Well, everyone, we did it – another week is in the books, which means it's time to take a look at the new accessories that came across our radar. We've found some fun ones, including a somewhat unexpected Nikon product and some inexpensive but fun third-party batteries. But first, let's look at what's on sale this week.

The deals keep going The Sony A7R V is currently $400 off.

Usually in this series, we like to point out the best camera deals around. This week, though, Amazon held its Prime Day event, and plenty of our favorite gear went on sale. While that event is technically over, most manufacturers seem to be keeping their gear on sale for the week, rather than limiting the savings to just two days. Since that's the case, I'll refer you to the Prime Day article my colleague Dale put together so you can get your deals fix.

NiSi's joining the magnetic filter game

Filter maker NiSi doesn't want you to spend all your time screwing and unscrewing filters from the front of your lens. The company has introduced its JetMag Pro system, which lets you screw on an adapter ring once, then use a variety of magnetically attaching filters.

The filters have a twist-lock system, which the company says "ensures the filter stays securely in place during use even when stacked with other filters." In its announcement video, the company even shows someone shaking a poor Nikon around while just holding on to the filter – though we wouldn't recommend trying that one at home.

The filters are color-coded, so you can tell at a glance whether you're picking up an ND filter, a UV filter, a mist filter, etc. All the filters are 82mm, but the company is selling magnetic adapter rings, which step down to various filter sizes, as well as different kits with several filters and accessories like magnetic front and back caps and carrying bags.

NiSi is far from the first company to develop a magnetic filter system, but it's always nice to have more options, especially from well-known brands. The magnetic adapter rings cost $20 each, and the filters range between $80 and $120.

Find your next shot Image: Nikon

Nikon is obviously famous for its cameras, but it also invests some of its optical expertise into binoculars. Its latest models, which it announced this week, also feature its optical image stabilization tech, giving you a much clearer view of whatever faraway object you're trying to look at.

If it weren't for the power button, you could almost confuse these for regular binoculars. They're much slimmer and more compact than the StabilEyes models the company sold many years ago, though, in fairness, those models did offer more magnification.

Nikon says you'll get up to 12 hours of runtime out of two AA batteries. You can still keep using the binoculars once the battery runs out, you just won't have the stabilization – though it can be hard to go back once you've experienced seeing the world like Legolas.

The 10x25 zoom model will sell for $640, and the 12x25 zoom model will cost $650. The company says they'll be available in early November.

Nikon Stabilized 10x25 S

$639 at B&H $639 at Nikon

Nikon Stabilized 12x25 S

$649 at B&H $649 at Nikon New camera, new cage Image: Tilta

If you recently purchased a Canon R5 II and want to rig it out for video, you now have another option. Tilta has announced a variety of accessories for the camera, including a half cage, a full cage and a cage kit that includes a handle and cable clamp for locking down any attached HDMI or USB-C cords.

The cages are made of aluminum and are relatively utilitarian-looking. Still, if you just want to add a ton of 1/4" threads on your camera, they'll provide an inexpensive way to add them.

Full Cage

$49 at Tilta

Cage Kit

$76 at Tilta More colorful batteries Image: SmallRig

A while ago, we covered Manfroto's expansion of its third-party battery lineup, which happen to come in a fun red shell. Now, SmallRig is offering something similar; its camera batteries, which can be charged directly via USB-C, are now available in vibrant safety orange.

SmallRig's lineup is extensive. It sells equivalents of the:

• Canon LP-E6NH
• Fujifilm NP-W235
• Nikon EN-EL25
• Nikon EN-EL15C
• Sony NP-FW50
• Sony NP-F970
• NP-F550

It's worth checking compatibility before purchasing; some note that they're not compatible with certain cameras that could physically fit them, such as the EN-EL15C, which doesn't currently work with the Nikon Z6III. Pricing on the models varies, but they're generally a fair bit cheaper than the first-party options.

Image: SmallRig

SmallRig is also now making its VB50 and VB99 mini V-mount batteries available in green and orange, though only in the US. Unlike regular camera batteries, the color will actually work to accessorise your rig, as V-mount batteries are located on the outside of the camera rather than inside. Perhaps that's one of the reasons that the colorful versions of the VB50 and VB99 cost $13-20 more than their black counterparts.

Orange VB99 Green VB99 $169 at Amazon $169 at B&H $169 at Amazon
$169 at B&H Orange VB50 Green VB50 $130 at Amazon $110 at B&H $130 at Amazon $110 at B&H Every video a masterpiece

A month ago, we covered Every Frame a Painting's temporary return to YouTube. This week, the filmmaking essay channel released another video, this time looking at the work of filmmaker Billy Wilder, director of classic films like The Apartment, Some Like It Hot, and Sunset Boulevard. As always, it's a great watch for anyone who's interested in movies and the craft behind them.

Click here to see last week's roundup

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Updated: October 10th, 2024

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

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

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

Best camera around $2,000: Nikon Z6III

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

Photo: Richard Butler

Buy now:

$2496 at Amazon.com$2497 at B&H Photo$2497 at Adorama What we like:

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

What we don't:

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

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

Read our full review of the Nikon Z6III

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

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

Photo: Richard Butler

Buy now:

$1996 at Amazon.com$1997 at B&H Photo$1997 at Adorama What we like:

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

What we don't:

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

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

Read our full review of the Nikon Zf

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

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

Photo: Dale Baskin

Buy now:

$2099 at Amazon.com$2499 at B&H Photo$2499 at Adorama What we like:

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

What we don't:

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

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

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

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

Read our full review of the Canon EOS R6 II

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

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

• No joystick control
• No fully mechanical shutter

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

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

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

Read our full review of the Sony a7C II

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

At this point, the Sony a7 IV is tough to recommend. There are ways it's better than the A7C II, such as its much nicer viewfinder, slightly better ergonomics, and full mechanical shutter, which eliminates the risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If you're sure you don't care about compactness, it might be worth your while to pay a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

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

What about other sensor sizes?

There are a couple of high-end APS-C cameras that fall in the realm of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience, thanks in part to the company's habit of including aperture rings on many of its lenses. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.

Also worth mentioning are the OM System OM-1 II and Panasonic G9II, which were both released 2024, and act as flagships for Micro Four Thirds. That format is smaller still than APS-C, which could be a tough sell given the sensor sizes people usually expect when they're spending this much on a camera – they cost $2,400 and $1,899, respectively. However, they may be worth considering if you're excited by computational photography features like handheld high-resolution mutishot, are looking to get the most reach out of the smallest lenses, or are going on adventures that require the most compact kit available.

Best for vlogging: Sony ZV-E1

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

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

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

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

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

Read our initial review of the Sony ZV-E1

What if I want to shoot videos, not vlogs?

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

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

A fixed-lens option: Fujifilm X100VI

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

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

Photo: Richard Butler

Buy now:

$2399 at Amazon.com$1599 at B&H Photo$1599 at Adorama What we like:

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

What we don't:

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

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

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

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

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

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

Read our Fujifilm X100VI review

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

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

When you use DPReview links to buy products, the site may earn a commission.Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Yesterday, Panasonic fully unveiled the S 18-40mm F4.5-6.3, a compact lens that's the new kit option for the company's creator-focused S9 camera. We were able to put it to the test and shoot a sample gallery with it, which should give anyone considering it a good idea of how it performs.

One note on processing: our standard procedure for lens galleries is to export the JPEGs using Capture One, as it gives us more control over how lens corrections are applied than Adobe Camera Raw. However, we shot this gallery with the Panasonic S9, which currently isn't supported in Capture One, so we reverted to processing these images using ACR. We've worked to use settings similar to our standard C1 recipe while also using the lens' built-in distortion correction profile. No correction for vignetting was applied.

Click here to see the S 18-40mm F4.5-6.3 gallery

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

Buy now:

$499 at Amazon.com$497 at B&H Photo$499 at Adorama

NASA photo / Matthew Dominick

Hurricane Milton is barreling across the Gulf of Mexico toward the west coast of Florida, putting almost 15 million Florida residents under flood watches and prompting the evacuation of millions from the central part of the state.

Earlier today, NASA astronaut and photographer Matthew Dominick shared photos and video of Hurricane Milton through the window of the Crew Dragon Endeavour spacecraft. The spacecraft is currently waiting to undock from the International Space Station to return to Earth.

The National Hurricane Center continued to classify Milton as a Category 5 hurricane, with maximum sustained wind speeds of 265 km/h (165 mph) and warning of "life-threatening inundation from storm surge." However, the view from space belies the terrifying wind and rain on the ground, clearly showing the pinwheel shape of the hurricane with an identifiable eye at its center.

Additionally, Dominick posted a timelapse video from Dragon Endeavour on X, giving a sense of what it's like to pass directly over the hurricane.

Timelapse flying by Hurricane Milton about 2 hours ago.

1/6400 sec exposure, 14mm, ISO 500, 0.5 sec interval, 30fps pic.twitter.com/p5wBlC95mx

— Matthew Dominick (@dominickmatthew) October 8, 2024

In addition to Dominick's posts on X, NASA has shared two videos of the hurricane from the International Space Station that provide different views:

NASA caption: External cameras on the International Space Station captured views of strengthening Hurricane Milton at 10:28 a.m. EDT October 7 as it churned across the Gulf of Mexico. NASA caption: External cameras on the International Space Station captured new views of category 4 Hurricane Milton at 9:37 a.m. EDT October 8.

Although Milton may appear serene from space, and maybe even beautiful, it poses a real risk to life and property down on Earth and will impact millions. If you're anywhere in the path of the hurricane, you can visit the National Weather Service's feed on X, where the agency is posting regular updates and information.

Wildlife Photographer of the Year winners

The Natural History Museum has announced the winners of its prestigious Wildlife Photographer of the Year competition. This year, the museum received a record-breaking 59,228 entries from 117 countries and territories and granted awards to 100 photos. The two Grand Title winners were selected from 18 category winners.

Celebrating its 60th year, Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. You can visit the exhibition in person at the museum beginning Friday, October 11, and on tour around the UK and in Australia, Canada, Denmark, France, Germany, Italy and Switzerland, with more locations to be announced. The exhibition features all 100 winning images, videos showing the impact wildlife photography can have globally, and past Grand Title winners.

Here, we present some of our favorites, including the Grand Title and winners of many award categories.

Wildlife Photographer of the Year: Grand Title

The Swarm of Life by Shane Gross, Canada
Wildlife Photographer of the Year: Grand Title
Winner, Wetlands: The Bigger Picture

Shane Gross looks under the surface layer of lily pads as a mass of western toad tadpoles swim past. Shane snorkeled in the lake for several hours through carpets of lily pads. This prevented any disturbance of the fine layers of silt and algae covering the lake bottom, which would have reduced visibility. Western toad tadpoles swim up from the safer depths of the lake, dodging predators and trying to reach the shallows, where they can feed. The tadpoles start becoming toads between four and 12 weeks after hatching. An estimated 99% will not survive to adulthood.

Location: Cedar Lake, Vancouver Island, British Columbia, Canada

Technical details: Nikon D500 + Tokina fisheye 10–17mm F3.5–4.5 lens at 11mm; 1/200 at F13; ISO 640; 2x Sea & Sea strobes; Aquatica housing

Copyright Shane Gross / Wildlife Photographer of the Year

Young Wildlife Photographer of the Year: Grand Title

Life Under Dead Wood by Alexis Tinker-Tsavalas, Germany
Young Wildlife Photographer of the Year: Grand Title
Winner, 15-17 Years

Alexis Tinker-Tsavalas rolls a log over to see the fruiting bodies of slime mold and a tiny springtail. Alexis worked fast to take this photograph, as springtails can jump many times their body length in a split second. He used a technique called focus stacking, where 36 images, each with a different area in focus, are combined. Springtails are barely two millimeters long (less than a tenth of an inch). They are found alongside slime molds and leaf litter all over the world. They feed on microorganisms such as bacteria and fungi, improving soil by helping organic matter to decompose.

Location: Berlin, Germany

Technical details: Panasonic Lumix G91 + Laowa 25mm F2.8; 2.5–5x ultra macro lens; 1/200 at F4; ISO 200; Nikon SB-900 Speedlight flash; Cygnustech macro diffuser; focus stack of 36 images

Copyright Alexis Tinker-Tsavalas / Wildlife Photographer of the Year

Winner: Urban Wildlife

Tiger in Town by Robin Darius Conz, Germany
Winner, Urban Wildlife

Robin Darius Conz watches a tiger on a hillside against the backdrop of a town where forests once grew. Robin was following this tiger as part of a documentary team filming the wildlife of the Western Ghats. On this day, he used a drone to watch the tiger explore its territory before it settled in this spot. The protected areas in the Western Ghats, where tigers are carefully monitored, are some of the most biodiverse landscapes in India and have a stable population of tigers. Outside these areas, where development has created conflict between humans and wildlife, tiger occupancy has declined.

Location: Nilgiris, Tamil Nadu, India

Technical details: DJI Mavic 3 Pro Cine + 70mm F2.8 lens; 1/15 at F2.8; ISO 400

Copyright Robin Darius Conz / Wildlife Photographer of the Year

Winner, Behavior: Birds

Practice Makes Perfect by Jack Zhi, USA
Winner, Behavior: Birds

Jack Zhi enjoys watching a young falcon practicing its hunting skills on a butterfly above its sea-cliff nest. Jack has been visiting this area for the past eight years, observing the constant presence of one of the birds and photographing the chicks. On this day, it was a challenge to track the action because the birds were so fast. Should this young peregrine falcon make it to adulthood, tests have shown it will be capable of stooping or dropping down on its prey from above at speeds of more than 300 kilometers per hour (186 miles per hour).

Location: Los Angeles, California, USA

Technical details: Sony α9 II + 600mm F4 lens; 1/4000 at F5.6; ISO 640

Copyright Jack Zhi / Wildlife Photographer of the Year

Winner, Oceans: The Bigger Picture

A Diet of Deadly Plastic by Justin Gilligan, Australia
Winner, Oceans: The Bigger Picture

Justin Gilligan (Australia) creates a mosaic from the 403 pieces of plastic found inside the digestive tract of a dead flesh-footed shearwater. Justin has been documenting Adrift Lab’s work for several years, often joining them on beach walks at dawn to collect dead chicks. The team brings together biologists from around the world to study the impact of plastic pollution on marine ecosystems. Studies found that three-quarters of adult flesh-footed shearwaters breeding on Lord Howe Island – and 100% of fledglings – contained plastic. The team, including a Natural History Museum scientist, discovered it causes scarring to the lining of the digestive tract, a condition called plasticosis.

Location: Lord Howe Island, New South Wales, Australia

Technical details: Nikon D850 + 24–70mm F2.8 lens; 1/125 at F11; ISO 400; Profoto B10 + A1 flash

Copyright Justin Gilligan / Wildlife Photographer of the Year

Winner, Behavior: Invertebrates

The Demolition Squad by Ingo Arndt, Germany
Winner, Behavior: Invertebrates

Ingo Arndt documents the efficient dismemberment of a blue ground beetle by red wood ants. ‘Full of ant’ is how Ingo described himself after lying next to the ants’ nest for just a few minutes. Ingo watched as the red wood ants carved an already dead beetle into pieces small enough to fit through the entrance to their nest. Much of the red wood ants’ nourishment comes from honeydew secreted by aphids, but they also need protein. They are capable of killing insects and other invertebrates much larger than themselves through sheer strength in numbers.

Location: Hessen, Germany

Technical details: Canon EOS 5DS R + 100mm F2.8 lens; 1/200 at F8; ISO 400; Canon Macro Twin Lite MT-24EX flash; softboxes

Copyright Ingo Arndt / Wildlife Photographer of the Year

Winner, Photojournalism

Dusting for New Evidence by Britta Jaschinski, Germany/UK
Winner, Photojournalism

Britta Jaschinski looks on as a crime scene investigator from London’s Metropolitan Police dusts for prints on a confiscated tusk. Britta spent time at the CITES Border Force department, where confiscated animal products are tested. Newly developed magnetic powder allows experts to obtain fingerprints from ivory up to 28 days after it was touched, increasing the chances of identifying those involved in its illegal trade. The International Fund for Animal Welfare has distributed more than 200 specially created kits to border forces from 40 countries. They have been instrumental in four cases that resulted in 15 arrests.

Location: Heathrow Airport, London, England, UK

Technical details: Leica SL2 + 24–90mm F2.8–4 lens at 62mm; 1/80 at F3.8; ISO 200

Copyright Britta Jaschinski / Wildlife Photographer of the Year

Winner, 11-14 Years

An Evening Meal by Parham Pourahmad, USA
Winner, 11-14 Years

Parham Pourahmad watches as the last rays of the setting sun illuminate a young Cooper’s hawk eating a squirrel. Over a single summer, Parham visited Ed R Levin County Park most weekends to take photographs. He wanted to showcase the variety of wildlife living within a busy metropolitan city and to illustrate that ‘nature will always be wild and unpredictable’. The Cooper’s hawk is a common species across southern Canada, the USA, and central Mexico, where it inhabits mature and open woodlands. These adaptable birds also live in urban spaces, where there are tall trees to nest in and bird feeders that attract smaller birds, which they can prey on.

Location: Ed R Levin County Park, California, USA

Technical details: Nikon D3500 + Sigma 150–600mm F5-6.3 lens at 210mm; 1/400 at F6.3; ISO 800

Copyright Parham Pourahmad / Wildlife Photographer of the Year

Winner, Animals in their Environment

Frontier of the Lynx by Igor Metelskiy, Russia
Winner, Animals in their Environment

Igor Metelskiy shows a lynx stretching in the early evening sunshine, its body mirroring the undulating wilderness. The remote location and changing weather conditions made access to this spot – and transporting equipment there – a challenge. Igor positioned his camera trap near the footprints of potential prey. It took more than six months of waiting to achieve this relaxed image of the elusive lynx. A survey carried out in 2013 estimated the entire Russian lynx population was around 22,500 individuals, with numbers for the Russian Far East, including those in Primorsky Krai, at 5,890.

Location: Lazovsky District, Primorsky Krai, Russia

Technical details: Sony α7 IV + 24–70mm F2.8 lens; 1/500 at F5.6; ISO 100; Scout camera controller + PIR motion sensor

Copyright Igor Metelskiy / Wildlife Photographer of the Year

Winner, Impact Award

Recording by Hand by Liwia Pawłowska, Poland
Winner, Impact Award

Liwia Pawłowska watches as a relaxed common whitethroat is gently held by a bird ringer. Liwia is fascinated by bird ringing and has been photographing ringing sessions since she was nine. She says that she hopes her photograph ‘helps others to get to know this topic better.’ Volunteers can assist trained staff at bird-ringing sessions, where a bird’s length, sex, condition and age are recorded. Data collected helps scientists to monitor populations and track migratory patterns, aiding conservation efforts.

Location: Rgielsko, Greater Poland Voivodeship, Poland

Technical details: Nikon Coolpix P900; 1/400 at F5; ISO 100

Copyright Liwia Pawlowska / Wildlife Photographer of the Year

Winner, Impact Award

Hope for the Ninu by Jannico Kelk, Australia
Winner, Impact Award

Jannico Kelk illuminates a ninu, with the wire grass and shrubs behind it providing a frame against the darkness. Jannico spent each morning walking the sand dunes of a conservation reserve, searching for footprints that this rabbit-sized marsupial may have left the night before. Finding tracks near a burrow, he set up his camera trap. The greater bilby has many Aboriginal names, including ninu. It was brought to near extinction through predation by introduced foxes and cats. Within fenced reserves where many predators have been eradicated, the bilby is thriving.

Location: Arid Recovery, Roxby Downs, South Australia, Australia

Technical details: Canon EOS 60D + 24mm F2.8 lens; 1/80 at F9; ISO 320; 3x Nikon SB-28 Speedlight flashes; Camtraptions PIR motion sensor

Copyright Jannico Kelk / Wildlife Photographer of the Year

Winner, Behavior: Amphibians and Reptiles

Wetland Wrestle by Karine Aigner, USA
Winner, Behavior: Amphibians and Reptiles

Karine Aigner recognizes the skin of a yellow anaconda as it coils itself around the snout of a yacaré caiman. The tour group Karine was leading had stopped to photograph some marsh deer when she noticed an odd shape floating in the water. Through binoculars, Karine quickly recognized the reptiles and watched as they struggled with each other. Caimans are generalist feeders and will eat snakes. As anacondas get larger, they will include reptiles in their diet. It’s hard to determine who is the aggressor here. On the snake’s back are two tabanids, blood-sucking horseflies that are known to target reptiles.

Location: Transpantaneira Highway, Mato Grosso, Brazil

Technical details: Sony α1 + 200–600mm F5.6–6.3 lens; 1/400 at F16; ISO 800

Copyright Karine Aigner / Wildlife Photographer of the Year

Winner, Animal Portraits

On Watch by John E Marriott, Canada
Winner, Animal Portraits

John E Marriott frames a lynx resting, with its fully grown young sheltering from the cold wind behind it. John had been tracking this family group for almost a week, wearing snowshoes and carrying light camera gear to make his way through snowy forests. When fresh tracks led him to the group, he kept his distance to make sure he didn’t disturb them. Lynx numbers usually reflect the natural population fluctuations of their main prey species, the snowshoe hare. With climate change reducing snow coverage, giving other predators more opportunities to hunt the hares, hare populations may decline, in turn affecting the lynx population.

Location: Yukon, Canada

Technical details: Canon EOS 5D Mark IV + 100–400mm fF.5–5.6 lens at 400mm; 1/800 at F9; ISO 1250

Copyright John E Marriott / Wildlife Photographer of the Year

Winner, Photojournalist Story Award

Dolphins of the Forest by Thomas Peschak, Germany/South Africa
Winner, Photojournalist Story Award

‘Among the Trees’: The Amazon river dolphin is one of two freshwater dolphin species living in the Amazon and Orinoco basins. Only this species has evolved to explore the seasonally flooded forest habitat.

Portfolio Story: Thomas Peschak documents the relationship between endangered Amazon river dolphins, also known as botos or pink river dolphins, and the people with whom they share their watery home. The Amazon river dolphin’s relationship with humans is complex. Traditional Amazonian beliefs hold that the dolphins can take on human form, and they are both revered and feared. Others see them as thieves who steal fish from nets and should be killed. Thomas took these images in areas where local communities are creating opportunities for tourists to encounter the dolphins. This brings another set of problems: when they’re fed by humans, the dolphins become unhealthy, and younger individuals don’t learn to hunt for themselves.

Technical details: Nikon Z9 + 14–30mm F4 lens at 16mm; 1/320 at F6.3; ISO 1250

Location: Brazil and Colombia

Copyright Thomas Peschak/ Wildlife Photographer of the Year

Winner, Rising Star Portfolio Award

The Serengeti of the Sea by Sage Ono, USA
Winner, Rising Star Portfolio Award

‘Rubies and Gold’: These tube-snout fish eggs will fade in color as the embryos develop. But for now, they sparkle like gems next to the kelp’s gold, glowing, gas-filled buoyancy aids. The green serrated edges of the kelp fronds complete the simple composition.

Portfolio Story: Sage Ono explores the abundant life around the giant kelp forests in Monterey Bay National Marine Sanctuary. Inspired by the stories told by his grandfather, a retired marine biologist, and by a photograph of a larval cusk eel, Sage acquired a compact underwater camera and decided to take up underwater photography. After university, he moved to the coast near the Monterey Bay National Marine Sanctuary to pursue his interest. Here, it’s the submerged world of the bay’s forests of giant kelp – the biggest of all seaweeds – and the diversity of life they contain that have captured his imagination.

Technical details: Nikon D850 + 60mm F2.8 lens; 1/160 at F14; ISO 250; Nauticam NA-D850 housing; 2x Sea & Sea YS-D2J strobes

Location: California, USA

Copyright Sage Ono / Wildlife Photographer of the Year

Wildlife Photographer of the Year winners

The Natural History Museum has announced the winners of its prestigious Wildlife Photographer of the Year competition. This year, the museum received a record-breaking 59,228 entries from 117 countries and territories and granted awards to 100 photos. The two Grand Title winners were selected from 18 category winners.

Celebrating its 60th year, Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. You can visit the exhibition in person at the museum beginning Friday, October 11, and on tour around the UK and in Australia, Canada, Denmark, France, Germany, Italy and Switzerland, with more locations to be announced. The exhibition features all 100 winning images, videos showing the impact wildlife photography can have globally, and past Grand Title winners.

Here, we present some of our favorites, including the Grand Title and winners of many award categories.

Wildlife Photographer of the Year: Grand Title

The Swarm of Life by Shane Gross, Canada
Wildlife Photographer of the Year: Grand Title
Winner, Wetlands: The Bigger Picture

Shane Gross looks under the surface layer of lily pads as a mass of western toad tadpoles swim past. Shane snorkeled in the lake for several hours through carpets of lily pads. This prevented any disturbance of the fine layers of silt and algae covering the lake bottom, which would have reduced visibility. Western toad tadpoles swim up from the safer depths of the lake, dodging predators and trying to reach the shallows, where they can feed. The tadpoles start becoming toads between four and 12 weeks after hatching. An estimated 99% will not survive to adulthood.

Location: Cedar Lake, Vancouver Island, British Columbia, Canada

Technical details: Nikon D500 + Tokina fisheye 10–17mm F3.5–4.5 lens at 11mm; 1/200 at F13; ISO 640; 2x Sea & Sea strobes; Aquatica housing

Copyright Shane Gross / Wildlife Photographer of the Year

Young Wildlife Photographer of the Year: Grand Title

Life Under Dead Wood by Alexis Tinker-Tsavalas, Germany
Young Wildlife Photographer of the Year: Grand Title
Winner, 15-17 Years

Alexis Tinker-Tsavalas rolls a log over to see the fruiting bodies of slime mold and a tiny springtail. Alexis worked fast to take this photograph, as springtails can jump many times their body length in a split second. He used a technique called focus stacking, where 36 images, each with a different area in focus, are combined. Springtails are barely two millimeters long (less than a tenth of an inch). They are found alongside slime molds and leaf litter all over the world. They feed on microorganisms such as bacteria and fungi, improving soil by helping organic matter to decompose.

Location: Berlin, Germany

Technical details: Panasonic Lumix G91 + Laowa 25mm F2.8; 2.5–5x ultra macro lens; 1/200 at F4; ISO 200; Nikon SB-900 Speedlight flash; Cygnustech macro diffuser; focus stack of 36 images

Copyright Alexis Tinker-Tsavalas / Wildlife Photographer of the Year

Winner: Urban Wildlife

Tiger in Town by Robin Darius Conz, Germany
Winner, Urban Wildlife

Robin Darius Conz watches a tiger on a hillside against the backdrop of a town where forests once grew. Robin was following this tiger as part of a documentary team filming the wildlife of the Western Ghats. On this day, he used a drone to watch the tiger explore its territory before it settled in this spot. The protected areas in the Western Ghats, where tigers are carefully monitored, are some of the most biodiverse landscapes in India and have a stable population of tigers. Outside these areas, where development has created conflict between humans and wildlife, tiger occupancy has declined.

Location: Nilgiris, Tamil Nadu, India

Technical details: DJI Mavic 3 Pro Cine + 70mm F2.8 lens; 1/15 at F2.8; ISO 400

Copyright Robin Darius Conz / Wildlife Photographer of the Year

Winner, Behavior: Birds

Practice Makes Perfect by Jack Zhi, USA
Winner, Behavior: Birds

Jack Zhi enjoys watching a young falcon practicing its hunting skills on a butterfly above its sea-cliff nest. Jack has been visiting this area for the past eight years, observing the constant presence of one of the birds and photographing the chicks. On this day, it was a challenge to track the action because the birds were so fast. Should this young peregrine falcon make it to adulthood, tests have shown it will be capable of stooping or dropping down on its prey from above at speeds of more than 300 kilometers per hour (186 miles per hour).

Location: Los Angeles, California, USA

Technical details: Sony α9 II + 600mm F4 lens; 1/4000 at F5.6; ISO 640

Copyright Jack Zhi / Wildlife Photographer of the Year

Winner, Oceans: The Bigger Picture

A Diet of Deadly Plastic by Justin Gilligan, Australia
Winner, Oceans: The Bigger Picture

Justin Gilligan (Australia) creates a mosaic from the 403 pieces of plastic found inside the digestive tract of a dead flesh-footed shearwater. Justin has been documenting Adrift Lab’s work for several years, often joining them on beach walks at dawn to collect dead chicks. The team brings together biologists from around the world to study the impact of plastic pollution on marine ecosystems. Studies found that three-quarters of adult flesh-footed shearwaters breeding on Lord Howe Island – and 100% of fledglings – contained plastic. The team, including a Natural History Museum scientist, discovered it causes scarring to the lining of the digestive tract, a condition called plasticosis.

Location: Lord Howe Island, New South Wales, Australia

Technical details: Nikon D850 + 24–70mm F2.8 lens; 1/125 at F11; ISO 400; Profoto B10 + A1 flash

Copyright Justin Gilligan / Wildlife Photographer of the Year

Winner, Behavior: Invertebrates

The Demolition Squad by Ingo Arndt, Germany
Winner, Behavior: Invertebrates

Ingo Arndt documents the efficient dismemberment of a blue ground beetle by red wood ants. ‘Full of ant’ is how Ingo described himself after lying next to the ants’ nest for just a few minutes. Ingo watched as the red wood ants carved an already dead beetle into pieces small enough to fit through the entrance to their nest. Much of the red wood ants’ nourishment comes from honeydew secreted by aphids, but they also need protein. They are capable of killing insects and other invertebrates much larger than themselves through sheer strength in numbers.

Location: Hessen, Germany

Technical details: Canon EOS 5DS R + 100mm F2.8 lens; 1/200 at F8; ISO 400; Canon Macro Twin Lite MT-24EX flash; softboxes

Copyright Ingo Arndt / Wildlife Photographer of the Year

Winner, Photojournalism

Dusting for New Evidence by Britta Jaschinski, Germany/UK
Winner, Photojournalism

Britta Jaschinski looks on as a crime scene investigator from London’s Metropolitan Police dusts for prints on a confiscated tusk. Britta spent time at the CITES Border Force department, where confiscated animal products are tested. Newly developed magnetic powder allows experts to obtain fingerprints from ivory up to 28 days after it was touched, increasing the chances of identifying those involved in its illegal trade. The International Fund for Animal Welfare has distributed more than 200 specially created kits to border forces from 40 countries. They have been instrumental in four cases that resulted in 15 arrests.

Location: Heathrow Airport, London, England, UK

Technical details: Leica SL2 + 24–90mm F2.8–4 lens at 62mm; 1/80 at F3.8; ISO 200

Copyright Britta Jaschinski / Wildlife Photographer of the Year

Winner, 11-14 Years

An Evening Meal by Parham Pourahmad, USA
Winner, 11-14 Years

Parham Pourahmad watches as the last rays of the setting sun illuminate a young Cooper’s hawk eating a squirrel. Over a single summer, Parham visited Ed R Levin County Park most weekends to take photographs. He wanted to showcase the variety of wildlife living within a busy metropolitan city and to illustrate that ‘nature will always be wild and unpredictable’. The Cooper’s hawk is a common species across southern Canada, the USA, and central Mexico, where it inhabits mature and open woodlands. These adaptable birds also live in urban spaces, where there are tall trees to nest in and bird feeders that attract smaller birds, which they can prey on.

Location: Ed R Levin County Park, California, USA

Technical details: Nikon D3500 + Sigma 150–600mm F5-6.3 lens at 210mm; 1/400 at F6.3; ISO 800

Copyright Parham Pourahmad / Wildlife Photographer of the Year

Winner, Animals in their Environment

Frontier of the Lynx by Igor Metelskiy, Russia
Winner, Animals in their Environment

Igor Metelskiy shows a lynx stretching in the early evening sunshine, its body mirroring the undulating wilderness. The remote location and changing weather conditions made access to this spot – and transporting equipment there – a challenge. Igor positioned his camera trap near the footprints of potential prey. It took more than six months of waiting to achieve this relaxed image of the elusive lynx. A survey carried out in 2013 estimated the entire Russian lynx population was around 22,500 individuals, with numbers for the Russian Far East, including those in Primorsky Krai, at 5,890.

Location: Lazovsky District, Primorsky Krai, Russia

Technical details: Sony α7 IV + 24–70mm F2.8 lens; 1/500 at F5.6; ISO 100; Scout camera controller + PIR motion sensor

Copyright Igor Metelskiy / Wildlife Photographer of the Year

Winner, Impact Award

Recording by Hand by Liwia Pawłowska, Poland
Winner, Impact Award

Liwia Pawłowska watches as a relaxed common whitethroat is gently held by a bird ringer. Liwia is fascinated by bird ringing and has been photographing ringing sessions since she was nine. She says that she hopes her photograph ‘helps others to get to know this topic better.’ Volunteers can assist trained staff at bird-ringing sessions, where a bird’s length, sex, condition and age are recorded. Data collected helps scientists to monitor populations and track migratory patterns, aiding conservation efforts.

Location: Rgielsko, Greater Poland Voivodeship, Poland

Technical details: Nikon Coolpix P900; 1/400 at F5; ISO 100

Copyright Liwia Pawlowska / Wildlife Photographer of the Year

Winner, Impact Award

Hope for the Ninu by Jannico Kelk, Australia
Winner, Impact Award

Jannico Kelk illuminates a ninu, with the wire grass and shrubs behind it providing a frame against the darkness. Jannico spent each morning walking the sand dunes of a conservation reserve, searching for footprints that this rabbit-sized marsupial may have left the night before. Finding tracks near a burrow, he set up his camera trap. The greater bilby has many Aboriginal names, including ninu. It was brought to near extinction through predation by introduced foxes and cats. Within fenced reserves where many predators have been eradicated, the bilby is thriving.

Location: Arid Recovery, Roxby Downs, South Australia, Australia

Technical details: Canon EOS 60D + 24mm F2.8 lens; 1/80 at F9; ISO 320; 3x Nikon SB-28 Speedlight flashes; Camtraptions PIR motion sensor

Copyright Jannico Kelk / Wildlife Photographer of the Year

Winner, Behavior: Amphibians and Reptiles

Wetland Wrestle by Karine Aigner, USA
Winner, Behavior: Amphibians and Reptiles

Karine Aigner recognizes the skin of a yellow anaconda as it coils itself around the snout of a yacaré caiman. The tour group Karine was leading had stopped to photograph some marsh deer when she noticed an odd shape floating in the water. Through binoculars, Karine quickly recognized the reptiles and watched as they struggled with each other. Caimans are generalist feeders and will eat snakes. As anacondas get larger, they will include reptiles in their diet. It’s hard to determine who is the aggressor here. On the snake’s back are two tabanids, blood-sucking horseflies that are known to target reptiles.

Location: Transpantaneira Highway, Mato Grosso, Brazil

Technical details: Sony α1 + 200–600mm F5.6–6.3 lens; 1/400 at F16; ISO 800

Copyright Karine Aigner / Wildlife Photographer of the Year

Winner, Animal Portraits

On Watch by John E Marriott, Canada
Winner, Animal Portraits

John E Marriott frames a lynx resting, with its fully grown young sheltering from the cold wind behind it. John had been tracking this family group for almost a week, wearing snowshoes and carrying light camera gear to make his way through snowy forests. When fresh tracks led him to the group, he kept his distance to make sure he didn’t disturb them. Lynx numbers usually reflect the natural population fluctuations of their main prey species, the snowshoe hare. With climate change reducing snow coverage, giving other predators more opportunities to hunt the hares, hare populations may decline, in turn affecting the lynx population.

Location: Yukon, Canada

Technical details: Canon EOS 5D Mark IV + 100–400mm fF.5–5.6 lens at 400mm; 1/800 at F9; ISO 1250

Copyright John E Marriott / Wildlife Photographer of the Year

Winner, Photojournalist Story Award

Dolphins of the Forest by Thomas Peschak, Germany/South Africa
Winner, Photojournalist Story Award

‘Among the Trees’: The Amazon river dolphin is one of two freshwater dolphin species living in the Amazon and Orinoco basins. Only this species has evolved to explore the seasonally flooded forest habitat.

Portfolio Story: Thomas Peschak documents the relationship between endangered Amazon river dolphins, also known as botos or pink river dolphins, and the people with whom they share their watery home. The Amazon river dolphin’s relationship with humans is complex. Traditional Amazonian beliefs hold that the dolphins can take on human form, and they are both revered and feared. Others see them as thieves who steal fish from nets and should be killed. Thomas took these images in areas where local communities are creating opportunities for tourists to encounter the dolphins. This brings another set of problems: when they’re fed by humans, the dolphins become unhealthy, and younger individuals don’t learn to hunt for themselves.

Technical details: Nikon Z9 + 14–30mm F4 lens at 16mm; 1/320 at F6.3; ISO 1250

Location: Brazil and Colombia

Copyright Thomas Peschak/ Wildlife Photographer of the Year

Winner, Rising Star Portfolio Award

The Serengeti of the Sea by Sage Ono, USA
Winner, Rising Star Portfolio Award

‘Rubies and Gold’: These tube-snout fish eggs will fade in color as the embryos develop. But for now, they sparkle like gems next to the kelp’s gold, glowing, gas-filled buoyancy aids. The green serrated edges of the kelp fronds complete the simple composition.

Portfolio Story: Sage Ono explores the abundant life around the giant kelp forests in Monterey Bay National Marine Sanctuary. Inspired by the stories told by his grandfather, a retired marine biologist, and by a photograph of a larval cusk eel, Sage acquired a compact underwater camera and decided to take up underwater photography. After university, he moved to the coast near the Monterey Bay National Marine Sanctuary to pursue his interest. Here, it’s the submerged world of the bay’s forests of giant kelp – the biggest of all seaweeds – and the diversity of life they contain that have captured his imagination.

Technical details: Nikon D850 + 60mm F2.8 lens; 1/160 at F14; ISO 250; Nauticam NA-D850 housing; 2x Sea & Sea YS-D2J strobes

Location: California, USA

Copyright Sage Ono / Wildlife Photographer of the Year

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

Panasonic has announced an update to its Lumix Lab app, along with a slew of firmware updates for the Lumix S9, S5II, S5IIX and G9II. The S9's 1.1 update, in particular, adds quite a few new features that make it a more powerful video camera, but all the cameras should be getting a decent bump in usability.

Lumix Lab updates

Let's dive into the Lumix Lab app first since it involves all the cameras above, which is actually the first big change. When Panasonic launched the app alongside the S9, it was only compatible with that camera and the GH7. Owners of other cameras had to continue using the older Lumix Sync app, as did S9 or GH7 owners who wanted to use features like remote shooting or shutter control.

That's no longer the case: Lumix Lab now supports the S5II, S5IIX, and G9II and has shutter remote control and remote shooting features. The remote shooting mode even lets you change whether you're using the P, S, A, or M exposure modes without touching the dial on the camera; of course, when you disconnect the app, it reverts back to the setting on the dial.

The updated Lumix Lab app will let you remotely control your camera via Wi-Fi, or use your phone as a remote shutter over Bluetooth.

The update also lets you use your camera to select which images to send to the app, instead of waiting for the app to download all the thumbnails from the camera, then using it to select which ones to pull onto your phone.

S5II, S5IIX, and G9II owners can now also use the LUT features in the Lumix Lab app, creating their own looks or downloading ones from creators to send to their cameras. Panasonic says that when it launched the app earlier this year, it had 80 LUTs in the community tab; it says there are over 100 now.

Lumix S9 updates

The 1.1 update for the S9 mainly focuses on video features but also adds support for two new subjects to the subject-tracking autofocus system. The update will let the S9 recognize trains and planes, and users can determine whether they want to prioritize the driver's cabin or nose, respectively, versus the entire train or plane. The update also adds part priority to the S9's existing motorcycle and car tracking modes, letting you ask the system to focus on a driver or rider's helmet versus the vehicle as a whole.

You can now target specific parts of vehicles. The ability to target trains and planes at all, as well as their cockpits, is altogether new to the S9.

Panasonic has also addressed a major complaint video creators had with the S9 by letting you bypass the video record time limits. Initially, you could only record up to 15 minutes of 4K video and 10 minutes of 6K video, which Panasonic says was a bid to avoid the camera ever overheating and displaying a cooldown message. Now, it's adding a video record limit setting, and flipping it off makes the camera record until it reaches its temperature limit.

Once that happens, you won't be able to record again until the camera has sufficiently cooled down – you also won't have access to certain features while it's overheated, though it does helpfully list which features are currently disabled on the screen. The company does recommend that you use a tripod if you flip the limit off, as the camera can get quite warm to the touch.

The update also adds the ability to have multiple frame markers if you plan on delivering a video in several aspect ratios. Originally, the S9 let you have a single one, but with the 1.1 update, you can have up to three color-coded markers. There are also presets for four new aspect ratios: 17:9, 9:17, 7:6 and 6:7.

You can have up to three frame guides, each set to its own color. You can also mask out areas not captured by any of your selected aspect ratios.

Depending on your settings, you can adjust the frame markers from the live view screen. Tapping on them will let you resize and reposition each marker you have activated. The feature can also be used in conjunction with frame masks, which can darken or black out the areas outside your frame markers; when adjusting your markers, the mask updates in real-time.

Lumix S5II, S5IIX and G9II updates

Panasonic is releasing firmware update 3.1 for the S5II, 2.1 for the S5IIX, and 2.2 for the G9II. Beyond adding compatibility for Lumix Lab, it also lets you use Panasonic's XLR adapter with the cameras and assign the Real Time LUT feature to function buttons.

The updates also add support for 5Ghz Wi-Fi, in regions where the standard is allowed. The S5II and IIX technically already had support for 5Ghz Wi-Fi when using the Frame.IO integration, but now you can use it with the Lumix Lab app to transfer images and photos to your phone faster than you can with 2.4Ghz Wi-Fi.

The S5II and S5IIX are also getting the Leica Monochrome photo style that debuted with the G9II

Panasonic says that the features added to the S9 in version 1.1, such as the new autofocus subjects and multiple framing guides, will be coming to the Mk. II cameras, but that they're not included in this round of updates.

The updates also add compatibility with the 18-40mm F4.5-6.3 lens the company also announced today. If the lens is retracted, the cameras will pop up a message saying that it needs to be extended before you can use it.

The company is also releasing an update for the original Lumix S5, though it's substantially smaller. It adds 'improved operational stability,' as well as the 'extend lens' message for the 18-40mm.

Press Release:

Panasonic Announces New Firmware Updates for its LUMIX S and G Series Cameras: S9, S5II, S5IIX, G9II

Newark, N.J. (October 8, 2024) – Panasonic has announced a host of new firmware updates for its full frame mirrorless LUMIX S9, S5II, S5IIX cameras and Micro Four Thirds mirrorless G9II camera that improve the shooting experience and enhance functionality.

In line with LUMIX’s continuous commitment to supporting creators, the latest firmware updates will be available to download free of charge from the LUMIX Global Customer Support website on 9th October 2024. Firmware updates include:

LUMIX S9 Firmware Version 1.1

• A recording time limit menu has been added with a new option to record without time limitation.1
• A display feature for multiple frame markers has been added, which now allows for the display of up to three frame markers simultaneously. This adds further versatility for content creators framing for different aspect ratios or planning shots with multiple compositions, further enhancing the unrivalled convenience of shooting in Open Gate.
• The highly accurate phase hybrid auto focus system has been improved with enhanced subject detection. A new option is now available to select detection of airplanes and trains, as well as specific parts of cars and motorcycles.
• Compatibility with the LUMIX Lab smartphone app has been expanded to include remote shooting, shutter remote control, and the ability to transfer images selected on the camera.
• Operational stability has been improved.

LUMIX S5II Firmware Version 3.1 and LUMIX S5IIX Firmware Version 2.1

• LEICA Monochrome is now available as a Photo Style, providing a strong and dynamic monochrome shooting option.
• Compatibility with the LUMIX Lab smartphone app is now supported.
• The latest Panasonic XLR microphone adapter, DMW-XLR2, is now supported.2
• 5GHz Wi-Fi frequency option now available and has been added to the existing 2.4GHz option.3
• Real Time LUT can now be assigned to the Fn button, allowing creators to easily enjoy a range of popular, classic or bespoke color styles in-camera.
• Operational stability has been improved.

*1 - The recording time varies depending on the environment and operating conditions.

Recording will stop automatically if the internal temperature gets too high, even when set to unlimited recording mode.

*2 - 32 Bit Float recording is not available on the S5II, S5IIX or G9II

*3 - Depending on the region, local regulations, etc. may prohibit you from using the 5GHz frequency band outdoors. If this is the case, when outdoors, connect to the smartphone using [2.4GHz] for the Wi-Fi connection.

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

Panasonic is launching the 18-40mm F4.5-6.3 lens that it teased with the launch of the Lumix S9 earlier this year. It claims the new lens is the smallest and lightest interchangeable zoom with autofocus for full-frame mirrorless cameras. While that's quite a few caveats, it is undoubtedly compact: the lens weighs 155g (5.5oz) and is 40.9mm (1.6") long when retracted.

Despite being an extending lens, Panasonic claims it's dust, splash, and freeze resistant and can be used in temperatures down to -10°C (14°F). The front element also has a fluorine coating for dirt and oil resistance.

While the lens is far from being a macro – it offers a maximum magnification of 0.28x at 21mm – it still has relatively close-focusing abilities and can focus on a subject at 15cm (5.9") in its 18-21mm focal range. Fully zoomed in, its closest focusing distance goes up to 35cm (13.8").

Image: Panasonic

The 18-40mm is made up of 8 elements in 7 groups and features 3 aspherical elements, 2 ED elements and a UHR element. It accepts 62mm filters.

Panasonic is making this lens the new kit lens for the S9. The creator-focused camera originally launched with the company's 20-60mm f3.5-5.6 as the kit lens, which has greater reach and brighter max aperture at the cost of being double the weight of the 18-40mm. Given the S9's focus on being a small, portable full-frame camera, it seems likely the trade-off will be worth it for at least some of the audience Panasonic is targeting with the S9.

S9 w/ 18-40mm lens

$1,797 at B&H $1,799 at Amazon $1,799 at Adorama

S9 users take note: while the lens may have some level of weather sealing, the camera itself does not.

The new colors round out the S9 lineup.

Image: Panasonic

The company is also announcing two new colors of the S9: a mint green and 'sakura' pink model will be available in the US, in addition to the existing black, blue, olive, and red models.

On its own, the lens will be $499, and the S9 kit that includes it will cost $1,799, the same as the 20-60mm kit. That may make the kit a slightly worse value, depending on how you look at it; purchased by itself, the 20-60mm costs $100 more than the 18-40mm. The lens, along with the new S9 colors, will be available in mid-November.

Panasonic has also announced new software updates that bring some substantial changes to the S9; you can read our coverage of them here.

Click to see our 18-40mm F4.5-6.3 sample gallery

Buy now:

$499 at Amazon.com$497 at B&H Photo$499 at Adorama

Press Release:

Panasonic introduces the World’s Smallest and Lightest* Zoom Lens: LUMIX S 18-40mm F4.5-6.3 (S-R1840)

Newark, N.J. (October 8, 2024) – Panasonic is pleased to announce the new LUMIX S 18-40mm F4.5-6.3 lens based on the L-Mount system standard.

The new LUMIX S 18-40mm is the world’s smallest and lightest* zoom lens, weighing approximately 155g/0.34lb, and is designed to be a compact and lightweight addition to the LUMIX S Series full frame lens line up. This lens covers focal lengths from an ultra-wide angle of 18mm to a standard 40mm, with a closest shooting distance of 0.15m/0.49ft, allowing for the flexibility to capture expansive landscapes and buildings or portrait shots in a natural perspective.

In addition, the lens incorporates the high-quality video performance expected from LUMIX with effective focus breathing suppression.

Main Features

1. The World's Smallest and Lightest* Zoom Lens

• Designed to be compact and portable with dimensions of 67.9 x 40.9 mm** and a light weight of 155g
• A perfect partner to the compact full frame LUMIX S9 camera
• Robust and reliable dust, splash and freeze-resistant design with fluorine coating

2. Unique 18-40mm Focal Length

• 18mm ultra-wide angle allows for capture of expansive landscapes, while the standard 40mm is perfect for shots with a natural perspective
• Capable of 18-120mm with the Hybrid Zoom function on the LUMIX S9

3. Ideal for Both Photography and Videography

• Excellent performance in both photo and video, capturing in high-resolution with beautiful bokeh quality
• Effectively suppresses focus breathing, in which the angle of view changes due to movements in the focus position

The LUMIX S 18-40mm F4.5-6.3 (S-R1840) will be available for purchase in Mid-November 2024 at valued channel partners for $499.99 USD for the lens and $1799.99 for the N Kit (S9 body + 18-40 lens).

In addition, LUMIX is announcing two new colors to the S9 assortment – Sakura Pink and Mint Green, which will be available for purchase Mid-November. All six colorways will also be available in a new kit that features the S9 body and the S 18-40mm lens, offering the perfect travel partner for creators on the go.

*As of October 8, 2024. Among AF compatible interchangeable zoom lenses for full-frame mirrorless cameras.

**The world's thinnest at just 40.9mm when retracted.

Lumix S 18-40mm F4.5-6.3 Specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length18–40 mmImage stabilizationNoLens mountL-MountApertureMaximum apertureF4.5–6.3Minimum apertureF22–32Aperture ringNoNumber of diaphragm blades7OpticsElements8Groups7Special elements / coatings3 Aspheric, 2 ED, 1 UHRFocusMinimum focus0.15 m (5.91″)Maximum magnification0.28×AutofocusYesMotor typeStepper motorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight155 g (0.34 lb)Diameter68 mm (2.68″)Length41 mm (1.61″)SealingYesColourBlackZoom methodRotary (extending)Power zoomNoFilter thread62 mmTripod collarNo

It's Prime Big Deals Days, Amazon's pre-holiday sales event, and DPReview has been keeping a close eye on camera prices from top brands. To help you navigate the hype, we're highlighting some of our recent Gold and Silver award-winning cameras on sale during the event. In some cases, it's not the first time these products have been priced this low, but these are still some of the best prices we've seen.

Similar deals may also be available from other retailers like B&H Photo and Adorama, as well as from manufacturers' own websites.

Gold Award winners Canon EOS R5: $2899 (save $1000)

Although there's been a lot of hype over the new EOS R5 II in recent months, the original Canon EOS R5 is still a solid 45MP camera that can deliver incredible image quality.

Read our Canon EOS R5 review.

Buy now:

$2899 at Amazon Canon EOS R6 II: $1999 (save $500)

The EOS R6 II is Canon's enthusiast-level workhorse camera. This 24MP full-frame camera includes features like 40fps burst shooting, Raw burst mode with pre-capture, and 4K/60p video capture that's oversampled from 6K video.

Read our Canon EOS R6 II review.

Buy now:

$1999 at Amazon Nikon Z8: $3496 (save $500)

The 45MP Nikon Z8 is one of the most impressive mirrorless cameras we've tested, delivering most of the features found in Nikon's flagship Z9 model in a smaller body.

Read our Nikon Z8 review.

Buy now:

$3496 at Amazon Sony a7R V: $3498 (save $400)

The a7R V is Sony's flagship high-resolution camera body, delivering 61MP of resolution, impressive detail, excellent dynamic range, and a powerful AF system.

Read our Sony a7R V review.

Buy now:

$3498 at Amazon Sony a7 IV: $2298 (save $200)

The Sony a7 IV is an enthusiast-level camera with a 33MP full-frame sensor that delivers excellent dynamic range, captures 10-bit 4K video, and features an autofocus system that works well in both modes.

Read our Sony a7 IV review.

Buy now:

$2298 at Amazon Sony a7R IV: $2998 (save $200)

Sony's a7R IV is a few years old and lacks some of the updated features found on the newer a7R V, but its 61MP sensor matches the quality of the newer model. If you want a camera that can deliver high-quality, high-resolution images and aren't worried about missing out on some of the newer features, the a7R IV offers a lot of bang for the buck.

Read our Sony a7R IV review.

Buy now:

$2998 at Amazon Sony a7S III: $3198 (save $300)

Sony's video-focused a7S III is the third generation of Sony's a7S line. It produces outstanding video and can capture 4K video at frame rates up to 120p.

Read our Sony a7S III review.

Buy now:

$3198 at Amazon Silver Award winners Canon EOS R8: $1299 (save $200)

The EOS R8 is an entry-level full-frame camera from Canon. Although it doesn't have some of the advanced features found on Canon's more expensive models, it's built around the same 24MP sensor found on the EOS R6 II and can deliver excellent image quality.

Read our Canon EOS R8 review.

Buy now:

$1299 at Amazon Nikon Z7 II: $1996 (save $1000)

The Nikon Z7 II is a high-resolution full-frame camera featuring a 45MP image sensor. This model has been around for a few years, but if you're looking for a high-resolution Nikon body and don't need the updated features in the newer Z8, it can still deliver outstanding image quality that won't disappoint.

Read our Nikon Z7 II review.

Buy now:

$1996 at Amazon Nikon Z6 II: $1596 (save $400)

The enthusiast-oriented Nikon Z6 II may have been overshadowed by the hype surrounding its recently launched successor, the Z6III. However, like several other models on this list, it can still deliver excellent image quality if you don't need the updated features found on the latest and greatest models.

Read our Nikon Z6 II review.

Buy now:

$1596 at Amazon

Images: pexar, SmallRig, Nikon

Welcome to this week's accessory roundup. If we're being honest, it's been a bit of a dry one out there for accessory news; manufacturers have likely been busy getting ready for the upcoming Amazon Prime Day event that starts on October 8th, and the busy sales season that'll follow the month after. However, we've dug deep and found some accessory news for you. Before we get to that though, let's go back to talking deals for list a moment...

OM Cameras on sale

The OM-5, OM System's compact Micro Four Third camera, is currently on sale for $1,000, $200 off its MSRP. When we reviewed it, we appreciated its capable stabilization, size, and weather sealing. While it certainly has some drawbacks like using microUSB instead of USB-C and the company's older menu system, the less expensive price takes the sting out of those a bit.

Buy now:

$999 at Amazon.com

The company's high-end camera, the OM-1 II, is also $400 off, bringing its price to right under $2,000, body-only.

Buy now:

$1999 at Amazon.com

Taking a slight – okay, massive – step up in size, weight, and price, the Nikon Z8 is also $400 off. It's one of the most powerful full-frame cameras we've reviewed to date, and won our Gold award last year.

Buy now:

Buy at Amazon.comBuy at B&H PhotoBuy at Adorama Frame It

It's easy to understand where the name comes from, but Lexar better hope that a certain animation studio isn't feeling particularly litigious.

Image: Lexar

Lexar, a brand probably best known for its memory cards and readers, has launched a new sub-brand to sell digital photo frames called 'pexar.' The announcement was made at IFA last month, but it flew under the radar for a bit until sites like Digital Camera World and PetaPixel picked up on it.

The first pexar-branded product is a 28 cm (11") digital picture frame with a 2000 x 1200 touchscreen display that can go up to 400 nits of brightness, 32GB of built-in storage, a magnetic stand that lets you use it in portrait and landscape, and an anti-glare display. It also has an SD card slot and a USB-A port to let you expand how many pictures it can hold, but the company says you should be able to fit "over 40,000" images on it before you need to do that.

There's also an app that lets "up to 512 users" connect to the frame and upload images or videos to it. This could be useful for those giving it as a gift to a family member or friend and who want to keep it updated with recent photos, or someone who wants to use it as a way to display their own photography without having to do prints.

At $160, it's certainly positioned as a premium product, though it's also not the most expensive option in the category. It also has a higher resolution than The Wirecutter's pick for a 38cm (15") digital photo frame. The company also says that a smaller 25.7cm (10.1") version is in the works and will launch sometime this month.

$159 at Amazon Lights, camera, action Image: SmallRig

Chip-on-board lights, or COB lights, have become popular tools for both photographers and videographers looking for a continuous light source. Recently, both SmallRig and Lume Cube announced portable COB lights, which could be handy if you find yourself needing a fill light. Both lights can be remotely operated with an app.

As its name implies, the SmallRig RC 100B is a 100W-class light. It uses bi-color LEDs, so you can have it output light at 2700-6500K. There are two different RC 100B kits; the first is the "mobile" version which mounts to a handle and includes an adapter plate that lets you use two NP-F batteries instead of the V-mount ones the light natively takes. The standard version, meanwhile, includes a light stand adapter and USB-C cable for power. Both versions also have a mini XLR input for DC power.

The mobile version retails for $199, and the standard one is $229.

Buy at B&H Buy at SmallRig Buy at Amazon Image: LumeCube

The Lume Cube XL puts out less light – it's only a 60W-class source – but adds RGB capabilities that let you output in different colors. Like the SmallRig light, it includes a reflector, and can accept power input via USB-C. It doesn't include a built-in battery mount, though you can buy a battery handle separately, but does come with a power adapter that lets you plug it into the wall.

The Lume Cube XL is available for $249.

A trip to the museum Photo: Nikon

This one is less of an accessory and more of a place you can go to see a ton of camera gear. Nikon has announced that it'll reopen its museum on October 12, after closing it while relocating its headquarters. There, you'll be able to see around "1,300 products and technologies" from Nikon's camera, lens, binocular, and industrial businesses. Perhaps most excitingly, the consumer section has a "touch and try" section, though the company's map doesn't have much detail on what types of products you'll be able to get your hands on.

Admission to the museum is free, but you'll obviously have to physically be in Tokyo if you want to visit.

Image: Nikon

If you do want to buy something, the museum has a gift shop that sells "15 types of acrylic keychain" that depict cameras and lenses, which are quite adorable and only 500 yen (around $3.40 US at time of writing).

Click to see last week's accessory roundup

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Earlier this week, we published our review of the Nikon Z6III, a very capable enthusiast full-frame camera. As always, the process of writing the review involved taking tons of photos in a wide variety of scenarios.

You can look through the sample gallery we published alongside the review to get a feel for how the camera performs and to judge its image quality for yourself. As always, the full Raws and JPEGs are available for download if you want to see how they work with your chosen software and workflow.

Click to see the full sample gallery

The Sitina S1

Photo: Wenting Zhang

Here at DPReview, we love DIY photography projects, and one recently came to our attention that we just had to share.

Boston-based engineer and photographer Wenting Zhang has been experimenting with DIY electronics for over a decade and also loves taking photos, so building his own camera was a natural extension of these interests.

"I initially had the idea of building my own camera during middle school. Back then, I wasn't allowed to use my parents' camera and couldn't afford a real camera. I naively thought it would be possible, and cheaper, if I just built one myself," Zhang told DPReview. His initial attempt didn't go well, and he eventually saved enough to buy a used Nikon D90, but the itch to build his own camera stayed. Whenever he saw someone posting about a DIY camera project, he thought, "If other people can pull that off, I should be able to as well."

In this recently published video, Wenting Zhang walks through assembly of his current prototype camera.

Zhang says he started the project in 2017, and it's not finished yet. "Engineers are usually bad at estimating how long things will take. I am probably particularly bad at that. I expected this project to be challenging, so it would take a bit longer, like probably one year. Turned out my estimation was off," he says.

He makes clear to point out that this is a hobby project, purely for fun, and that his camera isn't going to achieve the level of image quality found in commercially available products from established companies. Despite that, his project provides a fascinating look into what's involved in building a camera from the ground up. What's more, Zhang has open-sourced his entire project on GitLab for anyone else who might want to build upon it.

Zhang took this photo with a monochrome version of the Sitina, which uses the same sensor but without the Bayer color filter array.

Photo: Wenting Zhang

Although CMOS has become the dominant sensor technology in consumer cameras, owing to factors like speed, lower power consumption and cost, Zhang's camera is built around a 10MP Kodak KAI-11000CM CCD sensor with a global electronic shutter, which he selected for a rather pragmatic reason: it was easy to source. "Most manufacturers (like Sony) aren't going to just sell a sensor to a random hobbyist, so I have to buy whatever is available on eBay. This 10MP CCD turned out to be available," he explains.

Zhang attaches the CCD sensor to his heat sink.

Photo: Wenting Zhang

The choice of sensor has a useful benefit. As he explains in one of his videos, designing and building a mechanical shutter is complicated and beyond his area of expertise, so his DIY design is based on using an electronic shutter. For similar reasons, he chose to use an LCD screen as a viewfinder rather than a prism-based optical design, resulting in a mirrorless camera.

Photo captured with the Sitina S1.

Photo: Wenting Zhang

Zhang wanted his design to be compatible with existing lenses. His mirrorless design, with a short flange distance, provided a great deal of flexibility to adapt different lenses to the camera, and he's currently using E-mount with active electrical contacts.

And that's just the start. Zhang also needed to integrate a CCD signal processor with an ADC (analog to digital converter), a CPU, battery, an LCD screen and buttons. He also designed and built his own circuit board with a power-only USB port, flash sync terminal, power button and SD card slot, and create the software and user interface to tie it all together.

In order to build his camera, Zhang had to design and print his own circuit boards.

Image: Wenting Zhang

Finally, everything fits inside a 3D-printed enclosure that, to my eye, looks rather attractive.

As for the camera's name, the Sitina S1? "I simply put the word 'silicon' and 'retina' together to form the word 'sitina'. I don't have any better ideas of naming the camera model, so I simply call it the 'Sitina S1', he explains. "But the name may change in the future if I ever have better ideas."

Zhang was kind enough to share some photos from his DIY 'for fun' camera.

Photos: Wenting Zhang

Now that he's built his own camera, Zhang has an appreciation for how much work goes into the design, development and optimization of a modern consumer camera. "I would imagine it would take an army of designers and engineers of various disciplines to build a modern consumer camera," he says. "There are so many different components but few 'off the shelf' parts."

"On top of the hardware, we still have layers of software. There's no standard camera operating system (like Android or Windows) so each vendor is developing its own OS. On top of the OS, you have image processing algorithms where each vendor probably has their own secret sauce for better color, lower noise, etc. I think it's quite incredible that camera vendors are able to do all these things in-house."

In this video, Wenting Zhang dives into the technical details of what's required to design a working camera.

Zhang is still working to address issues in his current prototype. "I think in another year or two it could reach a state where it can be a useable and useful camera. I do wish to sell the camera either as a kit people can put together or as an assembled machine. Not for profit, but so people can play with it, and my effort on this project won't go to waste."

If you're curious to learn more about how a camera is built, I encourage you to watch both of Zhang's videos in their entirety as he goes into great detail about the process. And, if you have the technical skills and interest to try this type of DIY project yourself, his open source project could be invaluable. I'll be the first to admit it goes beyond my level of engineering know-how, but I would be first in line to order a Sitina camera DIY kit if the opportunity arose.

The Sitina S1

Photo: Wenting Zhang

Here at DPReview, we love DIY photography projects, and one recently came to our attention that we just had to share.

Boston-based engineer and photographer Wenting Zhang has been experimenting with DIY electronics for over a decade and also loves taking photos, so building his own camera was a natural extension of these interests.

"I initially had the idea of building my own camera during middle school. Back then, I wasn't allowed to use my parents' camera and couldn't afford a real camera. I naively thought it would be possible, and cheaper, if I just built one myself," Zhang told DPReview. His initial attempt didn't go well, and he eventually saved enough to buy a used Nikon D90, but the itch to build his own camera stayed. Whenever he saw someone posting about a DIY camera project, he thought, "If other people can pull that off, I should be able to as well."

In this recently published video, Wenting Zhang walks through assembly of his current prototype camera.

Zhang says he started the project in 2017, and it's not finished yet. "Engineers are usually bad at estimating how long things will take. I am probably particularly bad at that. I expected this project to be challenging, so it would take a bit longer, like probably one year. Turned out my estimation was off," he says.

He makes clear to point out that this is a hobby project, purely for fun, and that his camera isn't going to achieve the level of image quality found in commercially available products from established companies. Despite that, his project provides a fascinating look into what's involved in building a camera from the ground up. What's more, Zhang has open-sourced his entire project on GitLab for anyone else who might want to build upon it.

Zhang took this photo with a monochrome version of the Sitina, which uses the same sensor but without the Bayer color filter array.

Photo: Wenting Zhang

Although CMOS has become the dominant sensor technology in consumer cameras, owing to factors like speed, lower power consumption and cost, Zhang's camera is built around a 10MP Kodak KAI-11000CM CCD sensor with a global electronic shutter, which he selected for a rather pragmatic reason: it was easy to source. "Most manufacturers (like Sony) aren't going to just sell a sensor to a random hobbyist, so I have to buy whatever is available on eBay. This 10MP CCD turned out to be available," he explains.

Zhang attaches the CCD sensor to his heat sink.

Photo: Wenting Zhang

The choice of sensor has a useful benefit. As he explains in one of his videos, designing and building a mechanical shutter is complicated and beyond his area of expertise, so his DIY design is based on using an electronic shutter. For similar reasons, he chose to use an LCD screen as a viewfinder rather than a prism-based optical design, resulting in a mirrorless camera.

Photo captured with the Sitina S1.

Photo: Wenting Zhang

Zhang wanted his design to be compatible with existing lenses. His mirrorless design, with a short flange distance, provided a great deal of flexibility to adapt different lenses to the camera, and he's currently using E-mount with active electrical contacts.

And that's just the start. Zhang also needed to integrate a CCD signal processor with an ADC (analog to digital converter), a CPU, battery, an LCD screen and buttons. He also designed and built his own circuit board with a power-only USB port, flash sync terminal, power button and SD card slot, and create the software and user interface to tie it all together.

In order to build his camera, Zhang had to design and print his own circuit boards.

Image: Wenting Zhang

Finally, everything fits inside a 3D-printed enclosure that, to my eye, looks rather attractive.

As for the camera's name, the Sitina S1? "I simply put the word 'silicon' and 'retina' together to form the word 'sitina'. I don't have any better ideas of naming the camera model, so I simply call it the 'Sitina S1', he explains. "But the name may change in the future if I ever have better ideas."

Zhang was kind enough to share some photos from his DIY 'for fun' camera.

Photos: Wenting Zhang

Now that he's built his own camera, Zhang has an appreciation for how much work goes into the design, development and optimization of a modern consumer camera. "I would imagine it would take an army of designers and engineers of various disciplines to build a modern consumer camera," he says. "There are so many different components but few 'off the shelf' parts."

"On top of the hardware, we still have layers of software. There's no standard camera operating system (like Android or Windows) so each vendor is developing its own OS. On top of the OS, you have image processing algorithms where each vendor probably has their own secret sauce for better color, lower noise, etc. I think it's quite incredible that camera vendors are able to do all these things in-house."

In this video, Wenting Zhang dives into the technical details of what's required to design a working camera.

Zhang is still working to address issues in his current prototype. "I think in another year or two it could reach a state where it can be a useable and useful camera. I do wish to sell the camera either as a kit people can put together or as an assembled machine. Not for profit, but so people can play with it, and my effort on this project won't go to waste."

If you're curious to learn more about how a camera is built, I encourage you to watch both of Zhang's videos in their entirety as he goes into great detail about the process. And, if you have the technical skills and interest to try this type of DIY project yourself, his open source project could be invaluable. I'll be the first to admit it goes beyond my level of engineering know-how, but I would be first in line to order a Sitina camera DIY kit if the opportunity arose.

Today, Fujifilm announced an upcoming firmware update for the X-H2, X-H2S, and GFX 100 II that's meant to improve the cameras' video capabilities.

In a YouTube video, the company says the update will improve the stability of autofocus subject tracking while shooting video. It's also adding support for Ambient's wired Lockit timecode synchronization devices and introducing a new F-Log2 C mode, which the company says will provide a much wider color gamut than the traditional F-Log2 that the cameras already had.

F-Log2 C uses a wider color gamut than the standard F-Log2.

The company says it's currently "considering further enhancements" and that people should stay tuned. There's clearly an appetite for more updates among Fujifilm users: currently, the video's comment section is essentially wall-to-wall people asking why the update isn't also coming to the X-T5 and the X-S20, and saying that they're still hoping for additional improvements to autofocus performance in those cameras' stills modes as well.

The updates for the X-H2, X-H2S, and GFX 100 II are expected to come out in November. We'll be sure to let you know when they're officially released and ready to be installed on your camera.

Today, Fujifilm announced an upcoming firmware update for the X-H2, X-H2S, and GFX 100S II that's meant to improve the cameras' video capabilities.

In a YouTube video, the company says the update will improve the stability of autofocus subject tracking while shooting video. It's also adding support for Ambient's wired Lockit timecode synchronization devices and introducing a new F-Log2 C mode, which the company says will provide a much wider color gamut than the traditional F-Log2 that the cameras already had.

F-Log2 C uses a wider color gamut than the standard F-Log2.

The company says it's currently "considering further enhancements" and that people should stay tuned. There's clearly an appetite for more updates among Fujifilm users: currently, the video's comment section is essentially wall-to-wall people asking why the update isn't also coming to the X-T5 and the X-S20, and saying that they're still hoping for additional improvements to autofocus performance in those cameras' stills modes as well.

The updates for the X-H2, X-H2S, and GFX 100S II are expected to come out in November. We'll be sure to let you know when they're officially released and ready to be installed on your camera.

Image: Fujifilm

Earlier today on its YouTube channel, Fujifilm announced that it will hold one of its X Summit events on October 14th at 9:00 AM ET (6:00 AM PT) at the CLAY Studio Tokyo. The company says the event will be focused on design, including product design and production engineering design.

The company says it will use the October event to "deliver new information" from a "design perspective." Historically, Fujifilm has used X Summit events to announce new products; this year, the company has used the events to unveil the X100 VI, X-T50 and GFX 100S II.

The company typically posts videos from its events on its YouTube channel.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 91%Overall scoreJump to conclusion Product Photos by Richard Butler

The Nikon Z6III is the company's third-generation full-frame mirrorless camera, bringing a faster 24MP sensor that boosts the autofocus and video capabilities of this stills/video hybrid.

Key specifications

• 24MP "Partially Stacked" CMOS sensor
• 14fps with mech shutter, 20fps e-shutter up to 1000 Raw files
• Up to 60fps JPEG in full resolution, 120fps with APS-C crop
• In-body image stabilization rated at up to 8.0 stops
• 5.76M dot EVF with high brightness and wide color gamut
• Fully articulated 3.2" 2.1M dot rear screen
• 6K/60p N-Raw video, 6K/30p ProRes Raw
• 5.4K/60p H.265 video
• Pre-burst capture, pixel-shift high-res mode

The Nikon Z6III is available at a recommended price of $2500. This is a $500 increase over the previous Z6 models but brings it into line with the likes of Canon's EOS R6 II and Sony's a7 IV, with which it directly competes.

Buy now:

$2496 at Amazon.com$2497 at B&H Photo$2497 at Adorama Index:

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

What's new 24MP "Partially Stacked" CMOS sensor

Nikon's image of the Z6III's sensor, showing the extensive readout circuitry above and below the sensor.

Image: Nikon

The sensor at the heart of the Z6III is responsible for much of what the new camera brings. Nikon uses the term "Partially Stacked" to suggest it has some of the performance benefits of the Stacked CMOS chips it uses in its Z8 and Z9 models, but without the associated cost.

Applying an additional layer of silicon at the edges of the chip allows its readout circuitry to be more sophisticated than it would be, were it fabricated as part of the sensor layer, enabling faster data handling.

The result is that the camera can read out its sensor fast enough to deliver full-width 6K video at up to 60p in N-Raw mode and an e-shutter flash sync speed of 1/60 sec. This means it must be able to read the entire sensor in less than 1/60 sec. This is around the same speed as the Canon EOS R6 II, but in 14-bit sensor readout mode, rather than 12-bit. It can shoot full-res JPEGs (presumably from 12-bit readout) at up to 50fps.

However, that e-shutter sync speed of 1/60th is around a quarter of the speed of true Stacked CMOS sensors and not a vast leap forward from the previous generation of sensors. It should improve AF performance and video capabilities but won't deliver the blisteringly fast performance of the likes of the Z8.

Improved AF

Along with the faster sensor, the Z6III also gains the autofocus improvements seen in Nikon's recent models, including 3D Tracking and subject recognition. The company says AF is up to 20% faster than it was in the Z6 II, and that the performance is comparable with the Z8 and Z9.

On top of this, the camera can focus at down to –10EV without you having to engage the Starlight AF mode (though it's worth noting that this figure is predicated on an F1.2 lens being attached). It also gains most of the subject recognition modes from the Zf, though lacks the dedicated bird detection mode that the Z8 and Z9 have recently gained.

Subject detection modes

• People
• Animals
• Vehicles
• Airplanes
• Auto

(Dogs, cats, birds)
(Cars, motorbikes, trains, airplanes, bicycles)

These all reflect a significant improvement over the Z6 II. The 3D Tracking system resembles those on Nikon's DSLRs: pick an AF point and the camera will follow whatever's under that point when you hold the shutter half depressed or the AF-On button. As soon as you release it reverts to your previously chosen position. Unlike the Z6 II's system you don't need to press a button to cancel tracking and it doesn't revert to the center.

But as well as this increased ease-of-use, the interface controls a much more effective and reliable tracking system that's much less likely to lock onto the wrong thing or just lose it completely (which was not uncommon, especially in movie mode, on the previous generation of cameras). Add to this the camera's ability to recognize a series of subjects near your chosen AF point and the Z6 III should be much quicker and easier to work with than previous mid-level Nikons.

Video

The faster sensor sees the Z6III's video capabilities gain a significant upgrade, compared with its predecessor. It's too soon for Nikon's purchase of cinema camera maker RED to have played into this camera's development, but it relieves any uncertainty around the inclusion of onboard capture of both N-Raw and ProRes Raw video formats.

All of the codecs offer both 4K and a higher-resolution capture mode, all of which use the full width of the sensor. The Raw modes offer 6K or 4K capture, while the gamma-encoded modes (ProRes 422, H.265, H.264) offer 5.4K or UHD 4K recording.

Codec Resolutions and max frame rates N-Raw 6K/60p
4K/60p ProRes RAW 6K/30p
4K/60p ProRes 422 5.4K/60p
UHD 4K/60p H.265 5.4K/60p
UHD 4K/60p H.264 UHD 4K/30p

Like the Z8, the Z6III includes shooting aids such as waveforms, zebras and focus peaking.

The Z6III also becomes the first Nikon to accept a line-level input over its mic socket. It's also compatible with Atomos' AirGlu, a Bluetooth-based Timecode sync system.

Additional functions

The Z6III also gains all the other functions that have been added to Nikon cameras since the launch of the Z6 II, including pre-burst capabilities and multi-shot high resolution modes.

It also has an image stabilization system that centers its correction on your chosen AF point. This is particularly valuable if you're focused in the corners of wide-angle shots, where the required pitch and yaw correction is significantly different from that needed at the center of the image.

In addition, like the Zf, the Z6III can use its subject recognition system even if you're in manual focus mode. This means that engaging magnified live view will punch in on your subject's eye, as you check focus, rather than you having to navigate around the scene to find it.

Finally, the Z6III will be compatible with a "Flexible Color" tool that will be added to Nikon's NX Studio software, which provides an enhanced set of color tools for creating custom Picture Control color modes to install on the camera.

Cloud access

The Z6III will be the first Nikon camera to use the Nikon Imaging Cloud service. This will fulfill a series of functions. At its most basic it'll be a service to which images can be uploaded and then sent on to other storage and social media services (rather than the camera itself having to know how to connect to multiple services).

It'll also be a source for "Imaging Recipes," which are camera settings intended for taking specific types of image, created with the help of Nikon's sponsored creators. There will also be "Cloud Picture Controls" presets that can be downloaded. This service isn't available yet, so we won't be able to assess its usefulness until it is.

How it compares

The $500 price hike brings the Nikon directly into line with the MSRPs of its two most comparable competitors: Sony's a7 IV and Canon's EOS R6 II. All three cameras are highly capable stills and video machines with strong AF systems. We've included the more expensive of Panasonic's DC-S5II models here because the 'X' version's video capabilities and price are closer to those of the Nikon.

Nikon Z6III Canon EOS R6 II Sony a7 IV Panasonic Lumix DC-S5II X Nikon Z6 II MSRP $2500 $2500 $2500 $2200 $2000 Sensor type "Semi-stacked" BSI CMOS Dual Pixel AF FSI CMOS BSI CMOS BSI CMOS BSI CMOS Resolution 24MP 24MP 33MP 24MP 24MP Maximum shooting rate 20fps (Raw)
60fps (JPEG) 40fps (12-bit Raw or JPEG) 10 fps (lossy Raw) 30fps (e-shutter)

14fps
10fps (14-bit Raw) Rolling shutter rate (ms) ∼14.6ms
(14-bit) ∼14.7ms
(12-bit) ∼67.6ms (14-bit) ∼51.3ms
(14-bit) ∼50.8ms (14-bit) Video resolutions

6K (Raw)
5.4K
UHD 4K

6K (Raw over HDMI)
DCI 4K
UHD 4K UHD 4K

6K
5.9K
5.9K (Raw over HDMI)
DCI 4K
UHD 4K

UHD 4K Uncompressed video N-Raw
ProRes RAW Over HDMI Over HDMI Over HDMI — Viewfinder res/ magnification/ eye-point 5.76M dot OLED/ 0.8x/
21mm

3.69M dot OLED/
0.76x/
23mm

3.68M dot OLED/ 0.78x/
23mm 3.68M dot OLED/
0.78x/
21mm 3.69M dot OLED/ 0.8x/ 21mm Rear screen 3.2" fully-articulated 2.1M dot 3.0" fully articulated
1.62M dot 3.0" fully articulated
1.04M dot 3.0" fully articulated
1.84M dot 3.2" tilting 2.1M dot Image stabilization Up to 8.0EV Up to 8.0EV Up to 5.5EV Up to 5.0EV
Up to 6.5EV with Dual IS 2 lens Up to 5.0EV Media types 1x CFe B
1x UHS II SD 2x UHS II SD 1x CFe A / UHS II SD
1x UHS II SD 2x UHS II SD 1x CFe B
1x UHS II SD Battery life EVF / LCD 360 / 390 320 / 580 520 / 580 370 / 370 360 / 420 Dimensions 139 x 102 x 74mm 138 x 98 x 88mm 131 x 96 x 80 mm 134 x 102 x 90mm 134 x 101 x 70mm Weight 760g 670g 659g 740g 705g

What the table can't capture is the subtle differences in performance between these models, which is increasingly what it comes down to, in this most competitive of classes. Our early impressions are that the Z6III matches the Canon and Sony in terms of autofocus tracking performance and usability, wheres the Panasonic lags a little and the Z6 II feels like it's left significantly behind.

Likewise the new Nikon and the Canon stand ahead in terms of video performance, as they offer faster video capture with less rolling shutter, especially compared with the rather slow Sony. We'll need to shoot the Nikon more to know whether it can outdo the Canon's video AF, which isn't the most dependable.

The stills stabilization figures do nothing to convey the smoothness of video stabilization, either, with the Panasonic doing particularly well in this regard. Increasingly, choice and availability of lenses will be the critical deciding factor for a lot of people.

Body and handling

The Z6III looks, at first glance, a lot like the existing Z6 and Z7 models, with a familiar low-height camera with significant hand grip and viewfinder hump extending from it. But if you put them side-by-side you find that the Z6III is a very different body, even if it uses the same styling cues.

It's a larger camera than its predecessors and heavier. However, it's much closer in size to them than it is to the Z8. It's wider and thicker but maintains a solid, comfortable grip. The button positions are essentially unchanged, compared to the previous cameras, with twin function buttons on the front and an AF joystick on the back.

Viewfinder The Z6III is a larger, heavier body than its predecessor, but the controls are essentially the same. The Playback and drive mode buttons have been swapped, but that's the most significant change. There's also a button on the top plate to illuminate the settings panel.

The Z6III becomes the first Z-series camera to move beyond the 3.69M dot panels used so far. It sees a jump to 5.76M dots but, more importantly, also gains a significant brightness boost. The panel can go as bright as 4000nits and can cover the DCI P3 gamut required for HLG.

You'll need to manually push it to its brightest setting to get this full brightness but it means the camera can represent true HDR capture when shooting in HEIF mode, and generally give a viewfinder that differs less in brightness, relative to the real world. It can be run at up to 120fps.

There's no viewfinder blackout when shooting bursts in electronic shutter modes, but the use of a mechanical shutter means it's present in most modes.

Articulated rear screen

The Z6III becomes the first in its series to gain a fully-articulated screen, rather than the tilting panels that the previous models have had. It's a 3.2" LCD panel with 2.1M dots.

The hinge is very close to the camera's (full-sized) HDMI port and only a little in front of the mic and headphone sockets, so expect it to be a little awkward to use if you've got a lot of things plugged into the side of the body.

Battery

The Z6III uses the same EN-EL15c battery as its predecessor, and is rated as delivering a similar number of images. In standard mode it is rated to give 390 shots per charge if used via the rear LCD, and 360 shots through the viewfinder. Move into power saving mode and these numbers increase to 410 and 380 shots per charge, respectively. As always, these numbers tend to significantly under-represent the number of shots most people will achieve. Getting twice the rated figure isn't unusual, and more if you shoot a lot of images as bursts.

The camera can be charged or powered over USB, but it seems to prefer high-powered USB-PD chargers, so it's worth checking that the 'CHG' lamp above the USB socket is illuminated, if you're expecting to come back to find your battery replenished.

A battery grip with vertical controls and space for two, hot-swappable, batteries has been created. The MB-N14 is backward compatible with the Z6 II and Z7 II. This grip displaces the internal battery, meaning you end up with two batteries in total. It has its own USB-C socket for charging the batteries even with the grip detached.

Image quality

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

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The Z6III's image quality is very good, with high levels of detail capture for a 24MP sensor. It exhibits a little more noise than its predecessor at moderate ISOs and this difference becomes more apparent at extremely high ISO, though the results are still comparable with its peers.

The JPEG engine doesn't quite pull out as much fine detail from its files as Sony's does, but again the results are definitely competitive. JPEG color is the usual, attractive Nikon result, with slightly over-pink Caucasian skintones but attractively yellow yellows. Noise reduction errs on the side of smooth, rather than trying to maintain very fine detail, with the difference becoming significant at very high ISO settings.

Pixel Shift

Like many modern cameras, the Z6III has a multi-shot pixel shift mode (or, arguably, two: one that just cancels the Bayer pattern, to boost color resolution in a 24MP image and a second to boost the spatial resolution, too). As with all cameras, these require a very steady tripod and completely static subject to get the best results, and in the case of the Z6III there's no motion correction to deliver some sort of result in less-than-optimal circumstances. In the case of the Z6III, the images must be combined using Nikon's free Capture NX software, which makes the process fairly quick and painless. The merged NEFX files can be opened with other software, including Adobe Camera Raw.

At present, even with a heavy, sandbagged tripod, our studio experiences too much vibration to use these modes to their full effect, so we can't test them to a degree we're satisfied with. This isn't a problem specific to the Z6III but does help illustrate the real-world limitations of such modes.

Dynamic range

As with other fast readout sensors, the Z6III exhibits slightly higher levels of electronic read noise, which becomes apparent as reduced dynamic range, with the deep shadows of the Raw files becoming unusable very slightly sooner. This is a direct trade-off for the Z6III's shooting and autofocus speed.

The question is, does this matter for your photography? Lower dynamic range doesn't necessarily imply a reduction in image quality of images as a whole, just that there's less scope for exploiting the deep shadows of Raw files, as you might when shooting sunrise or sunset landscapes, for instance. The Z6III's situation is not comparable with that of the Sony a9 III, though, where its higher base ISO brings a reduction both in dynamic range and in tonal quality across the whole image, not just the deep shadows.

Exposure Latitude | ISO Invariance

The Z6III's dynamic range limit is comfortably beyond what would typically be included in a JPEG, even with Active D-Lighting in full effect, so it's a drawback that will only become apparent if you're pushing your Raw files. By contrast, Canon's EOS R6 II has better dynamic range when shot using a mechanical shutter but worse when shot in e-shutter mode, and in e-shutter mode you may get to the point that you'd notice noisier shadows in the JPEGs if you have auto lighting optimizer and highlight tone priority engaged.

So the significance becomes question of what kind of shooting you do: if you want maximum Raw file flexibility for landscape work, you'd be better off with a Z7 II (for reasons of resolution, as much as DR). But for most people's shooting, the benefits of the Z6III's increased performance will be felt much more often than the noisier shadows of the base ISO Raws will become any sort of restriction.

Autofocus

The Z6III's AF interface will be familiar from previous models, with a selection of AF area modes ranging from a single point up to a mode that covers the entire scene and lets the camera select a subject.

In addition the Z6III gains the '3D' tracking mode that gives you a small AF box that you can position anywhere in the scene. Initiating autofocus causes the camera to track whatever is under that AF box, and releasing the shutter or AF-On button causes the box to revert to where you left it. It's the same behavior as Nikon's later DSLRs and is pretty much the default means of subject tracking across most modern cameras, so it's great that it has finally arrived in the Z6 series.

On top of this are the subject recognition modes that try to identify the chosen subject type. These honor the underlying AF area mode you've chosen, making it easy to select the subject you wish to focus on. This is especially useful when there are multiple potential subjects in a scene, though we found that sporting events are usually too complex for using the human detection modes, as the camera won't readily give up on one subject even when you want to switch to another.

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In our standard AF test, the camera did well. The above sequence was shot using the general 3D Tracking system. It a good job of sticking on them and keeping them pretty well in focus though as with a lot of cameras, it misjudges the acceleration as the subject comes out of the corner, leaving a few soft images.

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In Auto subject recognition mode, the camera does a better job at locking onto the subject's eyes, despite the cap and glasses making that job difficult. The AF point jumps around a lot less than in the general 3D Tracking mode, where the camera isn't trying to recognize the subject. However, the focus itself still shows a similar number of out-of-focus images as the rider's approach rate toward the camera changes. Generally, it's a very good performance, but it doesn't feel like it's up to the standard set by the Z8 and Z9.

Other subjects

The Z6III doesn't, as yet, have the separate (and more comprehensive) bird detection mode added to the Z8 and Z9, just the basic bird recognition algorithm that makes up part of Animal detection mode. This is likely to mean it's less good at recognizing birds in front of complex backdrops. Add to this the fact that there's no focus limiter option in the camera and we found that the camera could recognize birds but not always assess their distance at first. Essentially the camera needs to drive the focus to approximately the correct distance before its phase detection system can correctly judge how far away a subject is. Once it had set the focus distance to around the right point, it proved very good at tracking and focusing on birds in flight.

Video A headphone socket set back from the rear screen hinge and a full-sized HDMI port hint at how seriously Nikon is taking video in this camera.

The Z6III represents a major step forward for the Z6 series, in terms of video. The ability to capture internal 10-bit footage means that Log capture becomes much more usable than with the existing models. And there's a Raw capture option, which can be powerful if the benefits are worth the increased memory card demands and reduced choice of editing software that it brings (the gains to be had by shooting Raw video, rather than 10-bit Log are nothing like as significant as the differences between Raw and JPEG in stills).

But, just as important as the much-boosted capture options are the capture support tools. The addition of waveforms alone makes it much easier to correctly expose Raw and Log footage, which is just as significant as the ability to capture them.

On top of this, the Z6III's video autofocus is significantly more dependable than it was in previous Z6 cameras, particularly in terms of subject tracking. And while for stills the Z6III is competing with some very capable cameras, in terms of AF dependability for video, it's plausibly the best in class, as things stand.

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The camera's video is very detailed, both at its 4K and 5.4K settings, with 60p capture clearly showing the same levels of detail in both cases. There's some loss of detail (and we'd expect an increase in noise) if you crop in to the APS-C/DX region of the sensor, but again there's no further step-down in resolving power if you then choose to shoot at 120p.

Raw video is harder to interpret, as it hasn't had the same level of noise reduction, sharpening or contrast applied to it. The bigger issue here is that the ProRes RAW format (which is more widely supported) doesn't appear to include the necessary lens correction profiles, which risks throwing a spanner in your workflow. Conversely, Nikon's own N-Raw format understands and implements these corrections but is only supported by DaVinci Resolve, which could be a problem if it's not the NLE you favor or are familiar with. Unlike Canon, Nikon hasn't created a plugin to expand its compatibility.

Rolling shutter is very well controlled in all modes, thanks to the Z6III's relatively quick sensor, with a readout of around 9.5ms in all the full-frame modes (6K, 5.4K and 4K, 60, 30 or 24p), and 6.3ms in APS-C mode, which is essentially the same readout speed but reading a smaller area.

Video dynamic range

Shot side-by-side, we found the Nikon's base ISO N-Log footage to be a little cleaner than that of the Canon EOS R6 II, with noise overwhelming the shadows around 11 stops below clipping, if using the Nikon/RED Filmbias LUT and with the Canon graded to match it. The Nikon falls behind as you raise the ISO but then catches up to the Canon again at ISO 6400 (ie: three stops above base ISO), where it switches over to using the higher gain step of its sensor.

If you really push the Raw or Log footage, you may see a strange pulsing in the very very dark areas of the footage, but these appear to be at levels where the Canon too is overwhelmed by noise, so it seems to mainly be a problem if you're pushing beyond the limits of what this type of camera can do. In general, the Z6III seems to be a very capable video camera.

Conclusion Pros Cons

• Very good image quality
• Well-honed ergonomics and handling
• Bright, large, high-res viewfinder for its class
• Fast burst rates, timelapse, focus stacking and pixel shift modes give significant extensibility
• Good autofocus tracking with auto subject recognition mode
• Extensive choice of video resolutions and codecs
• Wide array of video support tools including waveforms
• Fairly dependable AF tracking in video mode
• Reasonable battery life
• Simple, reliable smartphone connection
• USB charging or power

• Peak dynamic range lower than peers
• Strange pulsing effect in deep shadows in video mode
• N-Raw video format has limited support
• ProRes Raw makes lens correction difficult
• Lacks the traditional Nikon AF mode button or switch on front corner
• Nikon controls 3rd-party lens options

The Z6III represents a significant step up for the Z6 series. Its price hike puts it into line with its rivals from Canon and Sony but the same it true of both its specifications and performance. Up until now, the Z6 series have been competitive cameras with size and control layout counting in their favor; with the Z6III it starts to look like the model others need to catch up to.

Most of this comes down to its new sensor with the faster, more sophisticated readout circuitry stacked along its edges. This, combined with processing and AF systems developed in the top-end Z9, turns the Z6III into a genuine do-anything camera to rival Canon's EOS R6 II. It's autofocus isn't quite as confidence-inspiring as the excellent Z8, but it's a big step forward for the Z6 series, making it competitive for its class.

The Z6III is a much more capable action camera than its predecessor.

Nikkor Z 70-200mm F2.8 @ 77mm | F2.8 | 1/1250 | ISO 110
Photo: Richard Butler

The cost of this added speed and capability is a reduction in dynamic range (at base ISO, where it's highest and matters most). For most applications, this won't have any impact at all: the Z6III has more dynamic range than most people use for most of their images. But for users that shoot high dynamic range scenes, such as sunrise or sunset scenes, this limitiation to Raw file flexibility is worth being aware of.

For most users, gaining a camera that meaningfully supports a vast range of photography, from casual social photography to sports, studio to wildlife and just about everything in between, this will be less of a concern.

The Z6III is also a significantly improved video camera, not just in terms of higher-quality output and lower rolling shutter but also in the provision of class-leading AF dependability and video support tool set. However, just as in stills, the increased read noise of the sensor becomes apparent in the deep shadows: this time as pulsing noise if you push the Raw or Log footage too far.

Nikkor Z 24-70mm F2.8 S @ 59mm | F8.0 | 1/500 | ISO 100
Photo: Richard Butler

In our use and testing, we believe the benefits brought by the Z6III's sensor across a wide range of photography outweigh its higher read noise that only has a meaningful impact in a narrow range of circumstances. But we want to make sure that the trade-off is understood

Overall, even with these issues lurking in the shadows, the Z6III is not just comfortably the best Z6 model yet but, with the breadth of its capabilities, it's also the most all-round capable camera in its class. From the basics such as its well worked ergonomics and high-res viewfinder through to its fast shooting, excellent AF, great video and extensive support tools, it's a camera that will rise to almost any challenge you set it. It comfortably earns our Gold award.

Scoring

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

Nikon Z6IIICategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Nikon Z6III is a significant upgrade to Nikon's mid-priced enthusiast full-framer. It's faster at shooting, has much improved autofocus and captures much more impressive, flexible video. The Raw files can't be pushed quite as hard as the previous models' could, but it's a better camera in every important regard. At the point of review, it's Nikon's first class-leader in this category. A do-everything camera that does a lot of things very well.Good forA very broad range of photo and video pursuitsNot so good forLandscape work and shooting that needs maximal DR capture.91%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"nikon_z6iii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared with its peers

Overall there's little to separate the Nikon Z6III from the Canon EOS R6 II, in most circumstances there'll be no meaningful IQ difference between the two and they're both good to shoot with. The Nikon's maximum burst rate is slower but it has a nicer viewfinder, offers Raw video and waveforms, and has more dependable AF in video mode. But if either system offers a lens that you really want, that's probably more significant than any of the differences between the cameras bodies.

It took a couple of generations, but Canon and Nikon's mirrorless offerings are making life hard for the Sony a7 series. The a7 IV has a resolution benefit over the Z6III but it no longer has anything like such a convincing autofocus advantage. The 33MP sensor isn't as strong for video, making it the weakest all-rounder of the bunch. That said, Sony's more open approach to third parties means the E-mount gives much more choice than the Z mount can, and Sony's own lens team has been on something of a roll, of late.

The Panasonic Lumix S5II X is the least expensive model in this group but looks a little off the pace. Image quality from its 24MP sensor is very good and the L-mount has more lens options than Nikon has amassed (/allowed). But, even with the arrival of phase-detection, the S5II X's autofocus is a generation behind the performance we're seeing from Canon, Nikon and Sony. Its older, slower sensor and the advances other brands have made in terms of video tools and capabilities mean it no longer stands out for video, either. It's alone in this group in letting you record video to an SSD over USB and its built-in fan makes it more dependable, but there's no option for Raw capture (you'll need an external recorder) and you have to drop to APS-C to shoot 4K/60p.

The Nikon Z6 II is still an interesting choice, at its currently reduced price. You lose a lot, relative to the III: speed, autofocus, video capabilities, viewfinder resolution... It's a less good camera in just about every way. Except the things that really, really matter: image quality and ergonomics. If your photography isn't especially demanding in these regards, then at its discounted price, it looks like an interesting, relatively affordable route into the Z-mount system.

Buy now:

$2496 at Amazon.com$2497 at B&H Photo$2497 at Adorama Sample gallery

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

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Pre-production sample gallery

All images taken using a pre-production Z6III, from which we can only publish the out-of-camera JPEGs.

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When you use DPReview links to buy products, the site may earn a commission. Images: Nikon (Red cinema camera) and DPReview (Nikon Z6 III)

Nikon has announced a deal to provide the University of Southern California School of Cinematic Arts with various cameras and lenses, including Red Komodo and Komodo X digital cinema cameras, Nikon Z6 III mirrorless cameras, and Nikkor lenses.

While the announcement is largely a marketing exercise, it's also an interesting strategic step for Nikon. Prior to its acquisition of Red Digital Cinema earlier this year, Nikon didn't have an established presence in the Hollywood filmmaking community, unlike competitors Sony, Canon, and Panasonic. Working directly with film schools offers the opportunity to connect with future filmmakers at the early stages of their careers and to introduce Nikon-branded equipment to the next generation of filmmakers, including directors and directors of photography.

The decision to collaborate with USC's film school is particularly significant. Situated in Los Angeles, at the center of the US entertainment industry, the USC School of Cinematic Arts has well-established connections with major studios, industry leaders, and production companies and serves as a significant source of talent for the industry. Many of its graduates, such as George Lucas, Ron Howard, and Robert Zemeckis, have become influential figures in Hollywood.

Given that many students may not have the chance to work with advanced cinema cameras right away, the inclusion of Nikon Z series cameras and Nikkor lenses could help establish the idea that Nikon’s cameras are credible filmmaking tools – something that's likely to become even more evident as the two companies share product integration and technology development.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 85%Overall scoreJump to conclusion Product photos: Richard Butler

The Sony ZV-E10 II is the company's second-generation APS-C vlogging ILC. It brings a new sensor and larger battery, along with improved video specs.

Key features:

• 26MP APS-C BSI CMOS sensor
• Full-width 4K at up to 30p
• 4K/60p from a 1.1x crop (5.6K capture)
• 10-bit video capture
• S-Cinetone color mode and 'Creative Look' options
• Imports LUTs for previewing, embedding or applying to S-Log3 footage
• Three-capsule mic with automatic directional focus option
• No mechanical shutter

The Sony ZV-E10 II has a recommended price of $999 body-only or $1099 with an updated 16-50mm F3.5-5.6 OSS II retracting power zoom. These prices represent a $300 increase over the original version. The ZV-E10 II is available in black or white. The white version comes with a silver version of the 16-50mm PZ that isn't to be sold separately.

Buy now:

$998 at Amazon.com$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama Index:

• What's new
• How it compares
• Body & handling
• Video Quality
• Image Quality
• Conclusion vlog
• Specifications
• Press Release

What's new New sensor

The ZV-E10 II uses the same 26MP BSI CMOS sensor we've seen in the a6700 (and the pro-video FX-30). It's a much faster sensor than the one in the previous version of the camera, and is able to deliver 4K video at up to 60 frames a second, where the previous version had to crop-in to shoot at 30fps, meaning it showed significant rolling shutter in its 4K modes.

10-bit video

The ZV-E10 II also gains a newer processor, allowing the camera to capture 10-bit video. This allows it to record Log footage with plenty of precision, which allows greater flexibility when grading color and tone. It also means the camera can capture true HDR footage for playback on HDR phones and TVs.

All the camera's 4K modes are taken from oversampled capture: 6K for modes up to 30p and 5.6K (with a 1.1x crop) for the 50 and 60p modes. There's no in-body stabilization in the camera, so digital stabilization applies a further 1.33x crop, meaning the 16-50mm kit lens ends up giving a 32mm equiv field of view, at its widest, if you want to use more than just the lenses' optical shake correction, and 35mm equiv in the high framerate modes.

Updated features The ZV-E10 II has the newer Bionz XR processor, rather than the 'X' of its predecessor. As part of this update it gains a UHS-II compatible SD card slot.

The ZV-E10 II doesn't include Sony's 'AI processing unit' but includes some of the latest subject-recognition algorithms, we're told. It also gains the focus breathing compensation function that, with recognized Sony lenses, crops in to the narrowest effective field of view then progressively adjusts the crop and scaling to maintain consistent framing as the focus distance changes.

The ZV-E10 II also has the CineVlog mode from the ZV-1 Mark II, which gives a widescreen 2.35:1 look with baked-in black bars top and bottom and shoots at 24p. Onto this various 'Looks' and 'Moods' can be applied, to give a stylized appearance to your footage.

There's no sign of Sony's Auto Framing modes, though, so you can't set the camera on a tripod and let it crop-in and follow your subject around the scene, nor set a subject's position in the frame and have it crop to maintain that positioning, as you're filming yourself at arm's length.

Larger battery

The ZV-E10 II now uses Sony's larger NP-FZ100 battery, allowing it to record for much longer. Sony did not disclose battery figures prior to launch, but the FZ100 has always made cameras much more usable than the smaller FZ50 used by the original ZV-E10.

Updated kit zoom

The ZV-E10 II typically comes bundled with the Sony E PZ 16-50mm F3.5-5.6 OSS II, a refreshed version of its compact, retractable power zoom. The version II gains the ability to focus while zooming, helping to keep your subject in focus if you change the focal length while recording, and also communicates information to help the camera's stabilization efforts.

In principle, the lens can focus fast enough to work with 120fps shooting, in the unlikely event anyone ever attaches it to an a9 III. However, Sony has not made any changes to the optical design of the lens, which we've never been particularly impressed by.

How it compares

We've chosen to compare the ZV-E10 II to its predecessor, Nikon's Z30 that aims to offer something very similar, and to the a6700, to see what differences exist between Sony's vlogging model and its enthusiast stills/video option. The other obvious competitor in this space is Panasonic's DC-G100, which again offers a clever mic setup and front-facing screen for vlogging. However, its substantial crop in 4K mode makes it less well suited to high-res vlogging than the other cameras listed here, so that's the one we've omitted for reasons of space in the comparison table.

Sony ZV-E10 II Nikon Z30 Sony ZV-E10 Sony a6700 MSRP $1099 w/ 16-50mm OSS II $849 w/ 16-50mm VR $799 w/ 16-50mm OSS $1499 w/ 16-50mm OSS Resolution 26MP 21MP 24MP 26MP Mech shutter No Yes Yes Yes Image stabilization Digital only Digital only Digital only IBIS rated to 5.0 EV 4K video rates
(crop factor) UHD/60 (1.1x)
UHD/30
UHD/24 UHD/30
UHD/24 UHD/30 (1.23x)
UHD/24 UHD/120 (1.58x)
UHD/60 full-width
UHD/30 full-width Video bit-depth 10-bit 8-bit 8-bit 10-bit Rear screen 1.04M dots fully articulated 1.04M dots fully articulated 0.92M dots fully articulated 1.04M dots fully articulated Viewfinder None None None 2.36M dot
0.7x mag Number of dials 1 main, 1 rear 2 main 1 main, 1 rear 2 main, 1 rear Mic / Headphone sockets Yes / Yes Yes / No Yes / Yes Yes / Yes USB 3.2 Gen 1 (5Gbps) 3.2 Gen 1 (5Gbps) 3.2 Gen 1 (5Gbps) 3.2 Gen 2 (10Gbps) SD slots 1x UHS II (side) 1x UHS-I (base) 1x UHS-I (side) 1x UHS-II (side) Video battery life, CIPA, min
Cont. / Actual 195 / 130 85 / 125 / 80 185 / 100 Dimensions 121 x 68 x 54mm 128 x 74 x 60mm 115 x 64 x 45mm 122 x 69 x 75mm Weight 377g 405g 343g 493g

Perhaps the biggest benefit of the ZV-E10 II over the original is the faster readout of its sensor. The mark 1 exhibited a lot of rolling shutter in 4K/24 mode and had to crop in to deliver 4K/30; by contrast, the new camera can shoot at 4K/60 using most of the sensor, meaning it's over twice as quick as its predecessor.

It's worth noting the differences, compared with the more expensive a6700, too. The a6700 has a viewfinder, in-body stabilization, twin control dials on its top plate and a mechanical shutter, and is able to shoot 4K/120 if you can live with a substantial 1.58x crop. These are all omitted from the less expensive, more influencer-focused ZV-E10 II.

Body and handling

The ZV-E10 II's body is impressively small: it looks like an early Sony NEX model and is recognizably more compact than the a6700.

The downside of this is that the controls and operation also feel more like an NEX model, rather than one of Sony's latest cameras, if you attempt to shoot stills with it. Unlike the twin dial a6700, there's only a single top-plate dial on the ZV-E10 II and an awkward, fiddly rear-face dial that we've been trying to avoid having to use on Sony cameras for more than a decade, now.

The interface is primarily touchscreen-based, allowing direct operation while you're holding the camera to face you. There are also dedicated buttons both for Bokeh mode (which opens the aperture up to a value that can be adjusted in the menu) and Product Showcase mode that tells the camera to prioritize nearby objects over face detection. Both buttons can be customized to perform other functions, if you prefer.

The ZV-E10 II is the first Sony to rotate its interface display when you rotate the camera, to make vertical video capture easier.

The ZV-E10 II has both headphone and mic sockets, along with a 5Gbps USB-C port that can be used to stream up to 4K/30 video when acting as a webcam. There's also a micro HDMI slot.

We didn't find the ZV-E10 II the easiest camera to hold, if we were facing towards it, to vlog, so we suspect the optional vlogging handle/table tripod with its Bluetooth-connected controls, will be really valuable. Trying to hold the camera at arm's length without it just meant worrying about accidentally starting or stopping recording, and constantly nudging the zoom rocker on the lens and not being able to reverse the effect without stopping recording and bringing the camera back into two hands to push the zoom back out to wide-angle.

Battery

The use of the larger NP-FZ100 battery sees the battery life rating jump from the 440 shot-per-charge rating of its predecessor to 610 shots, using the standard CIPA testing methods. As always, these numbers underestimate the number of shots many people get, so double this number is entirely plausible.

For a vlogging camera, we'll also quote the CIPA video figures, which are 195 minutes of recording if just left to run (assuming you don't run out of card space or overheat before then), and 130 minutes using the CIPA "Actual" shooting duration test, which involves more stop/start recording, zooming of the lens and turning the camera on and off. Both are based on FullHD capture, not 4K.

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

As with the a6700, the ZV-E10 II's oversampled 4K mode provides a good level of detail, especially compared to subsampled video modes on cameras like the X-T50. While its 4k/60p mode does come with a crop, it should be more than detailed enough for its target vlogging audience.

Video Capture Options

The ZV-E10 II offers a huge variety of video options, arguably to the point where it may become confusing to beginners looking to use it as their first dedicated camera.

Resolution Codec Compression type Bit-depth X-AVC HS 4H 3840 x 2160 H.265 Long-GOP

10-bit

X-AVC S-I 4K H.264 All-I 10-bit X-AVC S 4K Long-GOP 10-bit
8-Bit X-AVC S-I HD 1920 x 1080 H.264 All-I 10-bit X-AVC S HD Long-GOP 10-bit
8-bit

Shooting in H.265 gives you a good balance between quality and file size, but older computers without dedicated decoding hardware will struggle when trying to edit the files. Using H.264 instead will come at the cost of larger file sizes but make it even easier to edit; the same is true of the All-I modes, but you'll need an especially fast V90 SD card to use it.

Rolling Shutter

You'll still see rolling shutter in a worst-case scenario, like with this large truck passing close to the static camera, but it shouldn't be a concern for most shooting situations.

Shot at 4K/24p.

Image: Mitchell Clark

The original Sony ZV-E10 had notable issues with rolling shutter performance, exhibiting a jello-like effect whenever you panned or pointed your camera at a fast-moving subject. That was especially true when shooting in 4K. Thankfully, the effect is much less pronounced with the ZV-E10 II, thanks to its much faster sensor readout times.

Video Mode Readout Rate

4K/60p

16 ms

4K/24p

17 ms 1080p/24 7 ms

While extreme cases like the one illustrated above will still exhibit some rolling shutter effect, it's no longer much of a concern for everyday shooting.

Overheating

The manual for the ZV-E10 II warns that, by default, the camera can only record around 5 minutes of 4K footage before overheating in ambient temperatures of 25°C (77°F). Our tests found that to be accurate. However, setting the 'Auto Power OFF Temp' to 'High' allows you to record for much longer.

During our tests, shot indoors at an ambient temperature of 23°C (73°F) and recording 4K/60p at the maximum 200M 4:2:2 10-bit quality, the camera overheated in an hour and 17 minutes with 'Auto Power OFF Temp' set to high. Shooting 4K/60p at the lowest quality, 45M 10 bit 4:2:0, the camera held on for an hour and 53 minutes.

That time will be drastically lowered if you don't change the 'Auto Power Off Temp' setting or if you're shooting outdoors in direct sunlight. If you're indoors, you likely won't have to worry about the camera overheating in all but the most marathon of shooting sessions.

Image Quality

Edited to taste in ACR.

Sony E PZ 16-50mm F3.5-5.6 @ 50mm| ISO 100 | 1/1250 sec | F5.6

Photo: Mitchell Clark

While the ZV-E10 II isn't really set up to be a stills camera, it's still capable of taking some excellent photos thanks to the sensor it shares with the Sony a6700. It produces pictures that have plenty of detail and colors that are vibrant without being aggressively unnatural. However, the lack of any mechanical shutter means you risk subject distortion with fast-moving subjects, and will be limited in your ability to shoot with flash.

It can also shoot Raw, and the files it produces give you a lot of flexibility to push and pull shadows. And while the lack of a mechanical shutter can sometimes come with a dynamic range hit, in our tests the ZV-E10 II performed similarly to the a6700 that it borrows its sensor from. Unlike its predecessor, it is capable of recording lossless – but still compressed – Raws, which give you a touch more leeway when editing versus lossy compressed Raws while still providing some space-saving benefits.

Click here to view the ZV-E10 II studio scene

Conclusion

By Mitchell Clark

As with our initial review, we've shot the bulk of our review and a conclusion as a vlog, using the ZV-E10 II. Our classic scorecard and comparison to competitors will be below.

Pros Cons

• Has a robust set of video settings and features
• Beginner-friendly modes like background defocus and Intelligent Auto
• Detailed 4K video, even at 60p
• Good rolling shutter performance
• Touchscreen vlogging interface is good when you're actually vlogging
• Included wind sock is a nice touch

• Ergonomics aren't the greatest when you're trying to film yourself without a handle
• No built-in ND and IBIS, which would be great for on-the-go vloggers
• Screen can be difficult to see in direct sunlight
• Touchscreen controls can be fiddly for photography and make the screen busy when you're composing a shot
• It's not a stills camera

Overall, the ZV-E10 II can produce great 4K footage, especially when you're shooting in a controlled environment. For those looking to film themselves in their office or studio, its best-in-class autofocus and beginner-friendly modes and features make it a great step up from a smartphone.

However, if your vlogging style is more dynamic with a lot of handheld shooting outside, it may not be the best choice; it doesn't have the auto-framing or built-in ND of the ZV-E1, nor does it have the stabilized sensor of the a6700. That means you'll have to keep yourself in frame and keep the camera stable. If that's the kind of video you want to make, it may be worth looking outside the ILC ecosystem and considering the DJI Osmo Pocket 3; it won't give you the same image quality due to its smaller sensor, but its built-in gimbal will give you a smoothness that sensor stabilization and optical image stabilization alone can't match.

One point especially bears repeating: the ZV-E10 II is not built for taking stills; it may share a sensor with the a6700, which is an excellent stills camera, but if you buy it hoping to get the same photo performance at a lower price, you'll be sorely disappointed. The lack of a viewfinder can make it quite difficult to compose shots in direct sunlight, and the exclusion of a mechanical shutter means you have far fewer options when shooting flash, and you'll have to worry about rolling shutter when shooting fast-moving subjects. The single-dial controls mean you'll often have to reach for the touchscreen to adjust your settings, and its interface is simply not laid out in a manner that makes sense for photography.

Buy now:

$998 at Amazon.com$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama Scoring

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

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Compared to its predecessor, the Sony ZV-E10 II is a much more capable and usable camera for video. It has better controls – it now uses a three-way switch to control whether you're in photo, video, or slow/quick mode rather than a button – Sony's updated menu system and a faster sensor that substantially reduces rolling shutter and allows for 4K/60. The upgrade from 8-bit video to 10-bit is also a big win, as is the larger battery. It'd be hard to recommend that anyone buy the ZV-E10 now that the II exists.

Compared to the Nikon Z30, the ZV-E10 II's advantages are largely similar to its advantages over the original ZV-E10 with regards to bit-depth and 4K/60p. It also has a headphone jack for easy audio monitoring, and a Log recording mode, all of which the Nikon lacks. Finally, there's lens selection. If you want to upgrade from the 16-50mm kit lens, there aren't really any fast, wide-angle zooms available for Nikon Z mount that would make sense for the Z30. And while Sony makes a few F4 zooms that could be a decent match for the ZV-E10 II, the best upgrade would probably be your choice of Sigma's F2.8 wide-angle zooms, which are available for E-mount, but not for Nikon's system.

The Sony a6700 is an extremely capable camera that should at least be on the radar of anyone considering the ZV-E10 II. It's designed as a stills camera and thus has the EVF, second front control dial, and mechanical shutter the ZV-E10 II lacks. For vloggers, it has the same background defocus and product showcase features but adds in-body image stabilization, 4K/120p recording, auto-framing, and subject detection settings for insects, cars, trains and airplanes. However, those extra capabilities come at a cost: it's 116g heavier and has a $400 higher MSRP.

Buy now:

$998 at Amazon.com$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama Sample Gallery

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

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The Xiaomi 14T Pro includes a triple-camera system co-engineered with Leica featuring Summilux-branded lenses.

Image: Xiaomi/Leica

Xiaomi has announced its newest smartphones co-engineered with Leica, the Xiaomi 14T and 14T Pro. It also announced that the Mix Flip, a foldable phone announced earlier this year, will be introduced to the "global market." (We are seeking clarification about whether this includes North America.) All three models feature camera systems with Leica-branded Summilux lenses.

Xiaomi 14T Pro

The Xiaomi 14T Pro features a triple-camera system. Its main camera is built around a 23mm equivalent F1.6 lens in front of a 50MP Type 1/1.31 sensor (9.2 x 7.8mm). It includes optical image stabilization. The companies call this a "4-in-1 Super Pixel" sensor, which we're assuming is their branding for the QuadBayer/TetraCell concept.

According to Leica and Xiaomi, the main camera captures 32% more light than its predecessor. This is despite a slight reduction in sensor size and comes from the move from an F1.9 lens on the 13T Pro to an F1.6 lens on the new camera.

The 14T Pro's other camera modules include a 15mm equiv. ultra-wide F2.2 camera with 12MP resolution and a 60mm equiv. F2 telephoto camera with a 50MP 'Super Pixel' 4.9 x 4.2mm sensor. Despite the longest lens being 60mm equivalent, the companies claim the camera system delivers "five different focal lengths from 15mm to 120mm."

Interestingly, the companies name the combined camera systems as if they were a single lens, giving the "LEICA VARIO-SUMMILUX 1:1.6-2.2/15-60 ASPH."

The Xiaomi 14T

Image: Xiaomi/Leica

Xiaomi 14T

The Xiaomi 14T also features a triple-camera system with a 23mm equiv. main camera module. Like the 14T Pro, it has a 50MP Super Pixel design but uses a smaller Type 1/1.56 sensor (7.7 x 6.5mm) and has a slightly slower F1.7 aperture. It also includes optical image stabilization.

The other camera modules on the 14T include a 15mm equiv. ultra-wide F2.2 camera with 12MP resolution and a 50mm equiv. F1.9 telephoto camera with a 50MP Super Pixel sensor. The companies claim the 14T's camera system delivers "five different focal lengths from 15mm to 100mm."

Again, the combined capability of the system is named in traditional Leica style, as if it were a single lens: LEICA VARIO-SUMMILUX 1:1.7-2.2/15-50 ASPH.

Both 14T models include 6.67" AMOLED displays with a refresh rate of 144Hz, 100% DCI-P3 coverage and a peak brightness of 4000 Nits. They can capture video up to 8K/30p or 4K/60p and include 10-bit HDR support using the Rec. 2020 color space and Log video capture.

The Xiaomi Mix Flip, introduced earlier this year, will now be available "globally," according to the company.

Image: Xiaomi/Leica

The Mix Flip is Xiaomi's first vertically foldable phone co-engineered with Leica and includes a dual-camera system. Its main camera consists of a 23mm equiv. F1.7 lens and a 50mm Super Pixel Type 1/1.55 sensor (7.7 x 6.5mm). A telephoto camera features a 47mm equiv. 'floating' lens that facilitates focus as close as 9cm (3.5"); the telephoto camera uses a 50mm Type 1/2.61 Super Pixel sensor (4.7 x 4.0mm).

According to Xiaomi, the 14T will retail for €649 and the 14T Pro for €799. The Mix Flip has a retail price of €1299. The company says the Mix Flip will be available "globally," but no details are given about availability in the US.

Press release:

Xiaomi and Leica Camera AG present the Xiaomi 14T series with Leica optics

With the Xiaomi Mix Flip, their first co-engineered foldable smartphone is coming to Europe

Wetzlar, Germany, September 26th, 2024 – Xiaomi and Leica Camera AG are introducing the newest member of their co-engineered family today: the Xiaomi 14T series. It is made up of two models, the Xiaomi 14T and the more powerful Xiaomi 14T Pro, each of which is designed to fulfil different user requirements. Both have a triple camera system with Summilux lenses, which have been developed in collaboration with Leica. Also, with the Xiaomi Mix Flip, the first co-engineered foldable smartphone is being launched on the European market. The Xiaomi 14T series and the Xiaomi Mix Flip are available to buy today in Europe.

The Leica Summilux lens for the Xiaomi 14T series features a large aperture and offers excellent optical performance. It creates captivating images thanks to its excellent color rendering, strong contrast and high resolution, whereby the most minute details can be captured even in difficult lighting conditions.

The ideal camera to meet any demand

The Xiaomi 14T Pro is equipped with a versatile triple camera system sporting five different focal lengths from 15 mm to 120 mm. It has a 50-megapixel Leica main lens, a 50-megapixel Leica telephoto lens and a 12-megapixel Leica ultra wide-angle camera. The advanced 50- megapixel main camera amazes with its fast ƒ/1.6 Leica Summilux optics. This sensor, which captures 32 percent more light than its predecessor, ensures brilliant, detailed shots with a high dynamic range even in difficult lighting conditions. The five focal lengths provide

maximum flexibility in response to a variety of photographic challenges – from portraiture to panoramic shots. This makes the Xiaomi 14T Pro the ideal tool for discerning users who refuse to compromise on picture quality.

The Xiaomi 14T is the ideal choice for anyone who is looking for first-class camera performance in a compact and more affordable device. Equipped with a 50-megapixel main camera, co- engineered with Leica, the Xiaomi 14T captures impressive photos in all lighting conditions. While the ƒ/1.7 aperture and IMX906 sensor ensure sharp, vibrant images, the triple camera system with focal lengths from 15 to 100 mm offers a wide range of options for snapping perfect pictures.

The Xiaomi 14T series doesn’t only put in a convincing photographic performance, it also features many professional video functions. In combination with Leica lens technology, the advanced video modes enable film-like recordings with effects like cinematic blur and rack focus. The 10-bit Rec. 2020 format provides HDR support, ensuring excellent resolution of details and an extensive dynamic range.

Peak performance

In addition to the advanced camera features, the Xiaomi 14T and Xiaomi 14T Pro also boast impressive technical specifications. Both devices are equipped with a 6.67-inch CrystalRes AMOLED display reaching 1.5k resolution (2712 × 1220) and a maximum refresh rate of 144 Hz. This display will take your breath away with its brilliant, precise colors thanks to 100% DCI-P3 color space as well as a maximum brightness of 4000 Nits, which enables excellent visual rendering both indoors and outdoors.

Inside the Xiaomi 14T Pro, the performance of the multicore CPU has been improved by 37 percent and GPU by 44 percent compared to its predecessor thanks to the MediaTek Dimensity 9300+ processor. This makes it ideal for users expecting top performance across all areas, be it gaming, multimedia or demanding AI applications. The Xiaomi 14T is powered by the MediaTek Dimensity 8300 Ultra processor, which effectively balances performance with energy efficiency. Thanks to a CPU that is 20 percent more powerful than its predecessor and a GPU that is 60 percent more powerful, it provides a seamless user experience.

Both models feature a high-performance 5000 mAh rechargeable battery, which enables fast charging. With 120 W HyperCharge, the Xiaomi 14T Pro can go from zero to maximum power in just 19 minutes. It is also the first T-model to support wireless charging at up to 50 W. The Xiaomi 14T is also enabled for 67W HyperCharge, so it can be charged in next to no time, too.

Xiaomi Mix Flip: The first Leica Summilux lens in a foldable format

The Xiaomi Mix Flip is the company’s first vertical foldable format to be co-engineered with Leica. Equipped with a Leica Summilux lens and the Light Fusion 800 sensor, the main camera also features the world’s first Leica 47mm floating telephoto lens on a flip smartphone. This innovative telephoto lens moves a group of lens elements within the camera to enable a focus range from 9 cm to infinity, making it ideal for breathtaking close-ups as well as longshots. The camera’s telephoto-macro capabilities can be used to reveal impressive details in the smallest of spaces. The second camera is a 50-megapixel telephoto zoom camera with a lens that is equipped with 2x lossless magnification.

The compact design, ample outer display and foldable format open new possibilities for photography: even when closed, photos can be captured and videos created thanks to its large outer display and two Leica lenses. The “hover mode” means you can leave your tripod at home and is ideal for group photos, videos and time lapse photography.