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Meike 55mm F1.4 APS-C, a $200 autofocus lens that promises bang for the buck
Meike Global has released its first APS-C lens for Fujifilm, Sony and Nikon cameras. The new 55mm F1.4 targets photographers looking for a fast prime lens. At $200, the lens could be a sound budget alternative to similar lenses available on the market.
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$200 at B&H Photo$200 at MeikeThe 55mm F1.4 uses 11 elements in 8 groups and has nine aperture blades. It has a minimum focusing distance of 0.6m (23.6”) and weighs 286g (10.1oz). Along the barrel, there is an AF/MF switch, a manual focus ring and an aperture ring. Meike has included a USB-C port at the rear of the lens, which it says will be used to install future firmware updates.
The $200 asking price is notably cheaper than other fast, APS-C prime lenses around the 55mm focal length.
Image: MeikeMeike’s 55mm lens has a de-clicked aperture ring, which may present an issue for users seeking a tactile response or greater precision. Meike also confirmed to DPReview that the lens isn’t weather-resistant, which may not be a surprise at this price point, but it’s good to know exactly what you’re buying.
Another consideration: although the company has a large catalog of manual focus lenses, this is only the Hong Kong-based manufacturer's fifth autofocus lens. This isn’t necessarily a bad thing, but it’s good to keep in mind that the company is relatively new to implementing the technology.
The Meike 55mm F1.4 APS-C is now available.
Sigma 50mm F1.2 DG DN Art sample gallery
The Sigma 50mm F1.2 DG DN Art is a comparatively lightweight prime lens aimed at travel, portrait and street photographers. At 745g (26.3oz) and 109mm (4.3") in length, Sigma claims it is the lightest lens of its type.
We got our hands on the lens recently, and it happened to be cherry blossom season, so you know we had to visit them for a sample gallery. We also made street portraits and visited Seattle's nightlife to make the most of our time with the lens.
View our Sigma 50mm F1.2 DG DN Art sample gallery
Note: 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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$1399 at B&H Photo$1399 at AdoramaNikon announces the Z 28-400mm F4-8 VR, a superzoom for Z-mount
Nikon has announced the Nikkor Z 28-400mm F4-8 VR, a superzoom lens with a 14.2x zoom range. Nikon tells us the lens is designed to meet the needs of both photo and video users.
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$1297 at B&H Photo$1297 at AdoramaAdditionally, the lens includes Nikon's vibration reduction (VR) technology, delivering 5.0 stops of image stabilization at 400mm, per CIPA standard, and up to 5.5 stops using Nikon's Synchro VR technology when paired with select Nikon cameras, including the Z8 and Z9, that have in-body stabilization.
Autofocus comes in the form of a stepping motor to deliver fast and quiet autofocus, and manual focus includes support for a linear focus response, which should appeal to video shooters.
This photo of the Z 28-400mm F4-8 VR, captured during our hands-on time with the lens, shows its size relative to the Nikon Z8.Weighing in at 725g (1.6 lbs), the lens is 85mm (3.4") in diameter and 142mm (5.6") long when collapsed. It uses a 77mm filter thread.
The lens includes a compact, square lens hood, and Nikon describes the lens as dust and drip-resistant.
Pricing and availabilityThe Nikkor Z 28-400mm F4-8 VR will be available from mid-April at a suggested retail price of $1,299.
Nikon 28-400mm F4-8 VR pre-production sample galleryPlease 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.
$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_5462766060","galleryId":"5462766060","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); The All-In-One Lens that Goes the Distance: Nikon Releases the Nikkor Z 28-400mm F/4-8 VR Full-Frame Super ZoomVersatility and Portability with Wide-Angle to Super-Telephoto Coverage
MELVILLE, NY (March 27, 2024) Today Nikon Inc. announced the release of the NIKKOR Z 28-400mm f/4-8 VR, a supremely versatile high-power super-zoom lens for Nikon Z series full-frame/FX-format mirrorless cameras. This latest addition to the expanding line of NIKKOR Z lenses offers the highest zoom ratio in its class*1, making it a must-have for travel, sports, backyard wildlife and more.
“So many photographers and creatives will love the versatility of the NIKKOR Z 28-400mm, which gives you clarity, range and fantastic backgrounds,” said Naoki Onozato, President and CEO, Nikon Inc. "Wherever your travels lead, this is definitely a lens to consider packing.”
The NIKKOR Z 28-400mm f/4-8 VR is a high-magnification zoom lens that covers a broad range of focal lengths — from 28mm to 400mm. Whether up close or far away, from landscapes to distant vistas, users will appreciate the extreme versatility and powerful capabilities of the 14.2× zoom. Although it is a super-telephoto zoom lens with a range up to 400mm, it’s also the lightest in its class*1, weighing only approximately 1.6 lbs (725 g), making it easy to carry when traveling.
This new lens also has a remarkably close minimum focus distance*2 of only 7.8 in. (0.2 m) at the maximum wide-angle position and 3.9 ft. (1.2 m) at the maximum telephoto position. The maximum reproduction ratio of 0.35x lets users capture close-ups at short distances for food, flowers and animals. When shooting far away, users can fill the frame with their subject and still have a pleasing blurred background.
The NIKKOR Z 28-400mm f/4-8 VR uses a stepping motor (STM), which enables fast and quiet autofocusing, allowing rapid focus on moving subjects. The lens also features a vibration-reduction (VR) function with performance equivalent to 5.0 stops, which helps achieve sharp photos and stable video with ease, even when handheld.*3
Primary features of the NIKKOR Z 28-400mm f/4-8 VR- Covers a broad range of focal lengths— from 28mm to 400mm, with a 14.2× zoom which is a first among NIKKOR Z lenses.
- A minimum focus distance of 0.2 m at the maximum wide-angle position and a maximum reproduction ratio of 0.35× allow users to get closer to their subjects for dynamic expression.
- A total length of approx. 5.57 in. (141.5 mm) and a weight of approx. 1.6lbs (725g)– the lightest lens in its class– make this an easy lens to carry and shoot hand-held.
- Stable VR performance equivalent to a 5.0-stop increase in shutter speed effectively reduces blurring in dimly lit surroundings and with hand-held shooting. When paired with a compatible camera, Synchro VR can be activated to achieve up to 5.5-stop stabilization*4 by combining in-camera VR and lens VR.
- Stepping motor (STM) enables high-speed AF drive.
- Support for linear MF drive enables smooth focusing, which is especially useful for video shooting.
- Comes with a compact, square lens hood that combines superior performance and usability.
- Designed to be dust- and drip-resistant with thorough sealing on various portions including movable parts of the lens barrel to keep dust and water droplets from entering the lens.*5
The new NIKKOR Z 28-400mm f/4-8 VR lens will be available in mid-April for a suggested retail price of $1299.95*. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit Nikonusa.com.
*1. Among lenses with a zoom ratio of 10x or over for full-frame/FX-format interchangeable-lens mirrorless cameras, announced as of March 27, 2024.
*2. When capturing close-ups with the lens hood attached, take care that the lens hood does not come into contact with the subject.
*3. Measured in accordance with CIPA standards with VR function set to “NORMAL”, and zoom at the maximum telephoto position.
*4. Measured in accordance with CIPA standards with VR function set to “NORMAL” when combined with cameras that support Synchro VR.
*5. Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.
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$1297 at B&H Photo$1297 at AdoramaSigma announces 50mm F1.2 DG DN Art for E- and L-mounts
Sigma has announced the 50mm F1.2 DG DN Art, its second F1.2 lens for the E and L full-frame mirrorless camera mounts.
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The 50mm F1.2 will focus as close as 40cm (15.8"), giving up to a 1:6.2 reproduction ratio.
It weighs 745g (26.3oz) which Sigma says makes it the lightest lens of its type. Its 109mm (4.3") length makes it less than 1mm longer than the smallest of the major makers' 50mm F1.2 lenses.
Sigma says the lens will be available from April 18th at an MSRP of $1,399.
Sigma 50mm F1.2 DG DN Art sample galleryPlease 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.
$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_3516193867","galleryId":"3516193867","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });Press Release:
SIGMA 50mm F1.2 DG DNUnveiling another SIGMA Art line F1.2 lens. Elevating photographic mastery beyond conventional limits.
- Highest descriptive power to take advantage of F1.2 brightness
- Lightest weight lens body in its class, suitable for a wide range of applications
- A wealth of functions for professional use and excellent build quality
SIGMA's Art line has been offering new possibilities and surprise for expression, and now the SIGMA 50mm F1.2 DG DN | Art is here to break the standards. SIGMA's focus with this lens is on the descriptive power that is perfectly usable from the widest aperture, and on portability that allows the high performance to be demonstrated in any field. In terms of image rendition, SIGMA achieved high resolving power from the maximum aperture throughout the entire focus range, while also enriching the beauty of the large bokeh effect at F1.2. In addition, the lens construction and mechanical design have been stripped down to the bare essentials, resulting in a significantly compact and lightweight body. The lens is also equipped with a full range of functions suitable for professional use, including high-precision AF using the latest HLA (High-response Linear Actuator) that reduces volume while maintaining the same thrust. We hope users will enjoy the superb Art F1.2, which will transform everything they capture and even their photographic experience into something extra special.
[Key Features] 1. Highest descriptive power to take advantage of F1.2 brightnessThe SIGMA 50mm F1.2 DG DN | Art has been designed with an emphasis on high resolution from the maximum aperture to the full focus range and large, beautiful bokeh expression. The contrast between the sharpness of the focus surface and the melting bokeh effect creates a three-dimensional effect thanks to its F1.2 aperture. In addition, the 13-blade diaphragm allows for beautiful bokeh expressions. Focus breathing is also well-suppressed that the F1.2 rendering can be fully utilized in video recording.
Brightness of F1.2 maximum aperture and high resolution from minimum to infinity focus
The latest optical design achieves high resolving power with each aberration thoroughly suppressed from the maximum aperture. The lens is capable of rendering details without color bleeding in any situation. In addition, the incorporated floating focus is advantageous in improving short-range performance, ensuring a stable, high-level image quality throughout the entire range from the minimum focusing distance to infinity.
Rich and beautiful bokeh without color bleeding
By correcting spherical aberration, sagittal coma flare, axial chromatic aberration, and other aberrations, the lens delivers natural bokeh images that blur smoothly and without color bleeding from the focal plane. Double-line bokeh is also suppressed, allowing users to take advantage of the mellow bokeh effect in their expression.
Rounded diaphragm with 13 blades
The lens incorporates SIGMA's first 13-blade diaphragm, which maintains a circular shape even when stopped down from the maximum aperture. The surface accuracy of the aspherical lens has been enhanced to the utmost to enable smooth and beautiful round bokeh expressions.
Designed to minimize focus breathing
Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.
Designed to minimize flare and ghosting
Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.
By uncompromisingly pursuing high optical performance and portability, which are inherently contradictory, the highest level of performance has been condensed into the lightest lens body in its class. The SIGMA 50mm F1.2 DG DN | Art can be used not only in limited situations and applications, but in all kinds of shooting environments.
Dual HLA incorporating a new system
A new system was developed that significantly reduces the volume while maintaining the same thrust of the HLA, which is characterized by its high driving accuracy and quietness, and is featured in each of the two focus groups. This technological innovation has realized both high-speed autofocus and a compact lens body.
Lens construction and mechanical design stripped down to the absolute minimum
Each piece of glass is made as thin as possible while employing glasses with a high refractive index and four aspherical lenses. The high level of production technology at SIGMA’s only manufacturing base, the Aizu factory, provides the exacting precision necessary for processing these thin glass elements and making this mass production possible. In addition, the floating focus ensures high performance while shortening the overall length, resulting in a compact lens. In the mechanical design phase, emphasis was placed on weight reduction. Through the systematic elimination of individual components, SIGMA attained the distinction of producing the lightest lens in its class, weighing a mere 745g / 26.3oz.*2
In addition to various functions that support photography, such as the AFL button*3 and an aperture ring, the construction of the lens body itself and its high-quality touch and feel are also pursued. The SIGMA 50mm F1.2 DG DN | Art is designed with high functionality and reliability to meet the stringent demands of professionals, as well as excellent build quality for long-lasting, reliable use.
Proud to be a tool of expression, excellent build quality with SIGMA’s Art line specifications
By assembling high-precision parts made of lightweight and strong TSC*4 and other materials, the lens has the high level of rigidity and durability of SIGMA’s Art line specifications without sacrificing portability, as well as excellent build quality that allows for long-lasting and reliable use as a photographic tool.
Various shooting assist functions
The lens is equipped with an AFL button which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.
Dust and splash resistant structure*5 and water and oil repellent coating
In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.
Including a petal-type hood with lock
A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.
- Lens construction: 17 elements in 12 groups (4 aspherical elements)
- Inner focus system
- Compatible with high-speed autofocus
- HLA (High-response Linear Actuator)
- Compatible with Lens Aberration Correction*6*7
- Supports DMF and AF+MF
- Compatible with AF assist (for Sony E-mount only)
- Super Multi-Layer Coating
- Water and Oil Repellent Coating (front element)
- Aperture ring
- Aperture ring click switch
- Aperture ring lock switch
- AFL button*8
- Focus Mode switch
- Support for switching between linear and non-linear focus ring settings (for L-Mount only)*9
- Dust and Splash Resistant Structure
- Petal-type hood with lock LH782-03
- Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
- Designed to minimize flare and ghosting
- Every single lens undergoes SIGMA’s proprietary MTF measuring system
- 13-blade rounded diaphragm
- High-precision, durable brass bayonet mount
- Mount Conversion Service available
- “Made in Aizu, Japan“ craftsmanship
*As an AF 50mm F1.2 interchangeable lens for full-frame mirrorless cameras. (As of March 2024 by SIGMA)
*2 These figures are for L-Mount
*3 Function available on supported cameras only. Available functions may vary depending on the camera used.
*4 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.
*5 The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.
*6 Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.
*7 On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON‘(AUTO).
*8 Function available on supported cameras only. Available functions may vary depending on the camera used.
*9 Function available on supported cameras only.
Fujifilm US cancels suspicious X100VI Limited Edition orders. How to order the camera (Updated)
Updated March 21st
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false';t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645';cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2", (renderError, playerApi) => {window.playerApi = playerApi}); });When Fujifilm announced its new X100VI rangefinder-style camera at a press event in Japan last month, it teased a special version of the camera: the X100VI Limited Edition. Following an announcement on its Instagram channel today, we now know that sales of the Limited Edition model in the US will be limited to just 300 cameras.
Fujifilm UK has revised its plan for distributing its 110 units and is now asking prospective buyers to register for the Fujifilm X mailing list. A link to join a ballot will be sent out on March 25th, making it easier for photographers outside London to apply.
According to Fujifilm, 100 cameras will be sold daily in the US from Midday Eastern Time March 21st to March 23rd on a first-come, first-served basis, and you'll need to buy them directly from Fujifilm's online store, so if you want one, you'll need to move quickly (and maybe have a bit of luck to boot).
Here's a rundown of where to order the X100VI Limited Edition in different countries:
- US: Fujifilm online store (300 cameras, March 21-23, first come, first served)
- UK: Ballot of applicants via Fujifilm X email list (110 cameras)
- Australia: Fujifilm House of Photography (75 cameras, window closed)
Have information on where to order the X100VI in other markets? Let us know in the comments, or send us a message, and we'll add it to the list.
View this post on InstagramA post shared by FUJIFILM X/GFX USA (@fujifilmx_us)
The X100VI Limited Edition will have a production run of just 1,934 cameras worldwide, a nod to the company's founding in 1934. Limited Edition cameras are available in silver and have Fujifilm's original logo engraved on the top plate and matching lens cap. Each camera will be individually numbered from 0001 to 1934, with numbers engraved on the camera's hot shoe. The camera will also include a titanium shutter button, a soft-release shutter button accessory, a special strap, and Fujifilm history cards.
At the camera's launch event, Fujifilm indicated that the Limited Edition would have an MSRP of $2,000, a $400 premium over the standard model's list price of $1,600. However, considering the cult following recent models of the X100 series have developed, we'll likely see prices go higher on the resale market. Although one hopeful eBay seller famously listed a Limited Edition model at an eye-watering $18,000, a search of sold items on eBay shows that at least a couple of Limited Edition cameras have sold for prices over $4,000.
Even the standard edition X100VI can be hard to come by right now, but unlike the Limited Edition, it's available to order today.
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$1599 at B&H Photo$1599 at AdoramaPanasonic Lumix DC-G9 II review
Product photos by Brendan Nystedt
Almost six years after the announcement of the Lumix DC-G9, Panasonic rolled out its successor, the Lumix DC-G9 II. This is the company's high-end model aimed at stills shooters, and it is the first-ever Lumix Micro Four Thirds camera to include phase detection autofocus. Despite its target demographic, the G9 II comes with a surprisingly long list of video features as well. A thorough redesign, the G9 II is based on the chassis of the full-frame Lumix S5 II and S5 IIX, giving it room for plentiful controls and ports.
Key specifications- 25MP CMOS sensor with dual output gain
- 5-axis in-body image stabilization (CIPA-rated to 8 stops)
- On-sensor phase detection (779 points)
- 3", 1.84M-dot fully articulating touchscreen
- 3.86M-dot OLED electronic viewfinder with 0.8x magnification
- 60 fps burst shooting with AF-C and electronic shutter (10 fps mechanical)
- 100MP handheld high-res mode
- Up to 5.8K Open Gate 4:2:0, C4K 4:2:2 10-bit, with V-Log and HLG
- ProRes 422 and 422 HQ recording to SSD
- Raw output to Atomos and Blackmagic external recorders
- 390 shots per charge battery life (using LCD)
- USB-C power delivery
- Dual UHS-II card slots
The G9 II is priced at $1899 body-only: a $200 increase from its predecessor.
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$1898 at B&H Photo $1898 at Adorama $1898 at Amazon Index:- What's new
- How it compares
- Body & handling
- Image quality
- Autofocus
- Video
- Conclusion
- Sample gallery
- Specifications
- Press release
- Sept 12: Initial review published
- Mar 25: Image quality, Autofocus, Video, Conclusion and additional Sample gallery published
Rather than a refresh of the original DSLR-like Lumix G9 concept, the G9 II goes in a more modern direction. Not only does it take technological advancements from the full-frame Lumix S lineup, it has the same external design as the S5 II announced earlier in the year. It's taller, more squared off, and has more controls than its predecessor. It isn't just a similar design – it's literally the same outer shell, but without fan vents and with a different lens mount and sensor inside.
Hybrid autofocus and DR Boost improvementsThe G9 II is based around a sensor related to the one in the GH6, but that Panasonic says has been revised at both the hardware and software levels. The most obvious difference is that the version in the G9 II has phase-detection elements that make it the first Micro Four Thirds Lumix model to offer inherently depth-aware autofocus.
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false';t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645';cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2", (renderError, playerApi) => {window.playerApi = playerApi}); });The other change that will make a big difference is the way the dual output gain system works. Panasonic describes it as having two parallel readout paths that are subjected to differing levels of gain, which are then combined. This way, you get the highlight capture benefits of low gain and the cleaner shadow performance of high gain paths, combined as a 16-bit Raw file to ensure room to encode this widened dynamic range.
The sensor in the G9 II is derived from the one in the GH6 but with some key improvements, both in hardware and software.For the G9 II, Panasonic appears to have reduced the lowest step offered by the high-gain path. Whereas on the GH6, the high gain (shadow) path was only used at ISO settings three stops above base (ie, ISO 800 in standard color modes, ISO 2000 in V-Log mode), on the G9 II, Panasonic says it's available from base ISO upwards, suggesting the high gain step can be dropped further, to make it available at these lower ISOs.
However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log, but for the G9 II, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode seems to suggest a high-gain path applying one stop more gain than the low path in its base state (rather than the 3-stop difference required for DR Boost on the GH6). This doesn't explain how Panasonic can offer a mode that includes a high-gain component while maintaining the same ISO 100 rating for standard gamma, and it's interesing to note that when you exceed 60fps (where the Dual Output mode can't operate) that the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.
More video than you'd expectUnlike the G9, which gained a lot of video features after launch, the G9 II throws in everything but the kitchen sink right from Day 1. Panasonic swears this is a camera for still shooters, but the number of video resolutions and features accounted for – including V-Log, open gate 5.8K, and ProRes support – sure make it feel almost as hybrid as the GH6 or S5 IIX. It retains the full-size HDMI port of the S5 II series and can even record directly to a USB-C SSD.
Although not marketed as a hybrid model, the G9 II has a ton of features that make it interesting for hybrid shooters and those curious about video.With its improved autofocus, why would anyone buy a GH6 over the G9 II? Rest assured that CFexpress card support and the built-in fan let the GH6 retain its hybrid crown for now. Panasonic says that G9 II shooters should think of this camera more as a B-cam than a primary run-and-gun setup and that the lack of a fan might become an issue when shooting high-res video in hot environments.
Improved IBISThe smaller Four Thirds-type sensor is cushioned from jostles by an aggressive 8-stop CIPA-rated in-body image stabilization system. Panasonic says that the SyncIS system, where the sensor and lens stabilization systems work together, is only rated for 7.5 stops and that they're reaching the physical limits of the lens-based optical stabilization systems at this point. There is a benefit though: the synchronization between the body and lens' IS systems allows the camera to maintain 7.5 stops of correction at longer focal lengths where the in-body system alone could not.
High-resolution modeThe improved IBIS also enables the G9 II's 100MP handheld high-res mode. Although the higher resolution of this mode means it's a little slower to stitch its photos together, the more sophisticated algorithm Panasonic uses does a good job of reducing subject motion.
There are two motion blur processing modes; mode 1 doesn't attempt it at all, and mode 2 does.
Handheld 100MP | ISO 100 | 1/250 sec | F5.6 | Leica DG 12-60mm F2.8-4 @ 38mm equiv.Photo: Jeff Keller
The scene above is bustling, and you can see how well the G9 handled motion in this 100 Megapixel photo. A few people have extra feet, but otherwise, motion is handled very well.
While we're on the subject of high resolution, here's a real-world example of tripod mode. You'll find an additional example in our studio scene further down the page.
$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-63288783","widgetId":912,"initialStateId":5887}) }) Subject detection improvementsPanasonic's older depth-from-defocus AF system lagged behind the competition somewhat, but the G9 II looks to address that. With the addition of distance-aware phase-detection, the G9 II also brings some new subject detection and tracking algorithms.
There are a number of subject types in the AF menu, including animals (mainly pets, but also can track birds), one for cars (targeting motorsports photography), and another for motorcycles (which they say may work for bicycles, depending on the angle of the subject). Like the G9 II's improved human detection, the animal mode has eye detection as an additional option.
Cropped to taste. Shot in full area AF mode with animal tracking and continuous focus.
ISO 125 | 1/400 sec | F4 | Leica DG 50-200mm @ 384mm equiv.
Photo: Jeff Keller
Live CompositeOnce a feature exclusive to Olympus cameras, Live Composite made its way to Panasonic's mirrorless lineup in 2020. This is essentially a multi-exposure mode where objects that do not change brightness are left alone during each shot. All you need to do is set the exposure time you want and the delay before shooting starts, then press the shutter release. The camera will silently take photos until you press the button again.
Converted from Raw using ACR. Exposure slightly brightened. Shot in Live Composite mode.
ISO 400 | 8 sec per exposure | F3.5 | Leica DG 8-18mm F2.8-4 @ 20mm equiv.
Photo: Jeff Keller
How the Panasonic Lumix DC-G9 II compares to its peersThe new Panasonic Lumix G9 II comes in at a high price, befitting a flagship model (at least, as Panasonic's G-series flagship for stills). Unfortunately, there's a lot of competition in the ∼$2K high-performance camera category. While the newcomer significantly out-specs its predecessor, its stills rival in the Micro Four Thirds world: the OM System OM-1 Mark II, is lighter, has better battery life, and a higher-res EVF. It's also quite a bit more expensive.
That's not to mention the slew of fantastic APS-C cameras out there, and we've included the Fujifilm X-T5 and Sony a6700 as two of the best, both of which are cheaper than the Lumix.
Panasonic Lumix G9 II Panasonic Lumix G9 OM System OM-1 II Sony a6700 Fujifilm X-T5 MSRP $1899 $1699 $2399 $1399 $1699 Pixel count 25.2MP20.2MP
20.4MP 26MP 40MP Sensor size Four Thirds(225mm²) Four Thirds
(225mm²) Four Thirds
(224mm²) APS-C
(361mm²) APS-C
(369mm²) Image stabilization In-body + in-lens In-body + in-lens In-body + in-lens In-body or in-lens In-body or in-lens Max burst rate 10 fps (mech shutter)
60 fps (elec shutter)
9 fps (mech shutter)
20 fps (elec shutter)
10 fps (mech shutter)
50 fps (elec shutter)
11 fps (mech shutter)
11 fps (elec shutter)
15 fps (mech shutter)
23 fps (elec shutter)
/ 0.8x 3.68M dots / 0.83x 5.76M dots / 0.83x 2.36M dots / 0.70x 3.69M dots
/ 0.8x Rear screen 3.0", 1.84M dot articulating touchscreen 3.0" 1.04M dot articulating touchscreen 3.0", 1.62M dot articulating touchscreen 3.0", 1.04M dot articulating touchscreen 3.0", 1.84M dot articulating touchscreen Video capabilities Up to 5.8K/30p open-gate 4:2:0 10-bit Up to C4K/30p 4:2:2 10-bit Up to DCI 4K/60p 10-bit Up to 4K/60p oversampled Up to 6.2K/30p, 4K/60p sub-sampled Log video V-Log, HLG $100 V-Log firmware OM-Log400, HLG S-Log3, HLG F-Log, F-Log 2, HLG Mic/ Headphone sockets Yes / Yes Yes / Yes Yes / Yes Yes / Yes Yes / Yes Battery life
(LCD) 390 400 520 570 580 Card slot 2x UHS II SD 2x UHS II SD 2x UHS II SD 1x UHS II SD 2x UHS II SD Weight
(loaded) 658g (23.21oz) 658g (23.21oz) 599g (21.13oz) 493g (17.4oz) 557g (19.6oz)
On the whole, the G9 II is fairly competitive in the Micro Four Thirds system. But looking at the APS-C options out there (like the Sony A6700 and Fujifilm X-T5), the G9 II doesn't appear to bring anything spectacular to the table, even if it is a noteworthy move forward for Panasonic's G-series. That said, it's alone here in being able to output video to an external SSD, if video is your thing.
Body and handling Looking at it from the back, the Lumix G9 II offers up a new 8-way joystick and an improved autofocus selector.While the original G9 was far from compact, it certainly had a different design philosophy than its successor. Seemingly aimed at DSLR photographers, it was a wide camera with a big backlit top plate LCD. That camera also only had a single exposure mode dial (on the side opposite the grip), front and rear command dials, and a power switch that surrounded the shutter button.
The new G9 II, by comparison, feels more modern. Since it's basically the same design as the Lumix DC-S5 II, this camera throws a ton of controls at the user. Make no mistake: this is a clean-sheet redesign, and if you were a big fan of the original, you might be disappointed that nothing has remained the same. That said, for everything you lose (like the top LCD, front Fn lever, and flash sync port), you gain a whole lot more (more ergonomic twin dials, a more prominent AF selector switch, a dedicated dial for continuous shooting, and an upgraded 8-way joystick).
The Lumix G9 II, unlike the very similar S5 II, lacks fan vents at the bottom of the EVF hump.And although the G9 II is taller and the grip a bit shallower, it still manages to feel plenty comfortable to hold, despite some of the rear controls being a bit clustered together. Overall, though, even though the weight is the same as the old model, this Micro Four Thirds body seems quite large for what it is.
Something that some found irritating on the original G9 was the overly sensitive shutter release button. Panasonic has addressed that on the G9 II with a firmer, less trigger-happy design.
What hasn't improved a whole lot is the EVF, which is a 3680k dot (1280 x 960px) panel with a slight decrease in magnification at 0.8x. In use, it's totally passable, and the magnification definitely makes up for the lack of sheer resolution. The rear articulating LCD, on the other hand, is a much higher resolution now at 1840k dots, making for a detailed, bright shooting experience even in direct sunlight.
The addition of a USB-C port and support for USB PD charging is a big step up from the original G9's USB 3.0 Micro B socket.Like its cousin, the Lumix S5 II, the G9 II packs the ports we'd expect for a flagship camera in 2023. You get a full-size HDMI, fast USB-C PD charging (with 10Gbps transfer speeds and the ability to record stills and video to an external SSD), as well as mic and headphone sockets, the former of which is positioned out of the way of the screen hinge.
On the opposite side are two UHS-II speed SD card slots, which can be programmed to work in sequence or in parallel, backing up files on both for redundancy or filling the next card after the first one's full. One benefit that's worth mentioning is that since this is physically just about identical to the S5 II, many accessories will be compatible between the two models, including first-party accessories like the new DMW-BG1 battery grip and third-party add-ons like cages for video rigging.
Battery The 2200mAh battery lets the G9 II shoot around 390 shots on a single charge.Inside the G9 II is the same DMW-BLK22 16Wh battery as we've seen in other big Lumix models. On the G9 II, however, you're still only getting around 390 shots on a charge according to the CIPA method with either the LCD or EVF. That's lower than other cameras in its class and certainly in its price range, trailing the OM System OM-1 Mark II by 130 shots and the Fujifilm X-T5 by 190.
This is despite Panasonic putting the camera in a deep sleep mode when it's switched off, from which the camera takes 2-3 second to wake. Once awake, subsequent attempts to turn on the camera are quicker, but it's worth being aware that you can't just grab it from your bag and shoot.
Image qualityOur test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.
$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-33542339","widgetId":907,"initialStateId":null}) })The G9 II captures a decent amount of detail in its Raw files at base ISO, though the OM System OM-1 and Sony a6700 grab a smidge more$(document).ready(function() { $("#icl-5867-106884544").click(function() { ImageComparisonWidgetLink(5867); }); }). Moiré$(document).ready(function() { $("#icl-5868--1483283296").click(function() { ImageComparisonWidgetLink(5868); }); }) is well-controlled and competitive with most of its peers, save for the Sony a6700. At mid-ISOs$(document).ready(function() { $("#icl-5869--562229105").click(function() { ImageComparisonWidgetLink(5869); }); }) the G9 II looks a lot like its peers, but from ISO 6400$(document).ready(function() { $("#icl-5870--1090835201").click(function() { ImageComparisonWidgetLink(5870); }); }) upwards it falls increasingly behind.
Looking at JPEGs, the G9 II appears to use a bit more noise reduction than the other cameras in this comparison, which you can see in these brushes$(document).ready(function() { $("#icl-5871--1710229665").click(function() { ImageComparisonWidgetLink(5871); }); }). Color in JPEGs are vibrant$(document).ready(function() { $("#icl-5872--1772350668").click(function() { ImageComparisonWidgetLink(5872); }); }) without being oversaturated. There's very little noise at ISO 1600$(document).ready(function() { $("#icl-5873--1373160366").click(function() { ImageComparisonWidgetLink(5873); }); }) thanks to Panasonic's noise reduction system. At ISO 6400$(document).ready(function() { $("#icl-5888--1090835201").click(function() { ImageComparisonWidgetLink(5888); }); }), the G9 II is more-or-less the same as its peers.
In situations where you can use the tripod-based pixel shift mode, the G9 II is able to offer resolution capture far beyond its peers$(document).ready(function() { $("#icl-5890--1239802283").click(function() { ImageComparisonWidgetLink(5890); }); }). Our test shots are somewhat hampered by what we suspect is vibration in our testing studio, leaveing cross-hatched artifacts in places$(document).ready(function() { $("#icl-5891--475316386").click(function() { ImageComparisonWidgetLink(5891); }); }). This won't always be the case, though it does give an insight into how steady your tripod and subject need to be to capture the very highest resolution.
Real-world photo quality makes one forget that the G9 II uses a smaller sensor than most of its peers. Whether it's engraving in 19th-century buildings or the plumage on a short-ear owl, you'll see plenty of detail in its JPEGs. As usual, shooting Raw and running it through Adobe Camera Raw or DxO PureRAW will give you the ability to fine-tune sharpening. You can also create a custom Photo Style was stronger sharpening.
Out-of-camera JPEG Shadows/highlights adjusted in ACRThe G9 II's sensor allows you to boost shadows with a minimal increase in noise, as shown above, and in a few photos in the sample gallery.
Our DR tests bear this out, and highlight the improvement compared with the GH6. However Panasonic has been able to implement dual parallel gain at ISO 100, it works, with much cleaner shadows than its (even) more video-focused sibling. This means both the Raw files and the camera as a whole, are more flexible.
ISO Invariance | Exposure Latitude
AutofocusOperating and adjusting autofocus isn't much different than on the 7-year-old DC-G9 (or any Panasonic camera released since then). A switch lets you quickly switch between single, continuous and manual focus. Pressing the button in the center of the switch opens up the AF area menu, which offers the following options:
- Tracking
- Full area
- Zone (Horizontal/Vertical)
- Zone
- 1-area+
- 1-area
- Pinpoint
With the exception of pinpoint (which is well-suited for macro photography), all of the AF options let you turn subject detection on or off.
Adjusting the focus point can be done in a few ways. You can use the joystick, tap on the screen, or by using "Touchpad AF." The latter is available when shooting through the viewfinder; to adjust the focus point, you move your finger on the LCD to adjust the focus point. There are a number of options for what area of the display is used for AF point movement. To switch between detected subjects, you can tap on the screen or use the joystick.
Cropped to taste. Shot in full area mode with animal tracking and continuous AF.
Leica DG 50-200 @ 400mm | ISO 100 | 1/640 sec | F4
Photo: Jeff Keller
Panasonic offers four options for subject detection: humans, animals, cars and motorcycles. For the first two options, you can select what you want the camera to lock onto: eye/face/body for humans and eye/body for animals.
The G9 II's animal mode can detect people, birds, canines (domestic and wild) and felines (big and small). We tested it with all of them, and the camera detected them without issue. It was impressive when tracking owls and harriers in the Skagit Flats conservation area in the full area mode, even when they were flying away.
Customizing AF behaviorOne of the four menus for customizing how the camera reacts to moving subjects in AF-C
There are four sets of customizable parameters for continuous autofocus. Here, you can adjust AF sensitivity, AF Area switching sensitivity, and moving subject prediction. Set 1 is for general use, while the other three are for more specific situations. We found that choosing the most fitting option was the most effective.
For our test of continuous autofocus and its ability to judge distanct, we used Set 2, which is defined as "[when] the subject moves at a constant speed in one direction." Face detection was disabled.
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The G9 II's AF system did a nice job in this example. It took a few shots to lock on and then kept the cyclist in focus for the rest of the run, correctly anticipating subject distance and driving the lens accordingly.
Then we tested the camera's ability to track a subject moving around the scene and approaching the camera at a less predictable speed. Here we switched to set 4 ("for situations where the speed of the subject changes significantly"). We then performed the test both with and without face detection.
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As we often see with cameras in this test, the G9 II struggled to keep the cyclist in focus during the turns, where the rate of approach suddenly changes. This was the case both with and without face detection engaged.
When we used face detection, when it started to lose focus, the camera was briefly tricked by the statues of firefighters in the background. Thankfully the G9 II quickly figured it out and locked back onto the correct subject.The G9 II can shoot at 60 fps with continuous AF (75 fps is only for single AF) and performed about the same as at slower speeds, complete with the brief distraction of the statues. These tests don't represent all circumstances, of course, but suggest the G9 II's AF, even when tuned to match the expected subject movement, is not as dependable as the best of its peers.
VideoFor what Panasonic bills primarily as a stills camera, the G9 II has a surprisingly complete set of video features. And, as it often does, Panasonic has added more video features to the G9 II since it was announced via a firmware update.
The G9 II can capture "open gate" 5.8K video using the entire Four Thirds sensor using either HEVC. This gives 5760 x 4320 pixel 10-bit 4:2:0 footage at either 30 or 24 frames per second, giving flexibility to crop-in in post, or to take vertical and landscape crops from the same footage. At 5.7K the aspect ratio ships from 4:3 to 17:9 and the maximum frame rate jumps to 60p. At lower resolutions you can shoot 4:2:2 footage, and high-speed 120p capture also becomes available.
The list of video recording options is overwhelming, though you can narrow it down via filters and save your favorites to a custom menu.
If you're using Apple ProRes you get 4:2:2, 17:9 video up to 30p, or 16:9 Cinema 4K at 60p. If it's Raw video output you're after, the G9 II can send it over HDMI to select Atomos and Blackmagic external recorders.
The G9 II supports V-Log capture or the moderately flat Cinelike D2 photo styles if you intend to color grade during the editing process. It also supports HLG capture in most of its modes for direct use on HDR TVs.
The bit rates of the highest quality settings are so high (approaching 2Gbps in some of the ProRes 422 modes) that an SD card just can't keep up, so you'll have to use an SSD connected via USB-C.
Resolution Frame rates Aspect ratio Crop Bit depth/ chroma Codec Media type 5.8K(5760 x 4320)
- 29.97
- 25
- 24
- 23.98
- Full area
(5728 x 3024)
- 59.94
- 50
- 48
- 47.95
- 29.97
- 25
- 24
- 23.98
- Full width
(4096 x 2160)
- 59.94
- 50
- 48
- 47.95
- 1.32x (1:1)
(4096 x 2160)
- 119.88
- 100
- 59.94
- 50
- 48
- 47.95
- 29.97
- 25
- 24
- 23.98
- Full width
- 1.41x (1:1)
- 59.94
- 50
- 48
- 47.95
- 29.97
- 25
- 24
- 23.98
(3840 x 2160)
- 119.88
- 100
- 59.94
- 50
- 48
- 47.95
- 29.97
- 25
- 24
- 23.98
- Full width
- 1.50x (1:1)
- 59.94
- 50
- 48
- 47.95
- 29.97
- 25
- 24
- 23.98
When 5.8K open-gate or UHD 4K is being captured, UHD 4K 4:2:2 is output over HDMI
When 5.7K or DCI 4K is being captured, DCI 4K 4:2:2 is output. 48p and 47.95p capture gives 24p or 23.98p HDMI out.
Scrolling through that list is overwhelming, but you can use Rec Quality (My List) feature. When you've found the resolution, frame rate, and bite rates that you lie, just press the Q button to get it to My List. You can then assign a button to access the list you've created, ensuring you only use one of your pre-selected modes.
Speaking of the Q button, there are separate Q Menus for both stills and video. By default, some settings are shared between still and video. Those include exposure, white balance, Photo Style, and metering and AF modes. You can break the link via the CreativeVideo Combined Set. option, found in the gear > image quality 2 section of the menu, to control which parameters do and don't carry over.
Image stabilizationThere are two "enhanced IS" electronic image stabilization modes that work on top of the camera's sensor-shift IS system. This takes a small-to-medium crop of the frame and uses the surrounding area to compensate for camera movement. "Standard" enhanced IS adds a small 1.1x crop, while "High" adds a more substantial crop in exchange for its strong shake reduction.
Also worth being aware of is the "Boosts IS" function. This tells the camera that you're try to keep your shot entirely still, and will fight against any movement you then make, rather than trying to anticipate which of your movements are intentional. We found it highly effective at maintaining an almost tripod-like stability.
Some other useful capture tools include waveforms and vectorscopes, shutter angle, V-Log/HLG view assist, anamorphic de-squeeze, preset distances for automatic rack focusing, and numerous audio controls.
$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-29624481","widgetId":910,"initialStateId":null}) })At 4K (UHD), the G9 II looks nearly the same as the Sony a6700, which samples video from a 6K area of the frame. The a6700 is just a bit sharper$(document).ready(function() { $("#icl-5882--955778846").click(function() { ImageComparisonWidgetLink(5882); }); }), though you're unlikely to notice in the real world. The same is true at both DCI 4K and 4K/120p$(document).ready(function() { $("#icl-5883-162525127").click(function() { ImageComparisonWidgetLink(5883); }); }) settings. The results are similar looking at the high res 5.7K setting$(document).ready(function() { $("#icl-5884-808155803").click(function() { ImageComparisonWidgetLink(5884); }); }) versus Panasonic's GH6, with the smallest of difference in sharpness.
Sample video ConclusionBy Jeff Keller
What we like What we don't- Excellent image quality and dynamic range
- Solid, weather-sealed body
- Open gate and 5.7K video
- Top-notch image stabilization
- Responsive AF with impressive subject recognition
- Super-fast burst shooting
- Plethora of video capture tools and output options
- Impressive handheld high res mode
- Dual SD card slots
- Full-size HDMI port
- Battery life well beneath its peers
- Very slow initial start
- Higher resolution EVF would've been nice
- Large number of buttons and menu options can be overwhelming at first
- Top LCD info panel from G9 is gone
- External battery charger not included
The Panasonic Lumix G9 II isn't the camera one would've expected Panasonic to release based on its predecessor. The original G9 was a very good stills-focused camera with some video features thrown in for good measure. The G9 II builds on those features, puts them in the body of the full-frame S5, and adds video tools that get it pretty close to the GH6.
Converted from Raw using ACR. White balance adjusted.
ISO 3200 | 1/60 sec | F3.8 | Leica DG 12-60mm F2.8-4 @ 68mm equiv.
Photo: Jeff Keller
The G9 was already a fairly large camera, especially for Micro Four Thirds, and the same is true with its successor. As one would expect, the body is weather-sealed, though Panasonic doesn't provide an IP rating. Our G9 II did have a close encounter with a muddy photographer and kept on going after some cleanup.
If you've just picked up the G9 II, you might find the sheer number of dials and buttons to be imposing. The menu system is overloaded with options, so putting your favorites into the "My Menu" is a smart idea.
Another thing to be aware of is that the G9 II's battery life is below that of its peers. If you use Bluetooth to geotag or auto-transfer your photos, it'll drain even faster. Carrying around a spare battery or a power brick (with USB PD support) is a smart idea if you're planning on a full day of shooting.
Cropped to taste. ISO 100 | 1/320 sec | F4 | Leica DG 50-200mm F2.8-4 @ 400mm equiv.
Photo: Jeff Keller
The G9 II's autofocus is generally pretty good and a significant step up from the G9, or any Panasonic camera that uses its Depth-from-Defocus system, for that matter. When attempting some bird photography, I was surprised by how reliably it detected them, locking onto and tracking them even when they were flying away from me. In that situation and some others we tested, the AF system may lose its subject, but it usually got it back.
The G9 II's 25 Megapixel sensor has further closed the gap between Four Thirds and APS-C. Noise levels are somewhat higher than on the likes of the Sony a6700 and Fujifilm X-T5 and trail a little behind the OM-1. While it was difficult to push the shadows on the old G9 without a noticeable increase in noise, you can get away with it on the G9 II.
When the G9 II was released, Panasonic called it a "launching point for video." The fact is that the G9 II is very close to Panasonic's "official" Micro Four Thirds video camera, the GH6. The G9 II can do almost everything the GH6 can, bar the longer recording times and 5.7K/60p capture that the GH6's fan-assisted design delivers.
ISO 100 | 1/125 sec | F3.2 | Leica DG 12-35mm F2.8 @ 52mm equiv.
Photo: Jeff Keller
One video feature that really impressed me was Boost IS, which is designed for stationary shooting. It does that amazingly well, even eliminating the slight tremor in my hands. For more action-oriented footage, the more traditional electronic stabilization modes performed well, with a small-to-moderate crop depending on the intensity.
In conclusion, as someone who has shot with the original G9 for years, Panasonic's G9 II is a significant upgrade in so many ways, from sensor to subject recognition to burst speeds. And it's nice being able to carry a camera and lenses in a range of focal lengths in a relatively small bag. It's not perfect: battery life is not great, the menus can be overwhelming, and it can be frustratingly slow to start up at times. This and AF tracking that's only good, rather than great, are the only things that stop it gaining our Gold award. Overall the G9 II has proven to be a reliable stills camera with strong image quality and some useful computational modes, and can get you well on your way to being a videographer.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Panasonic Lumix DC-G9 IICategory: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe DC-G9 II offers image quality and autofocus improvements over the GH6 yet offers much of that camera's video spec and its amazing stabilization. We were disappointed with battery life but other than that it's a worthy Micro Four Thirds stills flagship.Good forWildlife and landscape photographers who want a portable camera system. Amateur videographers who don't need a GH6Not so good forSports photographers. Those who want to shoot for a day on one or two batteries.87%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcg9ii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peersThe OM System OM-1 Mark II is an excellent camera conceptually very similar to the G9 II. While both cameras have weather-sealed bodies, the OM-1 II is rated to the IP53 standard and we'd have no qualms about using it in the rain. The larger and higher-res EVF on the OM-1 II is nice, and its battery life is significantly better. The G9 II has more to offer serious videographers in terms of support tools, resolution, frame rates and codecs. And while the OM-1 can recognize more subjects, we think the G9 II's AF tracking performance has a slight edge. Its price is also $500 below that of the Olympus, money that could be spent on lenses.
The Sony a6700's rangefinder-style design is 180° from the G9 II. It's smaller, with fewer, more cramped controls and an underwhelming EVF. Unlike the G9 II it has a single memory card slot and no AF joystick. It has many of the still and video specs of the Panasonic though it's not to the extent of capturing uncropped 4K/120p or open gate footage. That said, the a6700's autofocus tracking performance is probably the best on the market. Sony also has the magic touch when it comes to battery life, which is twice that of the G9 II.
Like the G9 II, the Fujifilm X-T5 appears to be stills-orientated, but with high res video capabilities. The truth is very different, with rolling shutter and significant cropping holding back the Fujifilm. The X-T5's control logic is much more traditional than the G9 II's, which some people will love, and it's a similar story with the two-axis LCD. The X-T5 also has a high-res mode but it requires more shots, has no motion correction and needs to be combined off-camera. The AF systems are similar with good subject recognition sometimes held back by failure to predict distance correctly, leading to significantly missed shots.
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