memory card slots. So you could have a sports/action mode sending compressed raws to CFexpress, and a studio/landscape mode that records uncompressed raw to SD when you don’t need the same speed.

ILCE-1M2 · f/2 · 1/13s · 34mm · ISO400

In-body image stabilisation is crucial with this kind of camera, as it helps you to get the most from that high-resolution sensor without having to worry too much about keeping shutter speeds high to counter camera shake. Here, the A1 II’s IBIS system is very capable indeed. Using the superb FE 28-70mm F2 GM lens, I was able to get consistently sharp images hand-held at shutter speeds in the vicinity of a second.

Given somewhere to rest my elbows, I could get entirely usable results with even longer exposure times around 2.5 seconds. This allows you to shoot such things as night-time cityscapes without necessarily needing a tripod.

ILCE-1M2 · f/5.6 · 1/0s · 55mm · ISO100

If you are prepared to carry around a tripod, you’ll find that Sony’s multi-shot modes work pretty well – technically at least. The 16-shot, 200MP pixel-shift mode delivers genuinely higher levels of detail, with minimal processing artefacts and the ability to suppress ghosting from objects that move between frames.

The problem, though, is that the files take up a massive amount of card space, and annoyingly, you have to manually identify each set for processing in Sony’s Imaging Edge Desktop software (unlike Fujifilm’s software, it’s not smart enough to find them for you within a folder of images). So while these modes can sometimes genuinely be useful in some studio still-life situations, but they’re impractical for most shooting.

ILCE-1M2 · f/11 · 1/80s · 400mm · ISO100

As with the A9 III, I was generally very impressed by Sony’s metering and white balance. On the whole, the camera does a great job of protecting highlight detail from blowing out and losing detail irretrievably. Likewise, the auto white balance system gives a reliable starting point for getting your colour right, with very few of the colour casts that used to bedevil older Sony models.

Sony’s default colour profile is tuned very much for accuracy rather than attractiveness. But it doesn’t quite have the punch and impact of some other brands’ colour modes. It’s pleasant enough, and the camera is capable of producing perfectly acceptable JPEG output, especially for portraits where overblown colour is a bad thing.

ILCE-1M2 · f/2 · 1/250s · 70mm · ISO200

Like other recent Sony cameras, there’s a set of ‘Creative Looks’ onboard, but they’re labelled only by incomprehensible two-letter abbreviations. Ironically the firm is quite happy to tell you what these all stand for in the Imaging Edge Desktop software, just not on the camera itself. They give some interesting alternative options to play with, but I don’t find them especially compelling.   

With the camera using essentially the same sensor as the original A1, image quality is unsurprisingly very similar. Which is to say, more than good enough for almost any purpose. That 50MP sensor is capable of delivering a huge amount of detail when paired with Sony’s G-master lenses – I mainly used the A1 II with the remarkable FE 28-70mm F2 GM that was announced alongside it, and the results were truly exceptional.

ILCE-1M2 · f/2 · 1/3s · 39mm · ISO100

High-ISO noise is also kept well under control, with the camera delivering entirely usable images up to ISO 25,600 at least, even without resorting to AI noise reduction in raw processing. This is complemented by substantial dynamic range, especially at lower ISO settings. Using Adobe Camera Raw, it’s possible to extract four or five stops of additional shadow detail without noise being a significant problem.

This isn’t quite the best image quality you’ll get from a full-frame camera – than honour still goes to 60MP models such as the A7R V – but it’s very close indeed.   

Sony Alpha A1 II: ISO and Noise

At low sensitivities, the A1 II’s 50MP sensor delivers exceptional levels of detail. This is maintained very well up to moderately high ISOs, with barely any visible loss of quality at ISO 1600. Go beyond ISO 3200 and shadow details starts to get crushed and disappear, but even so, I’d be happy shooting at up to ISO 25,600 as a matter of course.

ILCE-1M2 · f/6.3 · 1/640s · 400mm · ISO12800

The extended ISO 51,200 and 102,400 settings aren’t great when examined closely onscreen, but still deliver perfectly recognisable images when needed, especially with AI noise reduction applied in raw processing.

Below are 100% crops at various ISOs from our standard studio, shot in raw and processed using Adobe Camera Raw at default settings. Click on any thumbnail to see the full-size image.

Sony Alpha A1 II: Our Verdict

Let’s get one thing straight. There’s no doubt that the Alpha A1 III is the best camera Sony has ever made. It includes all the best bits of the A9 III but is much more versatile, thanks to its 50MP sensor. While its sibling is highly sports-focused and makes little sense for other purposes, the A1 is capable of handling pretty much anything you might ask of it. Regardless of whether you shoot sports, wildlife, portraits, weddings, landscapes or events, it’s got you covered.

In almost every practical respect, the A1 II is also every bit as good as both the Nikon Z8 and Canon EOS R5 Mark II. Like those two cameras, it offers more capability than most photographers are normally likely to require. No matter what you’re doing, chances are it shoots faster, focuses better, and delivers higher resolution and dynamic range than you need. There’s very little to choose between them, although the Canon arguably does have a killer feature, in the shape of eye control focus – at least for those who can get it to work reliably.

There are, perhaps, a few question marks around detail aspects of the A1 II’s usability. But they’re mostly quite minor, and can generally be overcome if you’re prepared to battle your way through the menus and fine-tune how the camera works. Sony’s new auto subject-recognition option returned more false positives than I expected, but it’s not a massive problem.

ILCE-1M2 · f/11 · 1/50s · 35mm · ISO100

It is, however, impossible to ignore the A1 II’s sky-high price relative to its rivals. It costs almost half as much again as the Canon EOS R5 Mark II, and practically double the Nikon Z8, without really doing anything extra. You could argue that the A1 II should be compared to the Canon EOS R1 and Nikon Z9 instead, but that doesn’t really hold water – the sports-specialist A9 III goes head-to-head with those two models.

Of course, that price has to be weighed up against the cost of changing systems, and most users will likely be too heavily invested in lenses to consider it seriously. And the A1 II really can do pretty much anything – if you don’t get the shot, there’s no blaming the camera. For professional Sony shooters, it’s the obvious choice.

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Sony Alpha A1 II: Full specifications

The post Sony Alpha A1 II review: crazy good, crazy expensive appeared first on Amateur Photographer.

The Canon EOS R5 Mark II is a successor to the four-year-old Canon EOS R5, with a huge array of updates and improvements. Launched alongside the sports-focused Canon EOS R1, it’s designed to be a highly capable professional all-rounder, that can handle almost any task for either photography or video. It sports a 45MP sensor, can shoot at up to 30 frames per second, and record 8K video at 60fps. Without any doubt, this makes it one of Canon’s best mirrorless cameras.

Canon EOS R5 Mark II at a glance:

• $4300 / £4500 body only
• $5400 / £5749 with 24-105mm lens
• 45MP stacked CMOS sensor
• ISO 100-51,200 (standard)
• 30 frames per second shooting
• 8K 60fps internal raw recording
• 5.76m-dot, 0.76x viewfinder
• Eye Control Focus

While the EOS R1 and EOS R5 Mark II have very different headline specs and body designs, and are designed for different kinds of user, both are fully pro-spec models that share a great deal of other technology. Both are based around a concept that Canon calls ‘Accelerated Capture’. This means that they combine a stacked, backside-illuminated sensor with a DIGIC X processor that’s boosted by a new DIGIC Accelerator processor. This enables new autofocus features, faster video shooting, and generally more responsive operation.

Other major updates include Canon’s unique Eye Control Focus technology, as previously seen on the Canon EOS R3, and a built-in heat-dissipation pathway. The latter promises to fix the original EOS R5’s Achilles’ heel of overheating, which limited it to short video recording times at high resolution, and long recovery times before it could go again. In short, the new model promises to fix the main flaws of its predecessor while adding unique technology that its competitors can’t match.

However, the EOS R5 Mark II is up against seriously strong competition from the Nikon Z8 and the Sony Alpha A1 II, which aim to fulfil exactly the same role. Its £4500 body-only launch price is significantly higher than the Z8’s street price at the time of writing (approx $3500 / £3149), but on the other hand, it’s considerably lower than the A1 II ($6500 / £6300). So is the EOS R5 Mark II finally the top-spec mirrorless model that Canon users have been waiting for?     

Features

While the Canon EOS R5 Mark II has the same pixel count as its predecessor, it doesn’t use the same sensor. Instead, it employs a 45MP back-illuminated stacked-CMOS sensor for faster readout when using the electronic shutter. Canon says this reduces rolling shutter by 60% compared to the original EOS R5. In principle, it should also help suppress other artefacts, such as colour banding under artificial lighting.

However, it’s worth noting that 60% isn’t necessarily a huge improvement for a stacked CMOS sensor compared to a conventional design. It’s certainly not as fast as the EOS R1’s sensor, which Canon says is a match for the mechanical shutter on the EOS-1D X Mark III. That’s not to say the stacked sensor isn’t a major advance over the EOS R5, but you may not always be able to rely on it eliminating artefacts entirely.

Shutter speeds as fast as 1/8000sec are available using the mechanical shutter, and 1/32000sec with the electronic shutter. That top 30fps shooting speed also requires using the electronic shutter; but with the mechanical shutter, it still hits a more-than-respectable 12fps. Usefully, you can now set a function button to temporarily switch up your shooting speed to capture the peak of the action, but only when using the electronic shutter.

On a related note, another new feature is pre-burst shooting. Here, the camera continuously buffers half a second’s worth of frames while the shutter is half-pressed, then records them to card when it’s fully pressed. Unlike Canon’s older RAW Burst mode, each image is recorded as a separate file.

You also get some significant new autofocus features. Perhaps most importantly, the camera includes Canon’s unique Eye Control Focus technology, as previously seen on the EOS R3. This detects whereabouts you’re looking in the frame, and then uses this information to identify the subject on which to focus. It arguably works best in combination with AI subject detection as a means of selecting between multiple possible subjects, with the camera capable of recognising people, animals and vehicles.

Canon has also introduced a new ‘Action Priority’ autofocus mode for football, basketball, and volleyball. Using ball tracking and an understanding of each sport’s ‘action poses’, it can work out which player has the ball at any given time, and switch focus to them automatically. It also recognises certain ‘action poses’ to focus on, including such things as ‘save by keeper’ and ‘sliding tackle’.

It’s also possible to register up to ten faces that the camera will prioritise for focusing. This is done simply by taking a single photo of each person, and you can arrange them into an order of priority. Ten does seem like an odd choice of number, though, given that most sports teams have rather more players. But to be fair, it’s first-generation technology.

Canon’s latest in-body image stabilisation system is also onboard, which promises 8.5 stops of shake suppression in the centre of the image and 7.5 stops at the edge. There’s no high-resolution pixel-shift multi-shot mode, but that’s not much of a loss, as they rarely work in a useful way. Instead, images can be upscaled in-camera using a process based on AI deep learning.

Naturally the EOS R5 Mark II hasn’t overlooked video features. Impressively, it’s capable of internal 8K 60fps recording using Canon’s proprietary SRAW format. Switch to a more conventional format and it’ll shoot at 8K at 30fps, 4K at 120fps, or Full HD at 240fps. You’ll need to use a CFexpress card for the highest quality though, rather than SD.

The original EOS R5 was infamously prone to over-heating, but Canon has addressed that with a new heat-dissipating internal structure, including a cooling channel built into the camera body. This alone promises significantly extended recording. But if that’s not enough, there’s also a new cooling fan grip that bolts onto the bottom of the camera and blows air through this channel.

Other video features include proxy recording where a low-resolution file can be simultaneously recorded to the second memory card for easier editing. There’s also a new dual still/video shooting function, in which it’s possible to record Full HD video to one memory card and still images to the other at the same time. The camera supports 4-channel 24-bit audio recording and has a full-size HDMI socket.

Naturally you get Bluetooth and Wi-Fi built-in for smartphone connectivity via Canon’s Camera Connect app. This provides all the expected features, including the ability to use your phone as a simple shutter release via Bluetooth, or comprehensive remote control over Wi-Fi. You can, of course, also copy images from your camera to your phone for sharing.   

Canon EOS R5 Mark II: Key features

While the EOS R5 Mark II closely resembles its predecessor, it boasts an array of major updates.

• Power: The R5 II requires the new LP-E6P battery for maximum performance. It will refuse to work with some third-party LP-E6-type batteries
• Storage: You get dual slots for one UHS-II SD card and one CFexpress Type B card, with the latter required for the highest-quality video and extended burst shooting
• Connectors: On the side you’ll find USB-C, full-size HDMI, PC flash sync, and 3.5mm headphone and microphone ports. An N3-type remote release connector is on the front, too
• Video switch: There’s now a dedicated still/video switch, plus a bright red tally tight on the front to show when the camera is recording
• Vertical grips: The BG-R20 Battery Grip ($349 / £490) has a duplicate set of controls for portrait-format shooting and holds two batteries for extra stamina. A BG-R20EP version ($499 / £680) adds an RJ45 ethernet socket for high-speed wired connectivity.
• Cooling: There’s now an air duct behind the screen for cooling. An optional CF-R20EP Cooling Fan Grip promises extended video recording times for $399 / £549

Build and handling

Despite all the technology updates, one thing Canon hasn’t done is tinker much with the body design. Instead, the Mark II is very similar to the original EOS R5. However, the power switch has moved to the top right, with a dedicated stills/video selector switch now on the top left. This is the same revision as we saw on the EOS R6 Mark II, and it’s a small but welcome improvement that makes the camera quicker to turn on and off.

What this means is that the EOS R5 Mark II works in a very familiar way, in terms of user interface and controls. Operationally it’s near identical to its high-end siblings, namely the EOS R1, R3 and R6 Mark II. So not only should existing Canon users be able to pick it up and use it right away, it’ll fit pretty seamlessly into a multi-model setup.

Indeed, the overall handling experience is one of the EOS R5 Mark II’s biggest strengths. The handgrip is comfortable and secure, and the body feels seriously robust. There’s a vast array of buttons and dials on board, which means that once you’ve got your head around how everything works, pretty much all the key shooting settings can easily be changed with the camera up to your eye.

Like its siblings, the EOS R5 II is based around three electronic control dials for changing exposure settings. In addition to a command dial behind the shutter release and wheel on the back inherited from EOS DSLRs, there’s a third dial on top which directly controls ISO. Uniquely to Canon, this can be used to temporarily shift the ISO setting when using Auto ISO, which I find extremely useful. Pressing the mode button in its centre allows you to change the exposure mode using any of the three dials.

Canon also provides notably quick and direct control over autofocus. The AF-On button falls naturally under your thumb, with the AF-area joystick alongside. A button on the camera’s shoulder allows you to select different AF area sizes, while pressing the button in the centre of the rear dial engages AF tracking. If you ever feel the need to switch subject detection away from Auto, that’s in the Quick Menu, where you can also switch between single-shot and continuous focus. However, Eye Control is buried deep within the menus.

Other functions such as white balance and Picture Styles can be accessed quickly from the M-Fn button and changed using the three dials. That M-Fn button is very conveniently placed beside the shutter release, but it’s still too small. Alternatively, you can press the Q button to bring up the onscreen quick menu, which can be operated by touch.  A top-plate status panel shows your key settings at a glance.

Even when you need to dive into the main menu system, it’s pretty clearly laid out via colour-coded tabs, and can be operated entirely using the touchscreen. Unsurprisingly though, it’s pretty much impossible to find a menu setting when you’re looking for one in a hurry, so it’s worth spending a bit of time configuring the My Menu with any options you think you might need. It’s high time camera makers included searchable menus.

There’s loads of control customisation on offer, with an entire new menu section dedicated to the task. It’s possible to store three custom setups (labeled C1, C2, and C3) for different shooting scenarios. You can tell the camera to update these continually while you’re working, too, so the exposure settings don’t get reset when you turn it off.

Usefully, it’s also possible to have buttons customised differently for each C mode. For example, in my C1 mode for shooting wildlife, I reconfigured the depth-of-field preview button to engage 30fps shooting. You can’t always do this on other brands.  

Handling is a very much an individual preference, and photographers inevitably get familiar with how their favourite brand’s cameras work. But personally, I think the EOS R5 Mark II edges it over both the Nikon Z8 and the Sony Alpha A1 II in terms of  control layout and ease of operation.

Viewfinder and screen

One area where the Canon EOS R5 Mark II brings a slight compromise compared to its competitors is with its viewfinder. At 5.76-million dots and 0.76x magnification, it’s smaller than either the Nikon Z8’s 3.69m-dot, 0.8x unit, or the A1 II’s fabulous 9.44m-dot, 0.9x viewfinder. But it’s very detailed and notably bright, which makes it easy to see even on sunny days.

Canon previews image processing by default, in terms of colour, white balance, and exposure, while depth-of-field preview is available via a large button on the camera’s front. But if you prefer, enabling the ‘OVF sim view assist’ setting provides a neutral view that aims to mimic the optical viewfinder of a DSLR.

A comprehensive range of focusing and exposure aids are available, including gridlines, levels, and an RGB histogram, and you can combine these however you please across three screen layouts. I like to keep one screen clear of distractions and have another one that shows me everything at once. 

Canon has also provided a blackout-free option for use during burst shooting with the electronic shutter, although it has to be enabled via a menu setting. This can give a more fluid experience for following movement, with a flickering outline in the viewfinder providing visual feedback that the camera is shooting.

Below the EVF there’s a fully articulated 3.2in, 2.1m-dot touchscreen, which is much the same as before. Again, it’s nice and detailed and provides an accurate preview of how your shots are going to come out. But it’s not quite as flexible as the Sony A1 II’s 4-axis design, which adds an up-down tilt mechanism. Equally, some photographers will prefer how the Nikon Z8’s 3-way tilting screen always stays behind the camera in line with the lens. Personally, I can live with any of these designs.

Autofocus

Like its rivals, the Canon EOS R5 Mark II’s autofocus system can recognise a wide range of subjects – people, animals, and vehicles – and track them reliably as they move around the screen. In real-world use, it’ll do so with uncanny accuracy, and keep up even during high-speed continuous shooting.

Canon EOS R5m2 · f/2.8 · 1/1000s · 70mm · ISO12800

Click on any sample image to see the full-size version.

I tested the EOS R5 Mark II with a variety of subjects, including dancers, trains, and wildlife, using the Canon RF 70-200mm F2.8L IS USM and Canon RF 100-500mm F4.5-7.1L IS USM zooms. I was extremely impressed by its performance; even shooting small, fast, erratic birds it delivered a high percentage of sharp, in-focus shots.

The thing is, though, that’s become nothing special for this kind of camera. The Nikon Z8 is every bit as good, and I’d expect the Sony A1 II to work just as well, too. So now that these cameras are all so good at subject detection and tracking, the most important differences between them lie with how easy it is to configure the system and get the camera to focus on exactly you want it to, particularly when there are multiple possible subjects in the frame.

Canon EOS R5m2 · f/7.1 · 1/2000s · 500mm · ISO12800

This is where the EOS R5 Mark II’s real superpower lies, in the shape of eye-control focus. Enable this and spend a bit of time calibrating it for different light levels, and the camera can understand exactly where you’re looking in the viewfinder and then focus on that spot.

If you can get eye control to work reliably – and while it works for me, it’s clear that not everybody finds this easy – then focusing on a specific person (or car, or animal, etc) becomes as simple as just looking at them. This is much quicker and more intuitive than using any physical control to select between options, especially in fast-paced situations.

Canon EOS R5m2 · f/6.3 · 1/500s · 451mm · ISO1250

It’s also worth pointing out that Canon has made its subject detection strikingly simple to use. Most of the time, you can just leave it set to Auto, with no need to specify a subject type in advance. Even if you want to narrow things down, you don’t have to navigate through a long list of choices, but just choose between three options (People, Animals and Vehicles) that between them encompass all the same subject types as other brands.

This makes things so much easier, and less prone to error, than (for example) having to select between cars, motorbikes, airplanes and trains, rather than just vehicles.    

Performance

In practical use, the Canon EOS R5 Mark II is a pleasure to work with. It’s extremely slick and polished in operation, with everything working exactly as it should. Both the physical controls and the touchscreen respond instantly to inputs, and overall, the camera just gets out of our way and lets you concentrate on shooting.

Canon EOS R5m2 · f/7.1 · 1/500s · 500mm · ISO1600

The mechanical shutter is beautifully quiet and well-damped, too, so you won’t disturb people nearby while you’re shooting. Switch to the electronic shutter, and it’ll be completely silent. However you’ll still want to watch out for possible banding under some artificial light sources.

I had no complaints over battery life, although it’s worth noting that the super-bright viewfinder comes with a CIPA rating of just 340 shots. You’ll most likely want a spare, and the LP-E6P battery that you need for best performance is very expensive in the UK, at £120 (but only $79 in the US). The camera also completely rejects some third-party LP-E6 batteries, including one I own that works perfectly happily in older EOS models.

Canon EOS R5m2 · f/7.1 · 1/2000s · 500mm · ISO1000

When it comes to continuous shooting, fundamentally the EOS R5 Mark II delivers everything most users are ever likely to need. While you’ll need a CFexpress card for the longest bursts and fastest buffer clearance, I found the camera also performed well with UHS-II SD cards. Shooting raw + JPEG, I got more than 70 frames in a burst at 30fps, with the buffer then taking about 25 seconds to clear completely. Shoot at slower speeds and you can get longer bursts, of course. Only the most specialist sports and wildlife shooters are likely to want more than this.

I’ve found the R5 II’s in-body image stabilisation to be reliably effective. Using the Canon RF 24-105mm F4L IS USM, I got pixel-sharp images fairly regularly at shutter speeds as slow as 0.6 seconds. If you’re prepared to tolerate a little pixel-level blur – and with a 45MP sensor, we’re starting from a position of serious strength – then speeds slower than a second aren’t out of the question.

Canon EOS R5m2 · f/4 · 1/2s · 31mm · ISO800

One point always worth reiterating is that EOS R cameras work seamlessly with EF-mount DSLR lenses, via either Canon’s EF-EOS R mount adapter, or cheaper third-party alternatives. I used the EOS R5 Mark II with my Canon EF 100mm f/2.8 Macro and EF 24-105mm f/4L IS USM lenses on a K&F Concept adapter, and they focused quicker and more accurately than they did on most EOS DSLRs.

This is great news for Canon users who are switching over from DSLR systems and have some nice EF lenses, or even those who want to acquire some specialist optics without having to fork out RF-lens prices. 

Canon EOS R5m2 · f/4 · 1/320s · 100mm · ISO1600

All of Canon’s automated systems work extremely well, with metering and auto white balance practically flawless. Canon’s colour processing is generally very nice, too. If you leave the Picture Style set to its default Auto setting, though, the camera can sometimes randomly switch between styles, for example from Standard to Landscape, giving unexpected frame-to-frame variation. So I’d advise selecting a specific Picture Style instead.

I’m not a huge fan of Canon’s default sharpening either, and prefer using the Fine Detail picture style by default. I also changed some of the other styles’ sharpening parameters to match, including Landscape and Monochrome.

Canon EOS R5m2 · f/11 · 1/100s · 72mm · ISO500

Naturally, to get the best out of your images you’ll want to shoot raw. Here I’ve found the EOS R5 Mark II’s raw files to be excellent. That 45MP sensor is capable of capturing loads of detail, especially at lower ISO settings. There’s plenty of dynamic range too, so you can tone down highlights and pull up extra shadow detail with ease. You can see this in the example below, comparing the same file as-shot and with tonal edits applied.

I found you can expect to get about four stops of shadow detail recovery at ISO 100, but go much further and you’ll encounter blotchy low-frequency colour noise that’s difficult to suppress. This isn’t quite as much dynamic range as you might get from a conventional, non-stacked full-frame sensor, but it’s usually enough in real-world photography. It’s an entirely sensible trade-off for the camera’s speed and autofocus capabilities.

ISO and Noise

Just as we’d expect, Canon’s new 45MP stacked-CMOS sensor is capable of truly excellent image quality. At low ISO settings, we see loads of detail and essentially no visible noise. This quality is maintained well up to ISO 1600, with the finest detail just starting to blur away at ISO 3200. Beyond this, noise has an increasingly destructive impact, with detail degrading and colours getting increasingly broad-brush.

Canon EOS R5m2 · f/11 · 1/160s · 105mm · ISO12800

I was perfectly happy shooting at ISO 12,800 as a matter of course, but would consider ISO 25,600 to be the highest I’d want to use at all regularly. The top standard setting of ISO 51,200 might perhaps be OK with AI noise reduction in post-processing, but the extended ISO 102,400 option looks like a step too far. 

The slideshow below shows 100% crops from our standard test scene, shot in raw and developed using Adobe Camera Raw at default settings. Click on any to see the full-size version.

Canon EOS R5 Mark II: Our Verdict

When we reviewed Canon’s original EOS R5, we declared it to be a superb stills camera that was only let down by its habit of overheating during video recording. With the Mark II, Canon has addressed that flaw and added a whole load of clever high-end features shared with the sports-focused EOS R1. Indeed, don’t be fooled by that ‘5-series’ designation: this is also a fully-fledged professional camera, just with a higher resolution sensor in a smaller body.

With its 30fps shooting at 45MP and internal 8K 60p raw recording, the EOS R5 Mark II boasts a class-leading specification, even in this rarefied sector of high-speed, high-res flagships. What’s more, it handles superbly and is impressively responsive in operation, while delivering consistently excellent images. But the star of the show is its autofocus system, and in particular, the combination of subject detection and eye control focus. This gives a uniquely quick and intuitive way of selecting your desired subject in fast-paced situations.

In fact, this is arguably the real story with the EOS R5 Mark II. Like the Nikon Z8 and Sony A1 II, it can do almost anything that even the most demanding of photographers might conceivably need. But I think Canon has done a particularly good job of making its capabilities accessible in a photographer-friendly way.

Canon EOS R5m2 · f/4 · 1/5s · 24mm · ISO200

For any photographers still using 5D-series DSLRs, the EOS R5 Mark II is a massive step forward. Even for existing EOS R5 users, there’s plenty here to make it worth considering upgrading. It’s very difficult to think of anything that counts as a significant flaw. If you need a top-spec all-rounder than can do everything, it should be right at the top of your wishlist.

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Canon EOS R5 Mark II: Full Specifications

The post Canon EOS R5 Mark II review – top of the class appeared first on Amateur Photographer.

When the OM-System ‘Olympus’ OM-1 first arrived, no one quite knew what to expect. The sale of the Olympus imaging division to OM Digital Solutions in 2021 had left the future of the brand uncertain, and while the new owners had pledged to keep the spirit of Olympus alive, it was yet to be seen. Would this new line be able to match the quality of the best Olympus cameras?

Doubts disappeared when the OM-System ‘Olympus’ OM-1 arrived. Even from the name, it was clear how much respect the makers had for the Olympus legacy. There’s the obvious nod to the legendary Olympus OM-1 film SLR, one of the most popular and important 35mm cameras in history – in a lovely touch, this camera was also released to coincide with the original OM-1’s 50th anniversary.

But the name also calls to mind more recent models like the Olympus OM-D E-M1 III, to which this camera can be seen as a natural successor.

For all this, the OM-System arrived very much with its own identity, sporting a 20MP Stacked BSI Live MOS sensor with a completely new design. The body also got an overhaul, with a refreshed high-resolution OLED EVF and vari-angle touch-screen, and completely reworked menu system.

• See our guide to the best Micro Four Thirds lenses

The updated sensor features a stacked design, and this combined with the new processor enables some truly impressive headline features. The OM-1 can burst shoot at an absolutely blistering 120fps with fixed AF, and manages a still very impressive 50fps with continuous AF.

The new post-Olympus range has continued to expand with the OM-System OM-5, a smaller and cheaper alternative to the OM-1 and successor to the Olympus OM-D E-M5 Mark III. This camera showed that OM-System and the OM-1 weren’t a one-hit wonder; our editor concluded at the end of his OM-System OM-5 field test that it was his perfect travel camera.

You’ll have gathered that we’re pretty impressed with the OM-System; the OM-1 in particular. However, more than a year out from its release, and with its successor the Mark II, does it justify its price tag? Which kinds of shooters is it suited to, and who should look elsewhere? These are the questions we’ll tackle as we get into our full OM-System ‘Olympus’ OM-1 review…

At a glance

• $1,670 / £1,749 body only
• 20MP Four Thirds Stacked BSI Live MOS sensor
• 50fps with C-AF, up to 120fps fixed AF
• ISO80 – ISO102400 (extended)
• 1053-point AI detect Quad Pixel AF
• 5.76m-dot electronic viewfinder, 1.65/0.825x magnification
• 1.62m-dot 3in vari-angle touchscreen
• 5-axis in-body stabilisation (upto 8EV)
• CINE 4K 60fps video recording
• IP53 rating with specific lenses

The OM-1 arrived on the market in February 2022, exhibiting a completely new ‘Quad Pixel AF’ system, with 1053 cross-type AF points covering the entire sensor. This system supports continuous shooting speeds up to 50fps with Continuous AF, when using a compatible Olympus PRO lens. “Quad pixel AF” divides the pixel (photodiode) into 4 subpixels underneath the colour filter, and should not be confused with a Quad Bayer filter – it is NOT a Quad Bayer sensor.

AI detection AF has been improved upon from the Olympus OM-D E-M1X, the company’s previous flagship, and now detects planes, trains, motor vehicles, birds, and animals such as cats and dogs, with both subject and face/eye recognition. This is said to be three times faster than the E-M1X.

Focus is sensitive down to -5.5 EV, and you can choose whether to have a small focus point, all the way up to the full frame, with multiple sizes and areas in-between. The focus area can also be customised, with 4 different custom groups available.

In-body Image Stabilisation (IBIS) has long been a feature of Olympus cameras, and the OM-1 continues the tradition. Using its 5-axis Sync IS with a compatible lens will give up to 8 stops of correction. When using a non-sync lens, you can expect up to 7 stops of IS.

Beyond this, the camera also adds 1 step better rolling compensation, as well as improved panning compensation. There’s a new “Handheld assist” to support handheld long exposure shooting, which also works with Live Composite and Live Bulb.

Computational photography – the camera includes a whole new menu section dedicated to this. This is where you’ll find High-res shot, Live ND, Focus stacking, HDR, multiple exposure, plus Live composite / time / bulb mode options. These last three settings can be quickly accessed using the B setting on the mode dial.

Key points

• New image processor – TruePix X – 3x faster image processor than TruePic VIII / IX, giving 2x faster High-Res and Focus Stacking processing.
• OLED EVF – The camera features a new 5.76m dot EVF with 0.83x magnification, 120fps refresh rate, blackout free shooting, and anti-fogging.
• IP53 rating – The camera body meets the IP53 rating, and is dust and splashproof when used with splashproof PRO lens.
• Power – The new BLX-1 battery gives a 25% increase in performance, for 520 shots per charge, and the camera supports USB-C charging as well as PD support (9V, 3A).

Features

The new high-res OLED EVF, with 5.76m-dots, offers the same resolution as premium models such as the far more expensive Canon EOS R3, and Leica SL2-S, and a higher resolution than the Nikon Z9 (which sits at 3.69m dots). Magnification is 1.65x (0.825x), the same as the E-M1X, or 1.48x (0.74x) selectable, with the same optical quality as the E-M1X, and a 120fps refresh rate. There’s an anti-fogging coating for shooting in wet conditions, and a 0.005 sec display delay.

The High-Res Shot mode gives 80/50MP images, and is easier to access using the movie button in photo mode. OMDS (OM Digital Solutions) evidently wants to make it easier to use this feature without the need for a tripod, with handheld hi-res giving 50MP images. Using the high-res shot mode also gives 2 steps better noise performance due to multiple images being combined, and images are combined automatically in-camera.

Video recording has been improved to include Cine 4K at 60fps from 5K oversampling, with 4:2:2 10bit (H.265 codec) internal recording, and FullHD at up to 240fps (cropped).

For the more advanced filmmaker, there’s also support for C4K, 60p, 4:4:4, 12-bit external recording using Apple ProRes RAW with Atomos Ninja V support. Unlimited video recording is also possible, only limited by battery life.

The camera features a completely redesigned menu system, that is now neatly colour coded, and browsable with the front and rear command wheels, or the 4-way controller. Unfortunately, they are not selectable using the touch-screen. However, the Super Control Panel (SCP) is touch-sensitive for most options.

Greyed out items that are not selectable are explained with a pop-up explaining why, and you can also get information on each option by pressing the Info button. There’s also a MyMenu section so that you can get quick access to your favourites.

It’s also worth noting that the OM-1 is the only camera in the range currently to benefit from these menus. The OM-5, for whatever reason, reverted to the older style of Olympus menus, which take some time to get used to. In terms of simple useability, this makes the OM-1 the best camera across the Olympus/OM-System stable.

High-speed shooting – Continuous shooting buffer size:

• 10fps: 129 shots (raw), 169 shots (JPEG LF)
• 20fps: 108 shots (raw), 116 shots (JPEG LF)
• 120fps: 92 shots (raw or JPEG LF)

Pro Capture lets you capture 70 pre-shot images, double that of the E-M1 III and E-M1X.

Shutter life is rated to 400,000 shots (when using the mechanical shutter), and we expect an unlimited number of shots can be taken when using the electronic shutter.

The IP53 rating is an improvement over the IPX1 rating of the E-M1 III, and the camera is dustproof, splashproof, and freezeproof with a lightweight magnesium alloy body. To benefit from the IP53 rating you need to ensure you use compatible lenses.

It almost goes without saying, that the camera features Wi-Fi, and Bluetooth built-in for remote connections and control with your smartphone or tablet. You can also use the camera as a very high quality webcam if you want, using Olympus’s free webcam software.

Some differences between the OM-1 and the E-M1 III / E-M1X

• Additional 1stop added to Live ND, now upto ND64
• 1053 AF points vs 121 (E-M1 III / E-M1X)
• Up to 8 stops IS (vs 7.5 E-M1 III, sync IS)
• 3-inch touchscreen with 1.62m dots (up from 1.04m)
• 5.76m-dot EVF 0.83x magnification (vs 2.36m-dots, 0.74x on E-M1 III)
• 50fps C-AF, or 25fps C-AF depending on lens, vs 18fps C-AF on E-M1 III
• Improved Pro Capture – now 70 shots before you shoot!
• 2x faster High-Res and Focus Stacking processing
• TruePix X – 3x faster image processor than TruePic VIII / IX

Design and handling

The OM-1 will look familiar to anyone who has used E-M1 cameras, but with a few subtle changes designed to make the camera easier to use: a new AF-ON button on the back of the camera, a smaller function lever (switches between AF and MF), and redesigned command dials at the front and back. The shutter release button is separate to the command wheel, and the hand grip gives an excellent feel, helping the camera feel great in the hand.

The controls are all neatly positioned to make them easy to reach, and you have direct access to the most important settings, with dedicated ISO, Exposure compensation, and AF-ON buttons. There’s a dedicated video record button, and the majority of buttons and controls can be customised to your own personal preferences. The ISO button also doubles as image rating button in playback, so you can quickly give images a star rating out of 5.

The camera body has a solid metal construction, and with multiple seals it has better weather-sealing than other Olympus cameras; being the first to offer an IP53 rating that is both dust and splash-proof when used with specific PRO lenses. The camera is ever so slightly larger than the E-M1 III, at 134.8 x 91.6 x 72.7mm, and weight is slightly increased, at 599g with battery and memory card (excluding eyecup).

The battery compartment is found underneath, and features a metal latch that locks firmly into place. You can see there are good levels of weather sealing, and it’s possible to open the battery compartment even when using a relatively large tripod plate. The new battery, model BLX-1, has a rating of 2280mAh (7.2V), which is an improvement over the 1720mAh (BLH-1) battery used in the E-M1 III. Using the Quick sleep mode is said to double battery life, and the new, optional HLD-10 battery grip can also double battery life.

Viewfinder and Screen

The electronic viewfinder (EVF) looks great, with a high-resolution OLED display at 5.76m-dots. It gives a very clear view, and the optics used are also of high quality, giving a sharp view right into the corners. Icons and text are clearly displayed, and you can access the menus and Super Control Panel if needed to change settings.

You get the choice of 0.83x magnification, filling the frame, or 0.74x if 0.83x is too large. The optics have an anti-fogging coating, to help with visibility when using it in inclement weather, and there’s a 120fps / 0.005s refresh rate.

You’ll also find that you can shoot at 120 or 50fps without blackout, and this really is useful when you want to ensure you’re still capturing the subject, and the AF-tracking is doing its job (at 50fps).

A simulated OVF (optical viewfinder) view is available, or S-OVF, and this is designed to give you a view more similar to using an optical viewfinder. A new “Night Vision” option has been added to support astrophotography, and this is designed to work with the “Starry Sky AF” setting.

There’s a 3inch 1.62m-dot touch-screen, which is fully articulating, and can be tilted out to face forwards, great for selfies, vlogging, and other things. The view is very clear, and colours look great, matching the viewfinder. The screen also has good viewing angles, and it’s also bright enough outdoors, with adjustable brightness levels. The microphone socket can be used without the screen bumping into it, due to a higher position.

Some of the icons appear a little bit small at times on the rear screen, and this would benefit from an update; just making the icons a little bit larger would help. For example, the multi-shot high-res shooting mode is shown with a small icon, as is the AF AI detection mode selected.

Autofocus

With the AF-ON button on the back, the camera can be used in the same way as other cameras with this, and for those that love to use ‘back-button focus’ this will be a real bonus.

You can customise the AF area, and whilst there are numerous areas already setup, you can customise and setup four different, additional focus areas. AF settings can be quickly accessed with one of the many dedicated AF buttons, and pressing the top left AF/metering button gives you access to metering options, as well as AF modes including: S-AF, C-AF, MF, C-AF + Tracking, Preset MF, and Starry Sky AF.

AI subject detection gives you the choice of motorsports (cars, motorcycles), airplanes (including helicopters), trains (of all types), birds, and animals – specifically cats and dogs. When you’re not focusing on these subjects, then the camera will also focus on humans, with face and eye detection AF, which is extremely rapid.

Subject detection requires you to choose the subject before shooting. However, this can be set to a custom function button to make it quicker to switch subjects. Using this you can see the camera quickly track the subject, as well as the main area also highlighted with a smaller box, for example the head/face and eyes of a subject, even when the subject is looking away.

It’s worthwhile customising a button for this, or adding it to the MyMenu section, as it can take a while to find the option otherwise. It doesn’t appear to be accessible on the Super Control Panel (perhaps a firmware update will add this).

More on bird AF performance here: Why the Olympus OM-1 is great for bird photography, with Tesni Ward.

Starry Sky AF – This AF options works well to help you capture photos of stars at night, with the camera focusing correctly on the distant stars.

There’s an option to automatically create time-lapse videos in-camera that you could use in conjunction with this, with a wealth of settings (including 4K, Full HD video output). You also get to set the interval time from 1 second, up to 24hrs, 59m, 59seconds, and can take up to 9999 shots!

Performance

Image quality and detail is excellent, particularly at lower ISO speeds, with a noticeable improvement to be found in the levels of detail visible in images. In fact, depending on your subject, you may want to reduce the sharpness slightly particularly with portraits, depending on the lens you use.

The new OM System M.Zuiko Digital ED 12-40mm F2.8 II PRO lens gives excellent images, with rapid focus and extremely sharp results. It’s been updated to improve image quality and weather-resistance, as well as having a new fluorine coating. The lens performs extremely well, and has an impressively close focus distance.

Colour is, as you would expect with an ‘Olympus’ camera, very pleasing, Olympus cameras have always given great colour reproduction, thanks to an excellent auto white balance system. There are multiple picture modes (or profiles) to choose from, and you can customise the sharpness, contrast, saturation, and gradation of each to your own personal preferences, if needed, and I’m only saying ‘if needed’ as for the most part you won’t need to as the camera gives excellent results straight from the camera.

Image stabilisation performance – The image stabilisation system is excellent, though by default the camera will also tend to raise the ISO and shutter speeds in low light; so if you’re happy to use the IS system more, rather than rely on higher ISO/shutter speeds, then it’s worth adjusting the settings. Then you should be able to get sharp shots at much slower shutter speeds than you would with other camera systems, with the benefit of lower noise (and cleaner detail) in images, assuming you’re not shooting moving subjects.

High-res 50MP/80MP modes – In the normal photo modes, holding the movie record button and turning the rear dial lets you switch on the high-res mode, as well as switch between handheld and tripod modes. The camera combines multiple shots in camera, producing a higher resolution image, with 50MP images possible handheld, and 80MP images when using a tripod. Processing speeds have been improved, taking roughly 5 seconds, meaning you can more quickly move on to your next shot.

The results possible are impressive, with additional detail visible thanks to a higher resolution image. That said, any movement in the scene, such as trees blowing in the wind may degrade the image quality in these areas.

Pro Capture – Shooting at 120fps is all well and good if you like shooting lots of shots and hoping you captured the right thing. However, your reaction times need to be really good to adjust to the unexpected. That’s where Pro Capture comes in, letting you capture up to 70 shots before you fully press the shutter release button. This makes it a really useful feature, as you can be more confident of getting the action, and can often shoot less. With lesser cameras, you have to start shooting and hope the action happens while your camera still has enough buffer to store all the shots without slowing down.

Like the other high-speed shooting options, you can shoot at 120fps (ProCap SH1) with fixed AF/AE, or at up to 50fps (ProCap SH2) with C-AF/AE tracking with the right lens. You’ll need to ensure light levels are good though, as the shutter speed needed for this is 1/640s.

ISO and Noise Performance

The camera has made improvements in noise performance, with both a BSI CMOS sensor (BSI CMOS sensors give improved noise performance compared to CMOS sensors), and the camera also adds a new AI algorithm for noise reduction. These images are crops from JPEGs straight from the camera, and you can click them to view the full-size versions.

OMDS says the standard range of the OM-1 is ISO200 to ISO25600, with ISO80, and ISO100 being extended (low) settings, and above ISO25600 being extended (high) settings, going all the way up to ISO102400. This is a noticeable improvement over the standard range of ISO200 to ISO6400 on the E-M1 III.

While ISO6400 felt like the limit on the E-M1 III, I’d say that using ISO12800 and ISO25600 on the OM-1 produces improved results. Whilst ISO25600 on the Olympus PEN E-P7 showed image quality drop off noticeably, the OM-1 delivers better results, with JPEG images looking good, albeit with an obvious drop in detail as the ISO speed increases.

Whether you’ll want to shoot at these higher ISO speeds will be up to you, and of course, processing the raw files, you can adjust the noise reduction settings to suit.

Images show excellent detail, particularly fine detail at lower ISO speeds, particularly when using a high-quality lens like the 12-40mm f2.8 PRO lens, however, with a base ISO speed of ISO200, the extended speeds of ISO80 and ISO100 do show a reduced dynamic range.

It’s nice to see a Micro Four Thirds camera offering a competitive ISO range, making it more competitive with APS-C cameras.

You can also process raw images in-camera, to adjust the noise reduction options (Off, Low, Standard, High), or use Olympus Workspace, which has been updated to include an AI Noise reduction tool. The raw .ORF files are also supported in the latest version of Adobe Camera Raw.

However, one area where this camera lags behind is in resolution, with a 20MP sensor, it simply doesn’t match other cameras that offer 24/36/42/45/50MP sensors. Yes, you can use the high-res modes for still subjects, but not everyone wants to shoot still subjects. No doubt, if this camera did offer a higher resolution sensor, we’d have a more limited ISO range, and most likely be complaining about noise performance, so ultimately it’s good to see an extended ISO range, even if it does mean we have a 20MP sensor.

It’s interesting that Panasonic has introduced a new 25MP MFT sensor for the Panasonic Lumix GH6. Will this make it across to the OM System range one day? We will have to wait and see.

Video performance

Unlimited 4K 60fps video is available, with options for CINE 4K or UHD, with AF including face/eye detection. High-speed Full HD video can be recorded at speeds up to 240fps (8-bit), or 200fps (10-bit), albeit without sound, and S-AF (pre-record) / MF.

OM-Log400, Flat and HLG video picture mode profiles are included, as well as the same colour profiles as the photo mode, however options are limited depending on H.264/H.265 selection, with photo profile, Flat and OM-Log400 available with H.264 (8-bit), and OM-Log400 and HLG (Hybrid Log Gamma) available with H.265 (10-bit). View Assist is available and displays a standard BT.709 colour gamut onscreen.

Audio is recorded at 16-bit, 48KHz, or 24-bit, 96KHz, with options for wind noise reduction, volume limiter, plus separate levels for internal / external mic, along with settings for plug-in power, and headphone volume settings. H.264 video has a maximum bitrate of 202mbps, and H.265, with more efficient compression has a maximum bitrate of 152mbps.

Detail in video footage is good, and the camera’s IBIS gives impressive stability that can give your video the look a camera mounted on a gimbal.

There are microphone and headphone sockets as you’d expect, as well as PD (Power Delivery) over USB Type-C. However, one thing that will most likely disappoint videographers is the micro HDMI connection, which is not as secure as full size HDMI.

Zebra display with two levels is available, plus a red frame around the screen when recording.

Value for money

Competitors to the OM-1 include the following APS-C and Micro Four Thirds models:

• Fujifilm X-H2S, 26MP, 40fps continuous shooting
• Sony Alpha A6700, 26MP, 11fps continuous shooting
• Panasonic Lumix GH5 II, 20MP, 12fps continuous shooting
• Canon EOS R7, 32MP, 30fps continuous shooting

There’s also the Panasonic Lumix G9, Olympus OM-D E-M1 III, and E-M1X which all offer 60fps continuous shooting.

Full-frame models with a similar price point include:

• Nikon Z6 II, 24MP, 14fps continuous shooting
• Sony Alpha A7 IV, 33MP, 10fps continuous shooting

However, it’s extremely difficult to find other cameras that offer such high-speed continuous shooting as the OM-1, without increasing the price massively, with the closest being the far more expensive Nikon Z9, which offers 120fps continuous shooting at 11MP, or 30fps at 47MP.

OM System OM-1 Verdict

The OM System OM-1 gives Micro Four Thirds users and fans a raft of technological upgrades, making it one of the most sophisticated cameras in the format. The upgrade to a BSI Stacked Live MOS sensor was long wished-for and long overdue; providing a real a step up in image quality and noise performance. Olympus had been lagging behind other manufacturers on this, many of whom had been featuring BSI CMOS sensors in their cameras for several years*.

The re-introduction of the OM-1 name was a perfect choice, a brilliant tribute to the 50th anniversary of the original OM-1. The new name dramatically simplifies the long-winded and often confusing naming system found on previous Olympus cameras. However, this is tinged with a bitter-sweet sorrow, as this is the last camera to bear the Olympus branding, and the official name of the camera is OM System OM-1.

This was borne out with the introduction of the OM-System OM-5, on which the Olympus branding was nowhere to be seen. While that camera provides a compelling alternative to the OM-1, being both cheaper and more portable for travel, it’s clear that the OM-1 is still very much the flagship of the range, and it’s comprehensively more powerful across the board.

If you enjoy shooting with Olympus cameras, then the refinements made with the OM-1, along with the improved image quality, features, and improved video options, makes this camera a real joy to use, with the updated menu systems another welcome change.

Without doubt, the OM System OM-1 is the best Micro Four Thirds camera currently available for stills photography. It goes beyond what you would expect from a camera of its price in terms of subject detection AF, high-speed performance, and the sheer number of useful shooting features available.

The camera also resolves the complaints we made about the E-M1 III, with a new high-resolution viewfinder that looks fantastic, improved screen, improved menus, and the vertical grip now has a joystick. There’s also improved battery life, dramatically improved AF, and a noticeable improvement in image quality.

For fans of smaller mirrorless camera systems, the OM-1 offers a really compelling option, particularly when you factor in the range of compact Micro Four Thirds lenses available for it. There will be those that want a full-frame sensor, but by sticking with Micro Four Thirds, OMDS has been able to create a relatively compact, weather-sealed camera system, with a vast choice of matching size lenses. They’re also able to use this to their advantage, with an ultra-high-speed sensor.

Yes, full-frame mirrorless cameras are also quite compact, but are the lenses? And if you want high-speed, you’re looking at a significantly larger, and more expensive system.

For those that need or want 120fps continuous shooting (at 20MP), or 50fps with continuous-AF, this camera really does offer some unique features, including Pro Capture, particularly if you compare the weight savings and price difference between this and other high-speed cameras, such as the Sony A1, Canon R3, and Nikon Z9. The OM-1 weighs in at around 985g with the 12-40mm F2.8 II lens, and the 40-150mm f2.8 with 1.4x TC weighs 1010g, giving a total weight of under 2Kg.

The improvement in weather-sealing gives this camera real appeal when you want a camera system that can be used in all kinds of weather, rather than being left at home, as long as you pair the camera with the appropriate splash-proof lens.

More on the OM-1: Is the WOW justified? with Andrew Fusek Peters.
Why the Olympus OM-1 is great for bird photography
OM Digital solutions release firmware version 1.1.
Find more great Olympus cameras in our guide to the best Olympus cameras.

*Samsung NX APS-C BSI (2014), Sony RX100 III 1inch BSI (2013), Fujifilm X-T3 APS-C BSI (2018), Sony A7R II FF BSI (2015).

The post OM System Olympus OM-1 review: back to the future in style appeared first on Amateur Photographer.

The Panasonic Lumix GH7 is the latest in the firm’s long-running line of video-centric Micro Four Thirds cameras. Indeed, the original GH1 was the first ever mirrorless model capable of recording video. Now, fifteen years later, the GH7 finally gains the update that users have been requesting for ages – phase detection autofocus. This has had a transformational effect on the firm’s other recent cameras, so its inclusion in the GH7 is genuinely exciting and should make it one of the best Panasonic cameras yet.

Panasonic Lumix GH7 at a glance:

• $2,200 / £2000 body-only
• $2,800 / £2,500 with 12-60mm F2.8-4
• 25.2MP BSI-CMOS Four Thirds-type sensor
• ISO 100-25,600 (standard)
• Up to 75fps shooting
• 3.68m-dot, 0.8x OLED viewfinder
• 3in, 1.84m-dot fully articulated/tilting LCD
• 5.7K 60fps, C4K 120fps, FHD 240fps video
• 5-axis in-body stabilisation, 7.5 stops

That’s not all that’s new, though. While the GH7 uses exactly the same body design as its predecessor, the Lumix GH6, it gains some other significant updates. For example, its subject recognition system gains the ability to recognise trains and planes, bringing it closer into line with other brands. For video there’s now ProRes support, plus enhanced audio recording via the new DMW-XLR2 mic adapter.  

Unsurprisingly, the GH7’s new capabilities come at a price. At £1999 body-only at launch, it costs about half as much again as the GH6’s street price, and significantly more than the Lumix G9II, its more photo-focused sibling. This places it in the same ballpark as its main Micro Four Thirds rival, the OM System OM-1 Mark II, and Fujifilm’s APS-C hybrid, the X-H2S.

However, the GH7 actually costs more than Panasonic’s video-specialist full-frame Lumix S5IIX, which could be problematic given the current obsession with full-frame cameras. But does the GH7’s unique combination of strengths justify its price?

Panasonic Lumix GH7: Features

While the GH line is generally seen as being video specialist, it’s worth remembering that the ‘H’ actually stands for ‘hybrid’. As such, the GH7 is no slouch when it comes to photography, taking onboard all the same features and capabilities as the excellent Lumix G9II. However, it’s built around a new 25.2MP sensor, which now employs a backside-illuminated BSI-CMOS architecture.

Most of the key photographic specs are shared with the GH6 and G9II. At 17.3mm x 13mm, that 25.2MP Four Thirds sensor is about 60% of the area of APS-C, or a quarter of full-frame. It offers a standard sensitivity range of ISO 100-25,600, with extended lower settings down to ISO 50. Shutter speeds cover a range of 60 seconds to 1/8000sec, or as fast as 1/32,000sec using the electronic shutter.

Continuous shooting is particularly impressive, at up to 75fps with focus fixed, and 60 frames per second with continuous autofocus, when using the electronic shutter. Switch to the mechanical shutter and this drops to 14fps in AFS, and 10fps in AFC. The buffer is huge, numbering at least 165 frames regardless of shooting speed. You also get pre-burst shooting for capturing unpredictable action where you normally wouldn’t have time to react.

The sensor includes Panasonic’s Dynamic Range Boost, which employs parallel readouts to deliver a promised dynamic range of 13 stops in both stills and video. This goes some way to alleviating one of the perceived disadvantages of the Micro Four Thirds sensor. However, this feature isn’t active when shooting at 60fps or faster, or at shutter speeds slower than 1/15sec.

Autofocus employs the same phase-hybrid system as used by Panasonic’s other recent cameras. The subject detection can recognise and focus on trains and airplanes, as well as people, animals, cars, motorcycles, and prioritise the most important feature such as the front window of a train. But there’s no automatic subject-selection option, so you have to tell the camera what you’re going to be shooting in advance.

In-body image stabilisation is onboard to reduce image blur when shooting hand-held. This works in concert with the firm’s optically stabilised lenses and is rated for up to 7.5 stops of shake suppression.

Panasonic has also included its high-resolution multi-shot mode, which unlike with most other brands, is actually worth using. Aside from anything else, it’s really easy to access from the drive mode dial. There’s a choice of hand-held super-resolution or tripod-based pixel-shift modes, and a composite raw file is generated directly in the camera, rather than requiring processing by a computer afterwards.

It’s possible to create JPEG files in-camera at either 50MP or 100MP, and there’s an option to suppress ghosting effects with moving subjects. So if you’re concerned 25MP isn’t high enough resolution for you all the time, this could be a useful workaround.  

Panasonic Lumix GH7: Video features

Where the GH7 really stands out, though, lies with its video capabilities. It offers a vast range of options in terms of resolution, framerate, aspect ratio, colour depth, encoding schemes and file formats. You can shoot anything from ‘open gate’ 4:3 aspect ratio 5.8K at 30fps, though 17:9 5.7K at 60fps and C4K at 120fps, to 16:9 Full HD at 240fps. If there’s any option in between you want to use, it’s sure to be available – Panasonic’s spec sheet lists no fewer than 160 possible combinations.

Video can be recorded internally in both ProRes 422 HQ and ProRes RAW formats for later post-procssing, with MP4 and MOV also on offer depending on how you wish to edit and view your recordings. The highest-quality options can only be saved internally to the camera’s CFexpress Type B card slot, and not to SD, but it’s also possible to record directly to an external USB-C SSD. This can be a godsend if you need to pass files to somebody else for editing.

Panasonic has also included its Real-time LUT feature for colour grading. This is works in concert with the Lumix LAB smartphone app, which is specifically designed for downloading LUTs and transferring them to the camera, and outputting finished video. For those who’d prefer a more conventional camera control app, the GH7 also works with Lumix Sync.

Physically, the camera includes a number of video-specific features, too. It has red tally lights on both the front and rear to indicate when it’s live, a built-in fan that promises practically unlimited recording times, and an additional red start/stop button on the front, as well as one on the top. A dedicated button on the top-plate gives quick access to audio settings, too. 

On the subject of audio, uniquely the GH7 can record 4-channel 32-bit float audio, via the optional DMW-XLR2 microphone adapter (£499). This allows it to encode faithfully an extremely wide range of sound levels from whisper-quiet to extremely loud. The practical advantage is that you’re less likely to end up with distorted audio by setting your in-camera gain too high.

A standard 3.5mm stereo audio input is still included, which records conventional 24-bit sound and can operate at either mic or line-level.      

There’s an array of interface options to aid videographers, including the option to work in terms of shutter angle rather than shutter speed. Waveform and Vectorscope displays are both available to help analyse exposure and colour balance. For those who’d like to use anamorphic lenses, a desqueeze display option is on hand to give an undistorted widescreen view.

Useful productivity features include the option to record low-resolution proxy footage for editing, and Camera to Cloud integration via Adobe’s Frame.io. This enables recorded videos to be backed up and shared among a production team. The GH7 also supports both wireless and wired live streaming, with the latter requiring a third-party USB-C ethernet adapter.

Panasonic Lumix GH7: Key features

• Built-in fan: The fan on the back promises unlimited video recording times at ambient temperatures up to 40 °C
• Audio: Using the optional DMW-XLR2 adapter, 4-channel 32-bit float audio recording is available, making it easier to deal with a wide range of sound levels
• Power: The DMW-BLK22 battery is rated for 280-360 shots per charge, or 80-90 minutes of video, depending on the recording media in use
• Media: Along with card slots for CFexpress Type B and UHS-II SD, the GH7 can record directly to a USB-C SSD
• Connectors: The camera is fully equipped with headphone/line, microphone, full-size HDMI, USB-C, and electronic remote release ports
• Micro Four Thirds: A vast range of lenses is available from Panasonic and Olympus/OM System, including premium optics that are smaller and lighter than those for larger sensor systems

Panasonic Lumix GH7: Build and Handling

In terms of design, the Panasonic Lumix GH7 looks exactly like the GH6. This means it’s a fairly large, chunky camera, particularly in terms of front-to-back depth due to the inclusion of a cooling fan behind the sensor. On paper it’s slightly lighter than the GH6, at 805g vs 823g, but that’s not going to make much practical difference. However it’s noticeably larger and heavier than the G9II – see the slideshow below for a side-by-side comparison.

Some might complain that the body is too large for Micro Four Thirds, as if a camera’s dimensions should scale directly with those of its sensor. But I don’t think this makes much sense. A camera needs to be a certain size to handle well and have space for a full set of external controls. You can still save significantly in terms of the weight you carry thanks to the system’s smaller lenses, particularly compared to a full-frame step.

In use, the GH7 feels great in your hand, with a large comfortable hand grip and a well-defined space for your thumb. It has pretty much all the same controls as other high-end Panasonic cameras in essentially the same places, so existing users will have no trouble adapting. Like other Lumix cameras, I found that once I’d got it set up to my liking, it’s a real pleasure to shoot with.

You get no fewer than three electronic dials for changing exposure settings, with a row of three buttons behind the shutter release for setting white balance, ISO and exposure compensation. By default, the front dial and top thumbdial do the same things except in manual exposure mode, where they set the aperture and shutter speed respectively. Meanwhile, the back wheel adjusts the headphone volume.

However, Panasonic has included lots of options for reassigning the dials to suit your needs. Personally, I set exposure compensation onto the thumbdial and ISO onto the back wheel.

A cluster of three control points looks after focusing. There’s a large AF-ON button beneath your right thumb, and a joystick for selecting the focus point below it. Closer to the viewfinder you’ll find a switch for selecting between single-shot AF, continuous AF and manual focus, with a button in its centre for the focus area mode and subject detection settings. It’s all very logical and straightforward to use.

On the top left, there’s a dial for selecting the drive mode. This gives quick access to the self-timer, intervalometer, high-res multi-shot, and continuous shooting, with separate positions for using the mechanical and electronic shutters. In each of these modes, detailed settings can be changed by pressing the Q button. Overall, I have to say that the GH7 has an excellent control setup for photographers.

However, this brings me onto a long-running Panasonic quirk. Unlike most other brands, there’s no switch to select between still and video shooting. Instead, a Creative Video position on the mode dial gives access to all the advanced video settings. As a result, operationally the GH7 feels very much like a stills camera with a movie mode tacked on afterwards, which is strange for such a video-centric model.

Out of the box, all the exposure settings are shared between stills and video, which almost certainly isn’t what you’ll want. Fortunately, there’s a menu setting that allows you to separate then out, although it’s distinctly obscurely named (“CreativeVideo Combined set”).  You can also save your own preferred video setups to any of the four Custom positions on the mode dial for quick recall.

Another apparent oddity is that the red record button on top is horribly positioned for use when you’re holding the camera normally. But it turns out that’s fine, as in the manual video mode, you can use the shutter button instead. That top button is, however, perfectly positioned when you’re holding the camera in your left hand and pointing it back towards you.

Likewise, the front record button is great to have if you’ll frequently be recording yourself with the camera on a tripod. The flipside is that I found myself inadvertently pressing it all the time when holding the camera to change settings or play back images, and repeatedly found myself recording short video clips by accident. Thankfully you can disable it (and the top button) in the stills shooting modes.

I really appreciated having those red tally lights on both the front and back, as they make it immediately obvious when the camera is recording. It’s amazing that more cameras don’t include them. You can turn either of them off if necessary, for example when filming an event.

Panasonic Lumix GH7: Viewfinder and screen

For composing and viewing your images, Panasonic has used a similar setup to the G9II and the S5II twins. So while the electronic viewfinder has the same 3.68m-dot resolution as the GH6, it’s slightly larger, at 0.8x magnification rather than 0.76x. That’s not a huge difference, but it’s welcome, nonetheless.

The viewfinder gives a nice, detailed view, while providing an accurate indication of how your images are going to turn out in terms of colour and exposure. Depth-of-field preview is available via a button on the front, with Panasonic uniquely also providing a shutter speed preview on a second press of the same button. This can be really useful for previewing motion blur when you’re shooting with longer shutter speeds.    

One area where the GH6/GH7 design differs from its Lumix siblings lies with the additional flexibility of the rear LCD screen. This still uses a side-hinged fully articulating design, but it’s mounted on a sturdy tilting mechanism that can be angled upwards by 50°, with another firm click-stop at the 30° mark.

This is particularly helpful for shooting video, as it allows you to look down on the screen free of obstruction by any cables (HDMI, USB-C, microphone or headphones). It’s also great for unobtrusive waist-level photography. However, unlike the similar design on the Sony A7R V, the screen doesn’t tilt downwards for overhead shooting, at least without swinging it out to the side.

Panasonic Lumix GH7: Autofocus

A few years ago, Panasonic cameras had a reputation for sup-par continuous autofocus performance, due to their reliance on Depth-from-Defocus technology. But when the firm adopted phase detection in the S5II at the start of 2023, it rapidly became clear that this was a thing of the past. Now the firm has also brought its subject recognition system broadly into line with its competitors, so on paper, the GH7’s autofocus should be a close match to its peers.

DC-GH7 · f/5.7 · 1/2000s · 300mm · ISO320

Click on any sample image to see the full resolution version

I tested the GH7’s autofocus across a wide variety of subject types and with a range of lenses, including the Panasonic Leica DG 100-400mm F4-6.3 Asph Power OIS and the Olympus M.Zuiko Digital ED 40-150mm F2.8 PRO telephoto zooms. My experience was generally very positive, with the camera recognising subjects quickly and accurately, and tracking them reliably as they move around the frame.

Shooting racing cars, I found GH7 can reliably track a single vehicle within a crowded field, and maintain focus even when they are approaching the camera at high speed. I got an extremely high hit-rate of in-focus shots using the mechanical shutter at 10fps, certainly well over 95%. Occasionally the camera failed to pick up focus for a burst, but not very often.

DC-GH7 · f/4.8 · 1/500s · 173mm · ISO1000

Switch to shooting at 60fps with the electronic shutter, and it can take fractionally longer for the camera to acquire focus. This means you can sometimes get a block of ten or more out-of-focus frames at the start of the burst. But again, once the focus has locked on, it’s impressively ‘sticky’.

I saw much the same story shooting trains, with the camera recognising both modern commuter trains and a vintage steam locomotive equally happily, and tracking focus on them reliably. Likewise it performed well shooting wildlife at a local park.

This also emphasised to me one of the biggest advantages of Micro Four Thirds, with the Leica DG 100-400mm zoom providing 800mm equivalent reach in a lens that’s easy to carry and hand-hold all day, as it weighs less than a kilogram.

DC-GH7 · f/6.3 · 1/400s · 400mm · ISO1000

Crucially, the GH7’s autofocus is also dramatically improved for video recording. Its face and eye detection is reliable, so you can be confident it will keep a presenter in focus. But now there’s none of the distracting DFD background “shimmer” that plagued previous generations. Focus transitions are nice and smooth, too, for instance when holding up a product to the camera.            

I do have a couple of gripes, though. Firstly, when there are multiple possible subjects of the same type in the frame, there’s no easy way to select between them. The lack of an automatic subject-selection mode is also disappointing. To be fair, though, the GH7 is far from the only camera that suffers from these flaws.

Panasonic Lumix GH7: Performance

Like other Panasonic cameras, the GH7 takes a few seconds to start up when you switch it on for the first time each day. But once that’s out of the way, it’ll fire up almost instantly when you flick the power switch. It then just keeps out of your way when you’re shooting, responding quickly and reliably to both the physical controls and the touchscreen.

DC-GH7 · f/5.6 · 1/3s · 13mm · ISO100

While the mechanical shutter isn’t hugely intrusive, it’s noticeably louder than other crop-sensor cameras from Olympus or Fujifilm. Switch to the electronic shutter and turn off the camera’s various audio signals, though, and it can be completely silent. Rolling shutter distortion is impressively low for a camera that uses a conventional, non-stacked sensor. 

Panasonic quotes battery life of 360 shots per charge using an SD card, with this dropping to 330 shots using CFexpress and 280 with an external USB-C SSD. But as always, this only tells part of the story. The CIPA standard test is representative of shooting single frames at a time, and you’ll get vastly more when mainly shooting bursts. I got over 1800 shots from a single charge on one occasion.

DC-GH7 · f/5.7 · 1/2000s · 300mm · ISO800

Speaking of continuous shooting, the GH7 is impressively capable in this respect. It’ll happily rattle off 200-frame bursts at 10fps, or even 14fps with focus fixed. In practical use, I never hit a point where the camera filled its buffer and locked up on me.

As we’ve come to expect from Panasonic, image stabilisation is extremely impressive. Using the Panasonic Leica DG 12-60mm F2.8-4 ASPH OIS, I was able to get sharp images hand-held at shutter speeds as long as 2 seconds. The effectiveness isn’t limited to wide lenses, either; using the 100-400mm zoom at its long end, I got perfectly usable shoots at 1/100sec.  

DC-GH7 · f/6.3 · 1/100s · 400mm · ISO800

Stabilisation is equally effective for video. The IBIS does a great job on its own with normal hand-held shooting, while enabling electronic stabilisation goes further still, and effectively smooths out footage while you’re walking with the camera. Perhaps most impressive of all is the Boost IS, which gives almost tripod-like stability when you want to hold a shot completely still with no camera movements.

Where most brands’ high-resolution multi-shot modes seem to exist mostly for marketing purposes, Panasonic’s are actually worth using. Both the hand-held and tripod modes work consistently well, with the latter delivering slightly higher levels of detail. The motion blur suppression does a good job of detecting regions where there’s movement between frames and rendering them using single-shot data instead.

It’s just a shame that the hand-held and tripod modes share the same position on the mode dial and the same settings – for example, chances are you’ll want to set an exposure delay in tripod mode, to allow everything to settle down, but not when shooting hand-held. 

I found Panasonic’s metering to be generally reliable, with little reason to override the camera’s settings except for creative effect. Auto White Balance can err on the side of over-neutralisation though, so it’s worth keeping an eye out for this and considering using pre-sets instead.

I’m not a huge fan of Panasonic’s default colour processing, with the Standard Photo Style favouring colorimetric accuracy over an attractive interpretation of the scene. Switching across to Vivid gives punchier colour output, if you want it. But I suspect most serious users will shoot still images in raw, and colour-grade their video in post-processing anyway.

DC-GH7 · f/10 · 1/200s · 400mm · ISO100

Ultimately, though, what will make or break the GH7 in the eyes of potential buyers is the image quality provided by the smaller Four Thirds sensor, particularly in terms of high-ISO noise and dynamic range. In this respect, the GH7 brings nothing unexpected compared to its 25MP siblings. I shot side-by-side comparisons with the G9II under controlled lighting, and the two cameras delivered indistinguishable results in terms of both noise and exposure latitude.

What this means is that, compared ISO-for-ISO, the GH7 gives noisier images compared to APS-C or full-frame cameras. There’s also less scope to recover detail from dark areas of the image, particularly in situations where Dynamic Range Boost isn’t active. If you try to pull up shadows by much more than three stops, you’ll find the data simply isn’t there. You’ll probably get a stop more from APS-C cameras, and maybe two stops more from the best 24MP full-frame sensors.     

DC-GH7 · f/5.6 · 1/1s · 31mm · ISO100

However, as I noted when I reviewed the G9II, for a great deal of the time this simply doesn’t matter. In many situations you’d struggle to distinguish stills or videos shot using the GH7 from those taken with the full-frame S5IIX. In good lighting conditions, the 25MP Four Thirds sensor gives extremely good results. It’s only when you push to the extremes of the shooting envelope that you can start to see a difference; for example in very low light, or when trying to control extreme contrast in one shot.

Panasonic Lumix GH7: ISO and Noise

With its 25MP Four Thirds sensor, the GH7 delivers results that are very much in line with the G9II and GH6. At low ISO settings, it can deliver every bit as much detail as APS-C or full-frame cameras with 24MP or 26MP sensors. Files are clean and free of noise; just bear in mind that the extended ISO 50 clips highlights a stop earlier than higher settings.

DC-GH7 · f/2.8 · 1/2000s · 150mm · ISO2000

Noise starts to become obvious at lower ISOs compared to larger formats, though. By ISO 3200, most of the finest detail has been blurred away; however I’d still be quite happy shooting at ISO 6400. Higher ISO settings are very noisy indeed but clean up surprisingly well with AI software such as Adobe Denoise.

Below are 100% crops from our standard test scene, shot in raw and processed using Adobe Camera Raw at default settings. Click though the slideshow to see the various ISOs, and click on any thumbnail to see the full-size image.

Panasonic Lumix GH7: Verdict

After a couple of weeks testing the Panasonic Lumix GH7, I’ve been left in no doubt that it’s a truly superb camera. At almost goes without saying that any GH model will offer state-of-the-art video recording, but it’s equally accomplished at shooting stills, too. It offers all the same capabilities as the excellent G9II, and a little bit more besides.

Compared to the GH6, the addition of phase detection and much-improved subject detection brings a dramatic boost to its capabilities. Continuous autofocus and tracking performance are excellent for both stills and video, and match for many of its peers. Panasonic’s excellent user interface also makes it easier to configure the autofocus compared to some other brands, such as Sony and Fujifilm.

The big question, though, is whether a high-end Micro Four Thirds camera still makes sense in a market that’s become obsessed by full-frame. And it’s true that if you’re after super-shallow depth of field, or shoot a lot in low light, the limitations of the smaller sensor can become apparent. The rest of the time, though, you’ll get equally good results while carrying around smaller and lighter kit.

DC-GH7 · f/2.8 · 1/0s · 12mm · ISO200

Indeed the real advantage of Micro Four Thirds comes with lens selection. There’s a huge range of compact, optically excellent lenses available, including both Panasonic Leica DG optics and the Olympus/OM System PRO range. You can cover huge focal-length ranges, and super-telephoto reach in particular, at reasonably affordable prices and without excessively weighing down your bag. Careful lens selection can also narrow that capability gap with larger formats – for example by using Panasonic’s unique f/1.7 zooms.  

Ultimately, no other camera can quite match the GH7’s combination of advanced video features and system portability. Having said that, photographers who don’t have such specialist video needs will find the G9II offers the same image quality at a lower price. But for those shooting both high-end video and stills, the GH7 is a really compelling proposition.

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Panasonic Lumix GH7: Full Specifications

The post Panasonic Lumix GH7 review: hybrid powerhouse appeared first on Amateur Photographer.

It has been more than five years since Nikon launched its first full-frame mirrorless cameras, the Z6 and Z7. The company was roundly praised for as these new models included many features that its DSLR users have come to expect. They placed Nikon firmly in the full-frame mirrorless battle, which with the introduction of cameras from Canon, Panasonic, Sigma and Leica, meant that Sony no longer had that part of the market all to itself. But does the newer Nikon Z6 II do enough to rank as one of the best Nikon mirrorless cameras?

Well, Nikon seems to have listened to the initial criticism aimed at the first generation cameras, and the fact the original Nikon Z6 and Z7 lacked dual card slots, which for many photographers is a deal breaker if the camera is to be used professionally. The autofocus also lagged a little behind some of its competitors, most notably from Canon and Sony’s equivalent models, but Nikon improved on this front as well.

With the recent announcement of the latest Nikon Z6 III prices of both Nikon Z6 and Z6II are expected to drop, especially in the second hand market. You can pick up a Z6 II used for around £1000 in good condition, which makes it a very affordable choice if you are thinking about upgrading to mirrorless.

Nikon Z6 II at a glance:

• $1,599 / £1,599 (body only) $2,199 / £1,999 (with 24-70mm f/4 lens)
• 24.5MP BSI-CMOS full frame sensor
• ISO 50 – 204, 800 (extended)
• 14fps continuous shooting
• 3.69m-dot EVF, 0.8x magnification
• 3.2in tilting touchscreen
• 5-axis in-body stabilisation
• 4K 60p (via future firmware update)

Firmware updates

The Z6 II launched alongside its 45.7MP Nikon Z7 II counterpart, and Nikon has released a series of firmware updates for the Z6 II. The main tweaks in the most recent update were added support for the iOS edition of NX MobileAir, improvements to focus-ring response when MF is selected. It also fixed an issue which occurred when the camera was powered via USB that resulted in the supply of power ending after 15 hours of continuous use. Head over to the Nikon Download Centre to find firmware updates for all Nikon digital cameras and imaging devices.

Not so long ago Nikon would have named this new camera the Z6s, with it having very incremental new features over its predecessor. But Nikon caught up with the naming convention adopted by most other brands by adding a numerical designation, which should make it a lot easier to work out the generation of the camera (Fujifilm X100 S,T,F,V anyone?).

And, if you’d like to read how the Nikon Z6 II shapes up against its closest competition, or find out about the other best mirrorless cameras for enthusiasts, don’t miss our guide to the best mirrorless cameras you can buy.

Features

With the same 24.5MP full-frame BSI-CMOS sensor, the same 3.2-inch tilting screen and the same 3.690m-dot EVF, most of the new features of the Nikon Z6 II are to be found in the camera’s menu rather than on its body. Indeed the only physical change that is immediately discoverable is the very welcome addition of an SD card slot. This overcomes the ‘only one card slot’ criticism, and also removes another mild annoyance, which was the exclusive use of expensive XQD cards.

With the CFexpress format being physically the same size as XQD, Nikon updated the firmware in the original Z cameras to use both formats, which should future proof the camera for the next few years and provide owners with more options. However, the addition of an SD socket means affordable cards are within reach for everyone.

Double the power

The biggest difference between the Z6 II and its predecessor comes with the addition of a second EXPEED 6 image processor. This may not read like a headline feature, but it is this system that powers everything that the camera has to do. So naturally, doubling the potential processing power has a knock-on effect on the performance of the camera. The effect of the new processing system, and tweaks to the algorithms that make everything work mean that the Nikon Z6 II boasts faster and more accurate AF, a faster shooting rate with improved buffer and better low-light performance compared to its predecessor.

Video features

Those interested in the Z6 II for video will be pleased that it builds on the high specification found in the original Z6. Full HD 1080p video can be captured at up to 120fps, whilst 4K is recorded at 30fps. The 4K footage is downsampled from 6K footage, which should provide a great amount of detail.

The video was improved in February 2021, with a firmware update which added a 4K 60fps mode. However it has a 1.5x crop, meaning you’ll have to use a shorter focal-length lens than you would normally to achieve the same field of view. It can also only be recorded at this frame rate internally.

External recording via HDMI allows for 10-bit footage to be captured, and there is a paid update for the camera which will allow for 12-bit export so that footage can be recorded in ProRes Raw or Blackmagic Raw via an Atomos Ninja V recorder.

Key Features

Build and Handling

With its Z series body design, Nikon has created a mirrorless camera as close to its DSLR line as it possibly could.  Externally, little has changed on the mark II from the original Nikon Z6, and the new camera is just 2mm deeper to accommodate the extra card slot and/or processor (which may need slightly more space for heat dispersal).

All the hallmarks of a Nikon DSLR are present; the power switch located around the shutter button, the angular prism jutting out from the top plate, the mode dial on the top left of the camera and let’s not forget the distinctive red flash around the handgrip. As a result, the Z6 II should feel familiar in-hand to Nikon users, while for those coming from other brands, the button layout is typical of a contemporary camera.

Top-plate LCD display

Without wasting time and words describing the details in minutiae there are a few small features that are worth flagging. Firstly, the top LCD display. In my mind this is such a key feature of an enthusiast and pro DSLR that it’s great that Nikon have carried this over to the Z6 and Z7 range, as it helps distinguish these cameras from the Nikon Z5 and APS-C Nikon Z50, which sit lower down on the Nikon ladder.

However, despite my delight having the option to use this top-plate display, I don’t actually recall a time when I so much as glanced at it, such is the benefit of having all of the information on the rear screen and the viewfinder anyway.

Positioning the AF point

Next up we have both the familiar directional control pad and a small joystick. Both provide quick ways to navigate menus and make it easy to shift the AF point around. However I found the quickest way to shift the AF point is to make use of the touchscreen.

Finally, the grip. As someone who has owned a Nikon F50, F80, D70 and D300 you do become accustomed to type of camera grip and, for me at least, this is something that Nikon always gets right. The Z6 II is no exception with a large, high profile, rubberised grip that any Nikon DSLR user will feel right at home with.

Another welcome carry-over from the firm’s high-end DSLRs are two function buttons on the front of the camera, which can easily be pressed whilst holding the camera up to your eye.

Weather-resistant build quality

All of the sockets on the side of the camera are hidden behind rubberised covers. These aren’t hinged but are self-retaining. It takes a firm push to put the rubber cover snuggly back into position, which offers reassurance as to the weatherproofing of the camera. Combined with the solid magnesium alloy body, this should provide photographers with the trust they need to shoot with the camera regardless of the conditions.

From an operational perspective, there is little to write about. The well-managed menu system is the latest version of that which has been found in Nikon DSLR cameras for years. Everything is logically placed, with clear labels and some attempts at colour coding, which all make it easy to find what you need. Combine this with a customisable My Menu, the top LCD, and a Quick Menu which can be displayed whilst shooting, and you have all the tools you need to make quick changes to settings.

Viewfinder and Screen

I found the large 3.2-in 2.1m-dot tilting touchscreen to be very crisp and clear, with menu and text looking particularly crisp. Some users will certainly be pleased with the lack of full articulation, with ‘we don’t want to take photos or film ourselves’ and ‘having a screen tilting at the side isn’t as natural as having it centrally’ being the two most common refrains.

With the off-centre location they have a point; a centrally located tilting screen, such as that on the Z6 II does make adjusting the composition a more natural experience. Nikon may have missed a trick by not including a fully articulated screen, particularly with the camera having some interesting video capabilities.

The more purist photographers out there will be pleased to hear that the electronic viewfinder has a decent 0.8x magnification and a resolution of 3.69m-dots, which puts it ahead of the Sony A7 III, and on par with the Canon EOS R6. As with the rear screen, I found the EVF to be bright and clear, and I had no problem with any lag or capturing what I wanted. That said, it obviously lagged the finesse of the current top of the range EVF with almost twice the numerical resolution and refresh rates of up to 120Hz.

Autofocus

With two processors comes the increased power to calculate autofocus movements. For me, it is these AF improvements that warrant the most attention when considering the Z6 II, as I think it is where there was the most room for improvement from the original model. Like the Z6, the Z6 II has 273 phase detection AF points that cover around 90% of the frame – basically everything except the very edges. On paper little has changed in terms of specification, so it is with the increased processing power, and presumably the new AF algorithm (which is available as a firmware update for the Z6), where the improvements will come from.

In single AF mode, the Z6 II is as fast and snappy as I would expect it to be. I didn’t find any issues using it and I would happily say that it matches the competition. One situation that is noticeably better is when shooting in low light. The Z6 II can AF at -4.5EV, which is a stop lower than the original Z6. It can also now shoot as low as -6EV in a special Low Light setting. Nikon claims these figures based on single spot AF and using a lens with a maximum aperture of f/2.

Focusing range

Without doing any stringent testing of this, what I did find was when shooting street scenes at night I didn’t experience any hunting that you would except to get whilst occasionally framing the odd image. It is worth noting that the quoted -6EV matches the current ‘low-light King’ the Sony A7S III, which with only a 12.1-million-pixel full frame sensor, has much larger photosites for gathering light. So hats off to Nikon for this feat.

Other improvements come with the Face and Eye Detection modes. More processing power increases the speed of recognition of these, and there is also Animal Eye AF, which came as a later firmware update to the Z6 and Z7. These modes are easily accessible from the ‘I’ quick menu where they can be chosen as companions to the Wide AF mode. This is much better than having them tucked away in the main camera menus or having to dedicate a custom button to switch Eye AF on or off.

Eye autofocus

I found that the Eye AF worked very well. It felt about as quick to detect and lock on to faces and eyes as the competitor cameras, such as the Sony A7 III. Of course, being able to draw a box on screen around an eye is very different from actually being able to focus on it, but again the Nikon Z6 II performed well when faced with the challenge of children running around, defaulting to Face detection where it couldn’t be sure of eye and getting the vast majority of shots perfectly sharp.

So good is the eye detection that it even dealt with the challenge of focusing on the eye of my daughter whilst she was wearing a bright pink superhero mask, although it didn’t work 100% of the time. When the eye wasn’t detected the default face detection placed the focus probably around 1cm in front of the pupil, for a perfectly acceptable image. But to be able to shoot with a 50mm lens at f/1.4 and focus precisely on the eye of a superhero protecting her identity is impressive.

Continuous AF

Shooting in AF-C using subject tracking via the touchscreen worked smoothly. Just touch the screen to place the yellow square over the subject you want to track and away it goes. There were a few times I noticed the back-and-forth wobble where the camera had obviously switched to contrast detection AF, but again for moderately moving subjects I found continuous AF worked well for a camera that Nikon is calling ‘The All-Rounder’.

If you are planning to shoot wildlife or maybe even sports, then it is the obvious choice in the Nikon Z system line-up. However, I still feel like there is more to come from this autofocus system. Nikon made firmware updates to the Z6 and Z7 II and I’m sure that with two processors there will be more to come from this AF system as more feedback is obtained from photographers. I also feel that there is room for a camera higher up in the range, along the lines of the Sony Alpha 9 II. Whilst the autofocus of the Z6 II is about on par with its peers, it still feels like there should be an elite level camera for wildlife and sports comparable to the Nikon D6.

Performance

During my time using the Z6 II, and previously the Z6, I was very much reminded of my beloved Nikon D300. The Z6 II feels very much like the mirrorless successor of the D300, albeit with a full-frame rather than an APS-C size sensor. What I loved 10 years ago about the D300 was its versatility; it didn’t necessarily excel at any one thing, but could easily turn its hand to whatever you could throw at it. Given some tweaking of the exposure settings and some timing of when you pressed the shutter, you could always walk away with great images.

The Z6 II is in a similar place now, with its 24.5MP sensor resolving enough detail for the vast majority of enthusiast photographers. Landscape photographers wanting to make large prints, or wildlife photographers wanting room to crop, may benefit from the higher resolution of the Z7 II with its 45.7MP sensor, but for everyone else the Z6 II will be fine.

Dynamic range

I found the dynamic range to be comfortably enough to shoot landscape images, and on par with its competitors. One thing to note is that I found the evaluative Matrix metering to compensate quite a lot for a bright sky. I ended up dialling-in 0.3EV compensation for some landscape shots, and even then I felt I could have raised it 0.3EV more without damaging all but the brightest specular highlights. This does also come down to personal preference, but is worth noting if you regularly use a priority shooting mode.

At this point I’d like to take some time to praise Nikon to a fantastic feat of engineering with the Z6 II shutter mechanism. To produce a mechanical shutter that can shoot at 14fps, which matches the speed of the significantly larger Nikon D6 professional DSLR, is impressive. The sound produced by the shutter is nice and dampened, and there is an electronic shutter for completely silent shooting. It needs pointing out though that the 14fps continuous shooting rate does have its limitations; you can’t use 14-bit raw, presumably to do with the data throughput required, and you have to be in Single Point AF mode.

Focusing on fast moving subjects

For all the speed of shooting the AF obviously needs to be able to keep up the pace, which is where the dual processors come in. Shooting at the more conservative 12fps Continuous High mode I took a sequence of images of a Black Headed Gull coming in to land on water with mixed results. I’ll add a huge caveat that shooting birds in flight is a great skill, and one that I don’t pretend to be an expert in. Shooting in the Wide Area AF (L), which looks at a wider area than single point, I found that the first 4 images in the sequence tracking the gull in-focus, but then there was a jump to another gull in the frame. The second gull was the only other object in the frame, and the two gulls were separated by water in the image.

A capable focus system

I have no doubt that were I more skilled I would have had better results in a single AF spot mode, but my flaws aren’t the point of this tale. What I was impressed with was the speed at which the AF switched subjects. Within a single frame, the camera had told the 24-200mm f/4-6.3 lens to focus back on the gull in flight. It actually jumped between the two gulls another couple of times, within the sequence. The moral of the tale here isn’t that I still can’t shoot birds in-flight very well, it’s that the Nikon Z6 II does have the AF speed to be able to keep up with a bird in-flight, as well as my erratic handholding. Fine-tune the AF settings, use a better telephoto lens and put the Z6 II into the hands of an expert wildlife photographer, and I have no doubt that the AF will be up to the job. And as I said earlier, I still feel that there is more to be tweaked from this system as Nikon gets more feedback and refines it further.

Buffer performance

With twice the processing power the data produced by the camera can be shifted around more efficiently. This has seen the buffer increase from 35 12-bit raw shots with the Z6 to 124 with the Z6 II. This is of course reliant on being able to write to a fast enough memory card, with Nikon quoting these figures using a CFexpress card. However, given that they equate to holding the shutter button down for around 9 secs at the fastest shooting rate, the buffer should prove to be more than enough for enthusiast shooters using a UHS-II SD card rather than a faster CFexpress card.

ISO and Noise

As you would expect there is no visible luminance or chroma noise at ISO 50 or ISO 100, in fact images look very clean up to ISO 800.  At ISO 1600 that we start to see a hint of luminance noise and its reduction. By ISO 6400 the slight loss of detail caused by luminance noise reduction is visible, and this is the highest setting that I would feel comfortable using regularly. ISO 12,800 is certainly usable, but there is a loss of fine detail and some colour noise creeping in. The maximum native ISO 51,200 has that waxy look with detail lost, and where it is retained, patches of luminance noise are visible. The +1 and +2 extended settings should be avoided, particularly the latter; luminance noise and its reduction has decimated the image, and colour noise is still visible in some places.

Verdict

As mirrorless cameras go Nikon’s Z6 II is a solid all-round performer that still has a great deal to offer enthusiast photographers. From landscapes, portraits, documentary and social photography the Z6 II finds itself right at home. For sports and wildlife the Z6 II will do a competent job with its improved AF. All of the updates from the original Z6 are real and welcome improvements, but you do have to question whether there is enough new on the camera to represent two years’ worth of progress.

Buying into the Nikon Z-series

It could be argued that with its first-generation models, Nikon hit the ground running compared to the standing start that Sony had some years previously. Perhaps with the Z6 being largely praised as a solid start on Nikon’s full-frame mirrorless journey, there was less that needed updating compared to some of the big leaps forward we have seen in the past. However, it’s also worth noting that the original Z6 is now some £400 cheaper than its successor. So there is a question worth asking as to the value of the new features for those thinking of buying into the Z system for the first time, especially given the firmware updates that have improved the Z6 since its launch.

There is no question in my mind that the Nikon Z6 II is a better camera and priced fairly, but I don’t think there is enough improvement to warrant the vast majority of Z6 owners to upgrade. However with the latest Nikon Z6 III having a whopping 20 fps continuous shooting and with its partially stacked sensor focusing is faster and more responsive making it a worthwhile upgrade for Z6 users.

Final thoughts

So what else could have been added? Possibly a higher resolution EVF and a fully articulated LCD screen. But at this price point and target photographer, there aren’t many other places to go within the current limits of technology. In summary, the Z6 II is a great camera if you are a Nikon DSLR user thinking of jumping in on the Z system.  

Nikon Z6 II – Full Specifications

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Fujifilm’s latest entry-level model gains the latest tricks, with a 40MP sensor, in-body stabilisation, and subject detection autofocus. Andy Westlake and Joshua Waller review this new camera to see if it belongs in with the best Fujifilm cameras.

At a glance:

Fujifilm’s double-digit X-T series cameras have long been among our favourites in the highly competitive entry-level class. Ever since the original X-T10 appeared in 2015, they’ve offered a winning blend of compact size, engaging handling and excellent image quality. This year’s Fujifilm X-T50 continues in the same vein.

Following on from the three-year-old X-T30 II – itself a relatively minor iteration to the X-T30 from 2019 – the X-T50 gains essentially the same improvements that we recently saw in the popular X100VI fixed-lens compact.

Major updates include a 40MP sensor, 6K video recording, in-body image stabilisation, and subject detection autofocus. Together, these place it right at the top of its class in terms of core specifications. The X-T50 doesn’t officially replace the X-T30 II in the firm’s line-up, with the older model remaining on sale at a much more affordable price.

Fujifilm X-T50 Features

In essence, the X-T50 takes the same core imaging hardware as the higher-end X-T5 and the X100VI, and places it in a compact body that’s styled like a traditional SLR. So you get Fujifilm’s 40.2MP X-Trans CMOS 5 HR sensor; which not only represents a significant boost over the 26.2MP sensor in the older X-T30 II, but also provides higher resolution than other manufacturers’ APS-C models. In concert with the X-Processor 5, this also enables 6K video recording at 30fps, 4K at up to 60fps, or Full HD at 120fps.

Key photographic specs include a sensitivity range that covers ISO 125-12,800 as standard, expandable to ISO 64-51,200. Timed shutter speeds run from 15min to 1/4000sec, or as fast as 1/180,000sec using the electronic shutter. Continuous shooting is available at up to 8 frames per second with the mechanical shutter, or up to 20fps using the electronic shutter with a 1.29x crop.

Fujifilm X-T50 Highlights

• Film dial – The dial on the top left provides direct access to Fujifilm’s popular Film Simulation colour profiles
• Stabilisation – The in-body image-stabilisation promises up to 7 stops shake reduction while adding little to the body size and weight
• Subject detection – The autofocus system can be set to recognise and track people, animals, and vehicles
• Analogue Controls – Shutter speed and exposure compensation dials are found on top, while most Fujifilm lenses have aperture rings

Thanks to the new processor, the camera gains subject detection for autofocus. As with Fujifilm’s other cameras, this encompasses animals, birds, cars, motorbikes, airplanes and trains. Face and eye detection for people is also included but accessed via a separate setting.

Another significant update is the addition of in-body image stabilisation (IBIS), which appears for the first time in this series. Like the X100VI, Fujifilm has managed to add this while adding minimal extra bulk, with the body gaining only a few millimetres in depth and a little over 50g in weight. Even so, the camera is still attractively compact and lightweight, at approximately 124 x 85 x 49mm and 438g. If anything, it’s more comfortable to hold, thanks to a slightly beefier handgrip.

For power, the camera uses Fujifilm’s familiar NP-W126 battery, which charges in-camera via USB-C and should be good for 390 shots per charge. A single SD card slot occupies the same compartment in the base and supports fast UHS-II type cards for extended burst shooting. There’s a 3.5mm stereo microphone input, which doubles up as a remote release socket, along with USB-C and micro-HDMI connectors. As usual, Wi-Fi and Bluetooth are built in for smartphone connectivity.

Video features

For video, the X-T50 carries across many features of the X-T5. It’s capable of internal 6.2K 30p recording in 4:2:2 10-bit colour, or alternatively can output raw video over HDMI in 4:2:2 12-bit, with a choice of ProRes or Blackmagic formats. The camera is also capable of operating as a plug-and-play webcam at 4K 60p resolution.

The small body size does however restrict recording times before over-heating. At 25°C, it’s rated to 60 minutes in 4K 30p, or 30 minutes when shooting in 4K 60p. Recording times will be reduced further at higher ambient temperatures.

New Film dial

In terms of controls, the X-T50 is a close match to its predecessor, with one major exception. The dial on the top left of the body, which previously controlled the drive mode, now provides direct access to the firm’s popular Film Simulation colour profiles. Thankfully the drive mode is still readily accessible via the Delete button on the top left.

There isn’t space on the film dial for all available options, so only the most popular ones get their own slots (Provia, Velvia, Astia, Classic Chrome, Real Ace, Classic Neg, Nostalgic Neg and Acros). There are also three custom slots (FS1…) where users can place their personal favourites, plus a C position that gives access to the complete set via the Q menu. Users can, if they like, assign one of the colour filter emulations to the Acros slot (yellow, red, or green).

The custom slots (FS1, FS2, and FS3) can be set to one of the Fujifilm Film Simulations, however, these can’t be used to store your own “Film Recipes” setup, which feels like a missed opportunity. For this, you can use the C position, and setup all the film settings however you like.

This dial is sure to polarise opinion among photographers. Film simulations have proven very popular among users who want to share their images directly from the camera, so it makes sense for Fujifilm to make them easier to access. However, those who only shoot in raw, then edit all their shots on a computer afterwards, might be frustrated to have a dial dedicated to a setting they don’t use. This also makes it slightly slower to get to the video mode, as you need to press the Drive mode button, and then go up (or down) through the options – though you could customise a button on the camera to give quicker access.

Build and handling

Elsewhere, the main controls remain the same. You get top-plate dials for shutter speed and exposure compensation, while an electronic dial on the front is used to change ISO. A small joystick on the back is used to position the focus point and navigate settings and menus. Most Fujifilm lenses have dedicated aperture rings, but with the firm’s cheaper XC lenses, the aperture is controlled using the front dial. Clicking it inwards toggles between aperture and ISO setting. Many third-party autofocus lenses from the likes of Tamron and Sigma work in the same way.

For composing and viewing your images, there’s an electronic viewfinder that’s similar in size and resolution to before, at 2.36m-dot and a 0.62x magnification. This is rather small, but that’s just one of the compromises you often have to make with cameras at this level. The viewfinder does look good, and with dioptre adjustment you can adjust it if needed.

Below it, the 3-in, 1.84m-dot screen looks very good. It tilts up and down, but it doesn’t have a third hinge for portrait format shooting. It can’t be set facing forwards for selfies or vlogging, either. This reinforces the X-T cameras’ positioning as being mostly for stills photography, with the X-S10 and X-S20 aimed more at hybrid users.

Compared to the Fujifilm X-T5 and X100VI

Inevitably, when compared to the higher-end Fujifilm X-T5, the X-T50 gives up a fair few features. Most obviously, it lacks a physical ISO dial, has a smaller viewfinder, and its screen only tilts in two directions rather than three. It also makes do with a smaller battery, a single card slot rather than two, and no weather-sealing. The X-T5 can shoot twice as fast at full resolution (15 fps vs 8fps) and supports tethered shooting.

These are all entirely sensible compromises in exchange for the X-T50’s smaller size and lower price. However, there’s still plenty in favour of the X-T5 for more advanced users.

Some photographers might also consider the X-T50 as an interchangeable-lens alternative to the X100VI. While it will never be quite as portable – except perhaps with the ultra-compact XF 27mm F2.8 R WR ‘pancake’ lens – it does have a very similar feature set and will take pictures that are every bit as good. Plus, of course, you get interchangeable lenses, and the kit lenses allow you to zoom. So despite the hype around the X100VI, the X-T50 is likely to be a more practical option for many users.

Autofocus

Subject detection can be set to focus on one of the following: animals, birds, cars, motorbikes, airplanes, or trains, or alternatively you can set it to focus on human eyes and faces.  

In the auto mode (flick the switch on top of the camera) and the camera can automatically detect the subject, and selects the correct focus system depending on the subject. Point the camera at a cat, it’ll switch to animal AF, point it at a human, it’ll switch to face/eye AF detection.  

However, use the camera in any other mode, and you have to manually select the subject before shooting, and this isn’t made easy, as the options for (human) face detection are in a separate menu to the other subjects. You can setup the subject selection option to the Quick menu, which does give quicker access, and you can put it in the ‘MyMenu’ if you find yourself using these settings often.  

X-T50 · f/4 · 1/160s · 16mm · ISO125

There’s no search function on the menus, so it can take a while to get used to the menus and find where everything is kept. Whilst very few, if any, cameras actually have a searchable menu, it’s with long menu systems that the need becomes all the more important.  

Fujifilm X-T50 Performance and Image Quality

I tested the Fujifilm X-T50 using the new XF 16-50mm lens, along with other lenses. The 16-50mm lens offers a compact zoom lens option with a relatively bright F2.8 aperture at the wide-end, and F4.8 at the telephoto end, and gives a 24-76mm equivalent in 35mm format terms. It’s worth making sure you don’t confuse it with the XC 16-50mm F3.5-5.6 OIS II lens; now discontinued.

X-T50 · f/8 · 1/220s · 16mm · ISO250

With weather-resistance you can pair it with weather-sealed cameras (like the X-T5) for added protection. Unfortunately the X-T50 doesn’t feature weather-sealing, but around this price point, weather-sealing is quite rare, with the OM System OM-5 being one camera that does feature this.

X-T50 · f/8 · 1/320s · 50mm · ISO250

I also used the X-T50 with Fujifilm’s 150-600mm lens, and whilst the camera body seemed a little bit small when used with the 150-600mm lens, it still delivered great image quality.

X-T50 · f/6.4 · 1/900s · 305.2mm · ISO1000

Colour reproduction is very pleasing, with the camera delivering the strong punchy colours expected from Fujifilm cameras. This is partly to do with Fujifilm’s white balance performance delivering great results. I used the camera with the auto white balance adjusted for warmth (using the Auto – Ambience Priority setting), and got great results. The camera gives you three different “Auto” white balance options, including Auto – White Priority, standard Auto, and Auto – Ambience priority, with the latter option giving warmer whites.

With the Film Simulation dial you can quickly change to a different colour (or film) mode if needed, and switching to Velvia, for example, will boost the colour saturation further.

X-T50 · f/9 · 1/420s · 50mm · ISO125

Noise levels remain low at the lower ISO speeds. As the ISO speed increases the level of detail captured drops a little bit, particularly in terms of fine detail, but as seen on other Fujifilm cameras, the noise pattern looks relatively pleasant. In low-light conditions, the in-camera image stabilisation system works well, helping keep the ISO speed down.

X-T50 · f/8 · 1/800s · 600mm · ISO3200

Autofocus performance was generally very reliable, with the camera finding the subject quickly. When photographing animals, the animal detection focus was particularly helpful, as this would lock on to the eye(s) of the subject, ensuring the correct focus point. This was also of real benefit when taking photographs of animals in a zoo, meaning that I could shoot through fences without too much worry. The only real downside was having to go into the menus (or Q-menu) to switch between animals and birds, when the subject changed. It would be really nice to see the camera automatically detect the subject.

Fujifilm X-T50 Verdict

The Fujifilm X-T50 is a very attractive camera indeed. It continues with everything we like about the series, yet adds some extremely useful extra features such as subject recognition, in-body image stabilisation (IBIS) and a 40MP sensor. Fujifilm has certainly been on a roll recently, and the X-T50 is another winner. For fans of Fujifilm’s Film Simulation, the new mode dial will be a particularly useful feature, making it easier to change settings.

X-T50 · f/5 · 1/42s · 50mm · ISO100

Looking at Fujifilm’s X-series range of mirrorless cameras, it’s difficult to see any other company offering such a comprehensive and compelling range of cameras. Not only do you get excellent handling, design and controls, but also in-body image stabilisation, and a high resolution 40MP sensor, that no other APS-C camera brand can match.

In fact, the X-T50 offers a higher resolution than a lot of full-frame mirrorless cameras, and is considerably cheaper than the most of them. Combine all this with the wide-range of relatively compact Fujifilm X-mount lenses, and you have a real winner here. The only people who may not be perfectly served by the X-T50, are those interested primarily in video, with the fully-tilting screen found on other models being a better option.

Fujifilm X-T50 Full Specifications

X-T50 · f/10 · 1/480s · 50mm · ISO250

Article: Andy Westlake, Joshua Waller

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The Canon EOS R6 was announced at the same time as the EOS R5; then Canon’s mirrorless flagship. Naturally, the EOS R5 grabbed most of the headlines, with its 45MP sensor, 20fps shooting and 8K video recording. But its premium price tag ($3,899 / £3,899 at time of launch) meant that most full-frame Canon shooters (myself included), plumped for the cheaper 20MP EOS R6 all-rounder, priced body only at $2,499 / £2,599 at launch.

As the market leader in DSLR cameras, it was no surprise that Canon took its time committing to full-frame mirrorless. Once it did, its commitment was total and we haven’t seen a new Canon DSLR since the EOS-1D X was announced in early 2020: we’ve had back to back mirrorless cameras and lenses ever since.

Now officially discontinued new, the EOS R6 remains available at attractive prices second hand.

Canon EOS R6 at a glance

• Used from $1,820 / £1,415 body only
• 20MP full-frame sensor
• ISO 50-102,400 (native), 204,800 (extended)
• 20fps continuous shooting
• 3.69m-dot EVF, 0.76x magnification
• 3in fully articulated touchscreen
• 5-axis in-body image stabilisation
• 4K 60p video

For alternatives, see the best mirrorless cameras.

First impressions

So, how has my time with this camera gone?

I’ve owned countless Canon EOS cameras over the years. The list includes every 5D, both 7Ds, a 6D and many from the XXD line, such as the 40D, 80D and 90D. Whenever I’ve taken on a new body, the change in handling has been seamless, but I have to admit that the R6 took a little re-learning.

The smaller, slimmer body has less space for controls and too few buttons for my liking. Unlike the EOS R and R5, it also lacks a top plate LCD. I didn’t realise how much I used this until I found myself glancing down at the EOS R6, only to be reminded that this feature is absent, sadly.

What’s more, I had to get used to the lighter and more compact body. At 680g the EOS R6 body is over 200g lighter than the 890g EOS 5D Mark IV. It’s smaller in the hands too, with the R6 measuring 138 x 98 x 88mm compared to the larger EOS 5D Mark IV (151 x 116 x 76mm). On the other hand, only two out of the nine lenses I own are RF mount, and the extra weight and length of adding the EF-RF Mount Adapter to accommodate my EF lenses took some getting used to.

To be honest, I find the feel of the camera somewhat underwhelming. The texture and surface of body materials feel less premium than with the Canon EOS 5D Mark IV as I was used to. It feels sub pro-spec and components like the battery compartment flap trouble me.

That said, having used the camera intensely from new, I can verify that the EOS R6 has worked faultlessly despite being exposed to the odd rain shower.

Plenty of deal-makers

The advantages that the mirrorless EOS R6 boasts over Canon’s DSLRs are mainly to do with focusing and speed.

However, the vari-angle LCD is also an absolute game-changer for me; allowing me to compose low viewpoint images in a trice without lying down on the ground to squint through a viewfinder.

The touch-focus function on the sensitive LCD is a dream to use and I found the accuracy of tapping on a subject, with the focus system then picking up exactly what I intended, was seriously reliable.

In fact, the focus system as a whole is a massive leap forward. For sports photography, I leave the Face Detection mode on and my hit rate of sharp shots is ridiculously high. It’s not completely infallible and dark scenes do make things harder, but in all my photography, it delivered a hit rate of more than nine out of ten.

To fine-tune your focusing system further, the R6 offers a number of preset case studies that will change the behaviour of the servo mode; for example, there’s one to track subjects while ignoring possible obstacles, and another that instantly focuses on subjects suddenly entering AF point coverage. It’s worth spending an afternoon trying out each one to see how they work for your style of action photography.

The EOS R6’s AF has improved further with a number of firmware updates; the latest firmware is 1.8.2. In firmware 1.5.0 head detection was improved to support helmets and goggles in winter sports, and Vehicles was added to Subject to detect in the AF tab to support detection of cars and motorcycles in motorsports; spot detection is also available to pick up on the helmet of the rider/driver. Eye detection stability and AF tracking with moving subjects was enhanced further in 1.5.2.

It is, however, the burst speeds available from the R6 that will really push DSLR photographers to make the leap, as the R6 serves up 12fps in burst mode or a rapid 20fps option when the user switches to the silent electronic shutter. The advantages of such a mode to wildlife photographers are obvious, enabling them to capture fast action sequences without distracting or spooking subjects.

Shooting multiple fast burst sequences will be a draw on battery life; the R6 is rated at 510 shots using the LCD, or 380 shots with the viewfinder. But the good news is that while the R6 ships with the newer LP-E6NH, it can also take the older LP-E6N batteries from Canon EOS DSLRs such as the 5D Mark IV and the 90D, so if you’re transitioning across to mirrorless you won’t have to rush out and spend big on extra batteries.

Is the EOS R6 fast and accurate enough to be a genuine alternative to Canon’s pro-spec EOS-1D X cameras? I would say yes and, if the small form factor bothers you, photographers can also consider pairing the camera with the Canon BG-R10 grip, which retails at around $349/£379 and will also extend shooting time thanks to the extra battery.

What’s more, the final deal-maker is the long overdue provision from Canon IBIS (in-body image stabiliser) and I found the five-axis system performed exceptionally well. Pair the EOS R6 with an IS lens and you can get up to eight stops of stabilisation, which is hugely useful when shooting with long focal lengths above 200mm, or in low light. Canon DSLR shooters who have been denied IBIS for so long may need some time to trust the system because you can capture sharp shots that were simply unattainable before.

Impressive image quality

When it comes to sensor resolution, 20.1 million pixels doesn’t sound like a lot, especially when the R5 offers 45MP and its successor, the EOS R6 Mark II, has 24.2MP. But the EOS R6 still delivers a file size of 5472×3648 pixels – easily enough to create A3 prints or for heavy cropping with small in the frame shots. In reality, that should be enough for enthusiasts and professionals alike, and the actual quality of the imagery is clean and impressive with that Canon colour science we’ve always known and loved.

With a native ISO range of 100-102,400, the R6 is well set to record images in low light. While few will consider shooting at the highest end of the range, the sensor handles noise incredibly well, with little sign of degradation even at ISO 40,000. Raw files hold a huge amount of tonal data, enabling shadows to be revealed and highlights recovered.

This again nudges the camera’s performance into the pro-spec arena, surpassing what you’d get from an entry-level full-frame camera. As the icing on the cake, the EOS R6 offers both standard Raw and the smaller C-Raw files, which take up less space on your SD cards or hard drives with no loss in quality.

A true hybrid?

Many of the creatives who handed over the cash for their EOS R6 when it was launched will have been just as interested in the camera’s video specifications as its stills technology. This is a genuine hybrid machine that will fit neatly into a filmmaker’s kit set-up.

Offering 4K video at 60p enables videographers to use this footage at half-speed, opening up the option of ultra-high-quality slow-motion sequences. Of course, you can also take advantage of the Full HD 120p for even slower footage. Make no mistake, the lightweight build makes the R6 an excellent ‘run and gun’ option for filmmakers looking to shoot light.

At launch, the camera shipped with Canon’s C-Log 1 profile, but firmware update v1.4.0 added the Canon C-Log 3 option, enabling more creative options when grading footage. The combination of ports for headphones and external mic, the vari-angle LCD to touch and focus on a subject, and the high-resolution footage combine to make this a fantastic video option. What’s more, the dual SD card slots enable simultaneous recording to both cards.

It’s possible to grab 8.3MP JPEGs from 4K footage if you wish to, but for me the greatest benefit of the R6 comes back to the Dual Pixel AF, which proves insanely accurate and speedy during video capture, even with fast-moving subjects in the frame or when the Face Detection AF is activated by a subject in the scene. The R6 is so good at video, I find I’m using it as much, if not more, than my C70 cinema camera. On a big production, it’s easy to use the two cameras in conjunction, both of which I keep set to the C-Log 1 profile.

Long term verdict

A photographer’s opinion of the EOS R6 will depend on which previous camera they measure it against. Do I prefer it over my old EOS 5D Mark IV? Yes, absolutely. Despite the drop in megapixels, the improvements such as the vari-angle screen, burst speed and video features tick many of the boxes I was looking to fill.

Yet there are still niggles that make me wish Canon had pushed a little harder with the R6. Chiefly amongst my grumbles is the quality of the body materials, but then this is responsible for its light weight. Despite being a full-frame camera, I can even use it on my Ronin SC gimbal to shoot super-steady footage.

The EOS R6 has powerful rivals lined up against it. The Nikon Z6 II and Panasonic Lumix S5 II sell at $1,596 / £1,999 and $1,798 / £1,650 respectively. Both offer more resolution – 24.2MP – and impressive video skills, and that applies especially to the Lumix S5 II.

Among diehard Canon users, many photographers (including professionals) will still be priced out from picking up the EOS R5, which costs $2,899 / £3,649 body only, but the EOS R6 Mark II is a competitive $1,999 / £2,779 body only.

In short, the EOS R6 is a fantastic camera, packed with features that make a tangible difference out in the field. It can cut the mustard for enthusiasts and professionals alike, and for stills as well as video. But if you are a long-term Canon EOS 5D-series DSLR user, it might possibly leave you wanting just a little more.

Read our full Canon EOS R6 review

Find more great cameras in our guide to the best Canon mirrorless cameras, the best full-frame mirrorless cameras. Also, make sure you have a look at the best Canon RF-mount lenses.

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The Panasonic Lumix G100 / G110 (and G100D) now finds itself as the entry-level point into Panasonic’s Micro Four Thirds range. It’s aim is to merge creativity with affordability, with a camera that is designed to appeal to the latest generation of users who are just as at home shooting video as they are taking photographs. For anyone looking for a compact mirrorless camera, the G100/G110 could be seen as one of the best Panasonic cameras.

At a glance

• 20.3MP Four Thirds sensor
• ISO100-ISO25600 available (extended)
• 3inch 1.84M dot vari-angle touchscreen
• 3.68M-dot equiv, 0.73x magnification, electronic viewfinder
• 49 AF points (contrast detection)
• 4K video recording

Panasonic Lumix G100 / G110 Features

It will come as no surprise that the G100 features a 20.3MP Four Thirds sensor similar to that used in the older G90, which is no doubt similar, if not the same, as the sensor found in the top-end GH5 and G9.

With Panasonic actively promoting the G100 as being designed for vloggers, the camera has both Full HD and 4K video capture at up to 30fps, albeit with a slight crop. Stop motion and time-lapse options are also available for those who want to get really creative with their moving footage.

Perhaps the most interesting new feature on the camera is the multiple microphone array, which is powered by Nokia’s OZO audio. Originally designed for Nokia’s now defunct 360° OZO camera, it enables multiple microphones to be used to capture sound in different directions. The idea is to be able to isolate particular sounds, such as person talking to a camera, from any background noise. In the G100 it works in combination with the Face Detection to focus the sound on the subject talking to camera.

Panasonic also offers the DMW-SHGR1 handle (£89), which can be used either as a table top tripod or a grip for vlogging, with buttons to start and stop video capture.

Although the image stabilisation is touted as being 5-axis, this isn’t the entire story. The camera has no mechanical sensor shift mechanism, instead relying on 2-axis optical stabilisation in its lenses. An in-camera gyroscope calculates camera movement, which then guides electronic stabilisation when shooting video. This stabilises the image by cropping in to each frame and adjusting its position to counter movement.

Whilst it is effective, adding a crop to a 4K shooting mode that is already cropped is far from ideal. At it most extreme, the 4K crop with the highest stabilisation setting is around 1.8x, meaning vloggers will need a lenses wider than the 12-32mm kit zoom to get that arms length shooting distance they are used to. You would expect a camera touted as being for vlogging to have slightly better 4K performance, though it isn’t unique at this price point, with the EOS M50 also having a significant crop in 4K.

Interestingly, and no doubt in an attempt to keep size and cost to a minimum, the G100 features a fairly basic shutter mechanism that consists only of a rear curtain. The image capture process is started electronically, with the rear curtain stopping the exposure. This means that flash sync is a rather feeble 1/50th sec, but as this isn’t the sort of camera that’s likely to be used much with flashguns, it shouldn’t be too much of an issue.

Panasonic Lumix G100 vs G100D – What’s the difference?

Panasonic announced the newer G100D in December 2023 (Japan) / January 2024 (worldwide), as a minor update to the G100. The differences between these models is extremely minor, and include the following changes:

And that’s it, there really are no other changes made between the two cameras. So if you don’t mind MicroUSB charging, and can find a good deal on the G100, then go for it. Alternatively if you want USB-C, then the G100D is the one to choose, especially if it’s the one on offer. In terms of performance, the new camera, with the same sensor, resolution, features, etc, remains the same, so read on to continue finding out how this camera performs.

Panasonic Lumix G100 / G110 – Focal Points

• Viewfinder – The 3.68m-dot equivalent EVF is extremely impressive, especially at this price point
• Battery – Powered by the DMW-BLG10E battery, the G100 is rated for 250 shots per change with the EVF. Engaging the Power Save mode can extend this to 900 images.
• USB 2.0 – On the side of the camera there is a Micro USB port that can be used either to charge the camera, or to connect the DMW-SHGR1 grip.
• Flash + Flash Sync – As well the tiny pop-up flash which has a guide number of 5.1 at ISO 100, there is a hot shoe. However flash sync is only 1/50th sec
• SD CARD – Images are recorded to SD cards, which slot into the battery compartment. But there’s no speed advantage to be gained by using UHS-II cards.
• Connections – As well as USB-2.0 there is also a 3.5mm microphone socket for audio capture and a Micro HDMI for video output. Sadly there is no headphone socket.

Panasonic Lumix G100 / G110 Build and Handling

Aimed at photographers who may be moving up from a smartphone, and wanting to compete against the likes of the Sony ZV-1 and Canon PowerShot G7 X Mark III compact cameras, Panasonic has made the G100 as small as possible, whilst maintaining as many of features of its predecessors as possible.

The G100 is one of the smallest mirrorless cameras that retains a centrally placed EVF, pop-up flash and a hotshoe. With the Sony ZV-1 launched around the same time, it’s logical to compare the two; the ZV-1 is smaller, thanks to its 1inch sensor and fixed 24-70mm equivalent zoom lens. However the Lumix G100 has a larger sensor and Micro Four Thirds lens mount. Being able to select from the huge array of MFT lenses is a real selling point, with there being so much room to grow in to the system.

Panasonic is pairing the G100 in a kit with the 12-32mm f/3.5-5.6mm lens for £679. The beauty of this 24-64mm equivalent zoom is that it is collapsible when not in use, making the partnership ideal for travelling.

Despite its size the camera is comfortable to hold with a decent size grip on the front and a thumb rest on the rear. Is also sports a good array of buttons and dials, with a front dial and rear wheel to control exposure settings, as well as direct controls for exposure compensation and white balance. To access other settings there is an onscreen Quick Menu, which can be easily accessed to change settings such as autofocus or picture style. While there may not be all the buttons and dials of a more advanced camera, there is certainly enough to make it comfortable to use, whilst not being intimidating for those starting out.

A total of four buttons can be reassigned to work as function buttons, but two of these are used to change exposure compensation and to access the quick menu. This leaves the viewfinder switch button and image transfer buttons, Fn3 and Fn4, the most likely for reassignment to the user’s preference.

Adding another element to the handling is the articulated rear screen, which is touch sensitive. Its ability to face forwards is great for vlogging and selfies, and in this position, pressing the shutter or record button starts a 3 second countdown timer before shooting, which is extremely useful. For photographers, it also makes shooting at awkward angles easier. As with other touchscreens, it isn’t always the easiest to use to change settings. But it’s incredibly useful for selecting the AF point, particularly when combined with Tracking AF. Simply touch what you want to focus on and let the camera track the subject as it moves around the frame.

Panasonic Lumix G100 / G110 Performance

Let’s get it out the way, the smaller size of the 20MP Four Thirds sensor has a slight disadvantage against its numerous competitors with larger 24MP APS-C sized sensors. Conversely G100 has an advantage over the 20MP 1-inch sensors found in the Sony ZV-1 and Canon G7X III compact cameras.

All of that said, I didn’t really notice much difference in terms of detail from the lower resolution, and with most of our media consumption being on screens rather than print these days, the resolution is perfectly fine. I was also pleasantly surprised with the dynamic range.

When editing raw files I had enough flexibility to pull back all but the brightest highlights in an image, and shadow recovery was also good, although with a little more noise than I would expect to see compared to an APS-C size sensor. However, once again it is all relative to how the images will be viewed, which given the intended audience of the camera will mostly be online.

Noise was handled well in JPEG images, and while shooting on a bright sunny day at ISO 1600 the luminance noise was noticeable, the camera did a good job of maintaining as much detail as it could. Although the camera has sensitivities up to ISO 25,600 I would avoid using this or ISO 12,800, and would only use ISO 6400 if I really had to. Although noise is well controlled, there is a noticeable drop of in detail from the luminance noise reduction.

In terms of autofocus I was pleasantly surprised by the performance of the G100. It uses Panasonic’s Depth From Defocus system, which works with contrast detection AF. I found it to be responsive in single point AF and worked well with the touchscreen. In continuous AF there was a little bit of hunting back and forth when shooting still images, but for moderately moving subjects, like children running around playing, the Tracking AF mode did a good job of keeping up with the subject. It is similar story when shooting video, with the addition of Face and Eye Detection keeping a subject’s face in focus, although with the occasional bit of hunting. Again, for the intended audience and price point it performed acceptably.

Panasonic Lumix G100 / G110 Verdict

The entry-level camera market seems to have been a little stagnant for a while, so it is exciting that we are seeing cameras appear that add new features and break with convention in an attempt to appeal to a younger, social-media savvy market. The Panasonic Lumix G100 comes at a very competitive price, with a set of features that is bound to appeal to those that want the freedom to create moving or still images, using a camera that they can take everywhere.

The image quality for both stills and video is good, without necessarily doing anything revolutionary. The crop when shooting stabilised 4K footage may be deal breaker for some, but overall this is a competent camera that will act as a great entry-point in to the Micro Fours Thirds system.

For stills photographers the camera produces good images from a Four Thirds sensor that we have seen used elsewhere, but it does face some tough competition, for example the Fujifilm X-T200 may be preferable for those who want a larger sensor. Panasonic’s own G90 is also an option with built-in stabilisation and more controls on the camera body, for a bit more, or there’s also the Olympus OM-D E-M10 IV. Overall, the G100 is good for those who shoot both photos and video, but there may be better options for specialists in one discipline over the other.

Panasonic Lumix G100 / G110 Full Specifications

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The Nikon Z5 is Nikon’s cheapest full frame mirrorless camera, designed as an entry-point for those who want to upgrade to the larger sensor size. It looks a lot like its premium cousins in the series, the high-resolution Nikon Z7 II and the all-rounder Z6 II and Z6III. However, it’s somewhat stripped-down compared to those cameras and their predecessors, with a 24.3MP full-frame CMOS sensor that isn’t backside-illuminated. It’s missing a top LCD plate, and a glance at the specs below may give you the feeling that some of them are a little pedestrian. Just 4.5fps burst shooting? A crop on 4K video?

The Nikon Z5 does have a lot of things going for it. The camera is fully weather-sealed and boasts a sophisticated 5-axis in-body image stabilisation system. Its sensor can reach ISO 51,200 natively, and its 3,680k-dot OLED electronic viewfinder (inherited from the original Z6) is a thing of beauty. The price is also affordable for a full frame mirrorless camera, at well below $2,000 / £2,000, even with a decent lens thrown in.

Nikon Z5 at a glance:

• $996 / £1,079 body only ($1,296 / £1,359 with 24-50mm kit lens)
• 24.3MP full-frame CMOS sensor
• EXPEED 6 image processor
• 5-axis in-body image stabilisation (IBIS)
• 0.5in, 3,680k-dot OLED EVF
• 3.2inch tilting touch-screen (1040K)
• 4.5fps burst shooting
• 4K, 30p video recording (cropped)
• Dual SD card slots

Nikon released the Nikon Z5 in 2020 as an entry-level full-framer, contending with the likes of the Canon EOS RP, Sony A7 III and the Panasonic Lumix S5. Since then, though, the EOS RP’s price has dropped thanks to the arrival of the similar Canon EOS R8. Sony took the wraps off its A7 IV, and Panasonic received accolades for the shiny new Lumix S5 II (and Lumix S5 IIX, too). As for the Nikon Z5, a Mark II version remains a rumour. Typical camera timelines suggest that one is due; for now the Z5 soldiers on as it is.

While the Nikon Z5 hasn’t changed in the past three years, the world around it has. In one way, this is to the advantage of prospective Z5 buyers. The range of Nikon Z-Mount lenses has continued to expand. There are useful mid-priced all-rounders like the Z 24-200mm f/4-6.3 VR and spectacular premium primes like the Z 85mm f/1.2 S.

Nikon released the Z5 two years into its mirrorless journey. Five years in, we ask if this entry-level, full-frame, mirrorless model remains worth buying. Our full Nikon Z5 test and review will help readers to weigh up whether to buy one, wait for a sequel, or plump for one of its updated rivals.

Lens features

By 2020, Nikon had developed an extensive range of Nikkor Z lenses in a short space of time. To attract new and budget users to the Z5, the company needed to release it with an affordable kit zoom. The kit lenses on full frame cameras are typically quite large, too, so they may have intended this 2x kit zoom as a compact alternative to typical full frame camera kits.

The Z 24-50mm f/4-6.3 lens, which you can purchase with the Z5 or separately, is no frills with a fairly restrictive focal length; yet is lightweight and has a retractable zoom mechanism to keep it as compact as possible when you have limited space.

Like the Z6 II and Z7 II, the Z5 shares the same large-diameter, short back-focus lens mount that has a flange distance of 16mm from lens to sensor. To keep Nikon DSLR holdouts happy, you can pair and use the Z5 with F mount (FX) lenses via Nikon’s FTZ adapter, and a subsequent firmware update has made the Z5 compatible with Nikon’s newer FTZ II version.

Resolution

Though the pixel count is similar to the Z6 II, the Z5’s sensor is different. The Z5’s 24.3-million-pixel sensor is a standard CMOS chip, whereas the Z6’s has a back-illuminated structure, which should see it deliver a slightly better performance in low light – something I’ll cover in more detail later. The chip features an anti-aliasing filter like the Z6, and shoots across the same native ISO sensitivity range of ISO 100-51,200, however it doesn’t permit shooting as high as ISO 204,800.

Shutter speed

Enter the extended ISO settings and you’ll find it shoots between ISO 50-102,400. Given that it uses the same EXPEED 6 image processor as the original Z6 and handles similar data throughput, you could be mistaken for thinking it rattles out a consecutive burst of shots as quickly; but this isn’t the case. Whereas the Z6 can fire off a burst at a brisk 12fps (14fps for the Z6 II), the Z5 shoots a continuous burst at a rather more pedestrian 4.5fps.

The silent shooting mode is invaluable for inconspicuous shooting, and automatically engages the electronic shutter. Unlike some mirrorless cameras, though, you can’t set the shutter speed beyond its maximum of 1/8000sec.

The Z5’s electronic first-curtain option restricts the highest shutter speed, a peculiarity we also observed on the original Z6 and Z7. While it’s great to have this to eradicate blurring caused by shutter shock, you’d need to disable it in order to shoot faster than 1/2000sec.

Image stabilisation

To counteract shaky handheld movements, the Z5 incorporates the same 5-axis in-body image stabilisation (IBIS) system first seen on the Z6 and Z7. This is great to see on a camera at this level and gives it an advantage over rivals that rely entirely on optical stabilisation built into the lens – Canon’s EOS RP being one such example. The IBIS system lets users shoot sharp shots up to 5 stops slower than would otherwise be possible.

Compared to the usual pitch and yaw correction that’s provided by in-lens optical stabilisation, IBIS additionally corrects for rotation around the lens axis, which helps when shooting hand-held video or attempting shots using slow shutter speeds. In addition, it corrects left-right and up-down movements, which can have a significant impact when shooting subjects and details from close distances.

Nikon have paired an F-mount (FX) lens with built-in vibration reduction (VR) along with Nikon’s FTZ adapter, allowing the in-body and in-lens systems to work together. The lens corrects pitch and yaw, with IBIS compensating for rotation around the lens axis.

Autofocus

The Z5’s hybrid autofocus system is similar to the Z6 II’s. It arranges 273 phase detection AF points across 90% of the frame area, and there is the option to select every other point for faster AF point repositioning across the frame. The detection range isn’t as extensive as the Z6 II’s though. It covers -3EV to 19EV when low-light mode is enabled from the autofocus custom setting menu and -2EV to +19EV when it’s turned off.

Elsewhere, users get a fine selection of AF-area modes, including single-point AF, the choice of two wide-area AF modes (large and small) and an auto AF mode that ties in with face detection and subject tracking.

Recording video

High-resolution video is available in 4K (UHD) resolution at up to 30p. The Z5 does enforce a 1.7x crop, unlike the Z6 II that records 4K (UHD) footage using the full width of the sensor. This means you’re unable to shoot 4K video wider than 41mm using the 24-50mm kit lens. This might not be wide enough for some, and even with a wide-angle lens like the Z 14-30mm f/4 S, the widest you can shoot at is 24mm.

You can switch the resolution to Full HD 1080p to record movies without a crop at frame rates up to 60p, but again, the Z6 II has the advantage as it is better suited to slow motion recording with frame rates up to 120fps. Microphone and headphone sockets are provided one above the other to the side of the HDMI, USB-C and remote ports.

Battery charging

The Z5 accepts Nikon’s latest EN-EL15c rechargeable battery. It is compatible with older EN-EL15 batteries too, but users won’t get the same number of shots per charge (470 using the LCD and 390 shots with the EVF) as they will with the EN-EL15c. USB power delivery is also provided. This gives you a useful way to top up the battery between shooting and power the Z5 whilst you turn it on and operate. Alternatively, you can buy the MB-N10 battery grip, which Nikon originally made for the Z6 but also fits the Z5. It accepts two batteries and increases battery life closer to 1000 shots, which should suffice for an average day’s shooting.

Focal points

Here, we take a quick look at a few of the Z5’s other features we’re yet to touch on.

• My Menu: The My Menu setting gives users the choice of customising their most frequently used menu settings into one area for quick and easy access. Adding and removing items from the My Menu is extremely easy to do – simply tap the Z5’s responsive touchscreen.
• Stills/Video switch: To record video you’re required to flick the stills/video switch that encircles the DISP button at the rear. Only when this has been done will you find that you’re able to start/stop video recording using the movie-record button on the top-plate.
• Image size: Users get the choice of three image sizes when the image area is set to FX. As well as Large (24MP), there are Medium (13.5MP) and Small (6MP) options. Set the image area to DX (applies a 1.5x crop) and you can set the image size between Large (10.3MP), Medium (5.6MP) or Small (2.6MP).

• Function buttons: The two Fn1 and Fn2 buttons around the lens mount are customisable and can be depressed using the middle finger. Set to default, Fn1 adjusts White Balance and Fn2 adjusts focus mode/AF-area mode in combination with using the front and rear command dials.
• Accessory terminal: The accessory terminal at the side allows users to plug in a wired remote shutter release cable such as Nikon’s MC-DC2. Alternatively, users can trigger the shutter wirelessly from a mobile device running Nikon’s SnapBridge app.
• Bluetooth: An always-on Bluetooth LE connection can be set up between the Z5 and your phone, enabling every picture you shoot to be automatically transferred to your phone. Selecting the 2MP mode helps speed up transfer times and saves on valuable storage space.

Build and Handling

So-called ‘entry-level’ cameras are generally perceived as lacking in build quality. By using cheaper materials, manufacturers cut costs in production and offer their cameras for considerably less than top-of-the-line models. The good news is that Nikon hasn’t cut any corners with the Z5. My first impression handling the camera out of the box was that the build quality upholds a similar feel and same level of robustness to the original Z6 and Z7.

Weather proofing

Despite being lower-end in the Z-series, it’s weather-sealed like its peers. This helps to protect dust and moisture penetrating the internals. Anyone who shoots regularly in the portrait orientation or would like to increase shooting stamina will appreciate that the MB-N10 battery grip provides the same level of dust-and drip-resistance as the body.

Aesthetics

It’s hard to spot many differences compared to the Z6 II and Z7 II when you look at the Z5 directly from the front. It has a similar deep rubberised grip, pair of customisable function buttons around the perimeter of its lens mount and flash of red beside the front command dial that’s long been associated with Nikon’s interchangeable lens cameras. The dimensions of the body are virtually identical, with the biggest difference on the top plate being the position of the mode dial, which replaces a top plate display.

Photographers who like glancing down at a top plate display to check settings before they shoot will find themselves referring to the informative information display on the screen instead. You can adjust the screen to display as dark on light or light or dark from the setup menu depending on user preference.

The mode dial doesn’t require you to hold a centre button to rotate it and positively locates at each mode setting. Meanwhile, the positioning of the movie-rec, ISO and exposure compensation buttons are unchanged. They’re conveniently positioned behind the shutter button that’s surrounded by the On/Off switch for intuitive start-up with your index finger.

SD card slots

After the criticisms Nikon received for releasing the Z6 and Z7 with a single XQD card slot, it’s good to see the Z5 equipped with not one, but two SD card slots, both of which support UHS-II memory cards. The role played by slot 2, which is staggered slightly below Slot 1, can be set to overflow, backup or to record JPEGs when raw files are being recorded to Slot 1.

The option to record stills to one card and video to the other is absent, however, it’s good to see Nikon listening to customer feedback and providing an essential backup facility on a camera of the Z5’s entry-level positioning.

Buttons and controls

At the rear, the Z5’s layout of buttons and controls is a carbon copy of the Z6 and Z7. This will be well received by anyone contemplating the Z5 as a backup body and means you can transition between all of Nikon’s full-frame mirrorless models seamlessly. You get all the dedicated buttons you need, including an excellent ‘i’ button that you can customise to pull up your most frequently used settings instantly.

Drive modes are loaded using a dedicated button below the menu button, and you get a joystick that falls naturally under your thumb for shifting the focus point around the frame. Its knurled texture also helps distinguish it from the AF-ON button above when the viewfinder is lifted to your eye.

Just as we found when we reviewed the Z6 and Z7, the Z5 provides a sensational handling experience that makes it comfortable to hold and operate with smaller and larger lenses alike. It’s hard to imagine how Nikon could improve the handling characteristics of this camera.

With its weather sealing, metal chassis and high-quality construction, the Z5 is much more robustly made than its entry-level status implies.

Viewfinder

Another likeness between the Z5 and Nikon’s Z6 and Z7 models is the electronic viewfinder. The Z5’s 0.5in, 3.6-million-dot EVF with 0.8x magnification doesn’t match the resolution offered by some of the 5.76-million-dot electronic viewfinders we’ve recently tested, yet it’s a good example that faithfully displays exposure adjustments, white balance and colour in the preview image.

The Z5 provides an accurate preview of how aperture affects depth of field and a high level of sharpness in both normal viewing and at magnified settings. It’s also ideal for reviewing images when bright sunlight plays havoc with reflections on the rear screen. As with the rear screen, you can manually adjust the brightness and colour balance of the viewfinder from the setup menu. However, I found no reason to deviate from their default settings during my testing.

The EVF has a refresh rate of 60fps and switches between monitor and viewfinder displays quickly when the camera is raised or pulled away from the eye. Users can change the latter from the monitor mode selection button if you’d prefer to only use the EVF or screen rather than let it adjust automatically.

Touch-sensitive screen

Complementing the viewfinder is a 3.2in touch sensitive screen. This can be tilted down by 45° for overhead shots and upwards by 90° to aid with low-level shooting. It does not allow you to pull it out to the side to aid with portrait shooting from awkward angles, however. Rivals such as the Canon EOS RP and Panasonic Lumix S5 have the advantage in this.

The resolution of the screen (1,040k-dot) is lower than the 2.1-million dot resolution you get on the more expensive Nikon Z models, but I only noticed a difference when comparing the Z5’s screen alongside the others at maximum magnification. It displays a clear and detailed preview in Live View, and you can’t fault the playback modes and sensitivity of the touch panel either. You can navigate your way through the main menu precisely with very light taps, and rain droplets on its surface do not affect it.

Autofocus

The Z5’s focus put in an admirable performance in the test. It’s quick to lock on to near and far subjects, with its red AF target turning to green when it achieves correct focus. I did find it was quite easy to lose track of the AF point on the rear screen when you set the AF area mode to pinpoint AF or single-point AF and you’re working in bright conditions outdoors.

I put this down to the boundary lines of the AF target being fairly thin. To reacquaint myself with its position, I found myself nudging the AF point around the frame on a few occasions. The AF target can be shifted diagonally across the frame as well as up/down and left/right. With all the AF points active it takes 2.3secs to shift the AF point from one side of the frame to the other compared to 1.6secs when every other point is selected.

The Nikon Z6 II is the better choice for photographers who regularly shoot high-speed action or sports. The Nikon Z6 II has the ability to shoot 7.5fps faster. Saying that, it’s good to see the Z5’s focusing keeping apace with speedy subjects. Its focus performance is on a par with its high-end Z-series cousins. Face and eye detection is useful when shooting portraits, though this is one of the few things that cannot be added to a function button. The option has to be accessed via the autofocus settings from the custom setting menu.

Users can select which eye they’d like the camera to focus on with a flick of the joystick. The same applies when you set the camera to animal detection. Anyone who enjoys photographing their pet should take advantage of animal detection. When it comes to recording movies, however, Nikon’s eye detection isn’t as advanced as Sony’s. You will notice eye detection is disabled when you enter video mode.

• Interested in close-ups and nature? See our Top Macro Photography Tips

Performance

The Z5 behaves like the Z6 II and Z7 II in that it’s quick to start up, and instantly responds to button presses, dial turns and adjustments made using the touchscreen. There wasn’t any time during use where the camera interrupted my shooting, or prevented me capturing the shots I wanted. Nikon DSLR users tempted by the Z5 as an upgrade will immediately feel at home navigating the menu. It’s easy to relate to, and everything is laid out similarly, from the photo shooting menu through to the setup and retouch menus.

For those not familiar with Nikon, the Z5 isn’t a daunting camera to pick up and use. The Auto mode returns good results in the hands of novices who’d like to simply point and shoot with minimal user input. There is everything you could want at your fingertips to take manual control as your ability and experience grows.

Matrix metering

The Z5’s matrix metering rarely misjudges scenes and exposes well for dim and bright conditions alike. There were only a few cases where I opted to dial down the exposure by -0.7EV to preserve highlight detail. If you find the camera is producing results that are a touch too cool for your liking in bright, sunlight conditions, it’s likely the camera’s white balance is set to the Auto A0 setting.

The Auto A1 and Auto A2 settings are intended to keep the overall atmosphere of the scene and preserve warm lighting colours respectively. If you mainly shoot outdoors, you may prefer to use Natural light auto, which tends to depict colour accurately.

Recording capacity

Loaded with a pair of 64GB SDXC UHS-II memory cards facilitating 280MB/s read and 250MB/s write speeds, the Z5 showed it’s capable of recording just shy of 100 raw files in its continuous high (4.5fps) shooting mode before its buffer needed a breather. If you’d like to shoot at a slower speed, there are several options.

The burst speed can be set to shoot between 1fps and 4fps from the continuous low drive mode. Shooting raw and JPEG (Fine) at 4.5fps saw the Z5 record 99 frames before the limit of its buffer was reached. I expected it to shoot for longer with the image quality set to JPEG (Fine) only. Instead, the buffer had to be given a few seconds to clear after 99 frames before more could be taken.

Bluetooth pairing

Pairing the Nikon Z5 with a mobile device and setting it up to automatically ping images across via Bluetooth is straightforward and reliable. This will be a relief to Nikon users who’ve previously struggled with Nikon’s early SnapBridge efforts. It’ll even continue to send images across one by one after the camera is switched off. It took around 20 seconds between firing the shutter and the image appearing in the app and the camera roll. To select specific images you’d like to download or remotely control the camera directly from the app, you’ll be prompted to enable the camera’s Wi-Fi.

Remote mode

In remote mode, you get a live view display that can be viewed in the portrait or landscape orientation. There are options to adjust exposure variables and move the focus point. The app is fairly basic, and one thing to note is there’s a momentary delay between pressing the shutter button and the picture being taken. As a result, it won’t be ideal for all types of shooting scenarios. To upload images to social media platforms such as Instagram, it’s recommended to select the auto download 2MP option.

IBIS system

Testing the Z5 with a variety of Z-mount lenses, including the Nikkor Z 70-200mm f2.8 VR S, showed that the IBIS system does a commendable job of counteracting shake associated with handheld photography. It plays an important role in ruling out jittery handheld movements when shooting video from stationary positions too. I was impressed by how well it compensated for shake when zooming and panning.

With the Z 70-200mm f2.8 VR S, I managed a high hit rate of sharp handheld shots as slow as 1/10sec at 200mm. With the 24-50mm kit lens, which isn’t stabilised, I was able to shoot sharp shots at the wide end as slow as 1/2sec and 1/5sec at 50mm.

Image mode options

Users get the choice of three image sizes when the Z5’s image area is set to FX. As well as the Large (24.2MP) setting, there are Medium (13.6MP), and Small (6MP) options to choose from. Switching the image area over to DX applies a 1.5x crop of the sensor. You can therefore use DX to get closer to distant subjects, albeit at reduced resolution. This came in handy at a game of cricket, where I used the DX crop mode with the Z 70-200mm f2.8 VR S and captured 10.3MP images at up to 300mm. Medium (5.6MP) and Small (2.6MP) image sizes are also available in DX mode.

Intrigued to find out if there’s any difference between the images the Z5 outputs from its 24.3MP CMOS sensor and those from the Z6’s backside illuminated (BSI) 24.5MP sensor, I conducted several comparison shots using the same lens and settings.

The cameras resolve nigh on identical levels of detail at low sensitivity settings. Despite this, low-light testing between ISO 6400 to ISO 102,400 revealed the back-illuminated structure of the Z6’s sensor exhibits slightly less digital noise in its images at high ISO. It allows more light to be collected at pixel level by shifting metal wiring behind the light-receiving surface. This was most apparent when comparing dark shadowed regions of the same scene at 100% magnification. To be critical, I’d say the Z6’s low-light performance offers a one-stop improvement over the Z5.

In terms of dynamic range, the Z5’s sensor provides respectable leverage at lower sensitivity settings. It lifts dark-shadowed regions or underexposed areas without introducing intolerable levels of noise. While the Z6 does pip the Z5 in terms of its low-light performance, the Z5’s image quality will serve aspiring photographers and those transitioning from APS-C to full-frame very well indeed.

ISO and noise

The results of our diorama taken through the ISO range in a controlled shooting environment tell us that users of the Z5 can expect lovely clean, noise-free images between ISO 100 and ISO 800 when shooting in raw. Push beyond to ISO 1600 and ISO 3200 and you’ll notice noise appears. It can be remedied by applying a small amount of noise reduction during post processing. ISO 6400 and ISO 12,800 are useable, but you’ll notice fine detail starts to be encumbered by increased noise in the latter.

While I’d be prepared to shoot up to ISO 25,600 at a push on the Z6, I’d consider ISO 12,800 the upper limit on the Z5. I’d recommend users avoid ISO 51,200 and ISO 102,400 (Hi1.0) at all costs. These produce a green tinge and a reduction in colour saturation. As for the automated noise reduction the Z5 applies to JPEGs, it’s fairly aggressive and does smooth out fine textures and details beyond ISO 800. With this in mind, it’s preferable to reduce the high ISO noise reduction from normal to low.

Nikon Z5 Verdict

Nikon has become a major player in the full frame mirrorless market since entering it in 2018. The original Z6 and Z7 collected numerous accolades from its critics and have gone down a storm with photographers worldwide, so it’s not surprising to see Nikon taking the ‘if it ain’t broke, don’t fix it’ approach to designing its third Z-series model.

Touted as an entry-level model, the Z5 is much more advanced than this basic classification suggests. It’s comparable to the Z6 and Z6 II in terms of its build quality and handling, but by making a few alternations such as equipping it with a CMOS sensor, removing the top plate display and employing a lower-resolution screen, Nikon has been able to make it cheaper. The fact it accepts a pair of SD cards rather than a single costly XQD card and that it’s available as part of a bundle with a 24-50mm kit lens will appeal to photographers who feel like they’re ready to advance to full-frame.

Price comparison

The bigger point, perhaps, is the price. There’s now a substantial cost difference between the Z5 and the next model up in the range the Z6 II. What’s more, current prices make the Z5 highly competitive against the Canon EOS RP (cheaper, but older and not as good) and the Panasonic Lumix S5 – excellent video capabilities but now succeeded by the Lumix S5 II.

A more contemporary rival is something like the Canon EOS R8. While it’s a bit more expensive, this camera benefits from up-to-date features. It has deep-learning autofocus that can recognise and track subjects using sophisticated AI. It also has a broader ISO range and a more sophisticated video spec. The Z5 does fire back with dual card slots and a much nicer viewfinder. Weighing up the pros and cons of the two makes for a tricky decision. The older camera does better than you might expect.

What about Sony? Well, Sony’s decision to jack up the price of the A7 IV means the Z5’s closer rival is probably still the A7 III. In the UK, the A7 III is similarly priced at £1,499, and more expensive in the US at $1,998. The Z5 has much nicer ergonomics, while the A7 III is far superior when it comes to autofocus, particularly with Sony’s famous Eye AF. Again, a close one to call; with no obvious winner, it’s mostly down to personal preference.

Still, it’s easy to get lost in the weeds of comparing cameras. Taken on its own terms, the Nikon Z5 remains a remarkably capable and reliable full-frame camera. It has a quality feel, a solid set of specifications and a price point that adds further to its appeal, especially to current Nikon owners looking to upgrade. What’s more, it’s an affordable entry point into the Nikon Z ecosystem as a whole, and a steadily expanding range of good lenses. We’re looking forward to seeing what its successor can do. In the meantime, the Nikon Z5 remains an excellent choice of full-frame mirrorless camera.

Find more great full-frame cameras in our guide to the best full-frame mirrorless cameras, or take a look at the best Nikon mirrorless cameras, as well as the best Nikon Z-mount lenses.

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