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Panasonic Lumix DC-G9 II review

25 mar 2024 - 16:24
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Product photos by Brendan Nystedt

87%Overall scoreJump to conclusion

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.

Buy now:

$1898 at B&H Photo $1898 at Adorama $1898 at Amazon Index:
  • Sept 12: Initial review published
  • Mar 25: Image quality, Autofocus, Video, Conclusion and additional Sample gallery published
What's new The Lumix G9 II is a departure from the original G9 design in a few key ways.

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 improvements

The 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.

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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 expect

Unlike 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 IBIS

The 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 mode

The 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-10912693","widgetId":912,"initialStateId":5887}) }) Subject detection improvements

Panasonic'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 one for animals (mainly pets, but it 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 Composite

Once 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 peers

The 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 25.2MP

20.2MP

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)

Viewfinder res / mag 3.68M dots
/ 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 quality

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

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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 ACR

The 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.

Autofocus

Operating 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 behavior
One 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.

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.

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.

Video

For 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
4:3 open gate
  • Full area
10-bit 4:2:0 H.265 SD / SSD 5.7K
(5728 x 3024)
  • 59.94
  • 50
  • 48
  • 47.95
  • 29.97
  • 25
  • 24
  • 23.98
1.89:1
  • Full width
10-bit 4:2:0 H.265 SD / SSD 10-bit 4:2:2 ProRes SSD 4.4K
(4096 x 2160)
  • 59.94
  • 50
  • 48
  • 47.95
1.89:1
  • 1.32x (1:1)
10-bit 4:2:0 H.265 SD / SSD DCI 4K
(4096 x 2160)
  • 119.88
  • 100
  • 59.94
  • 50
  • 48
  • 47.95
  • 29.97
  • 25
  • 24
  • 23.98
1.89:1
  • Full width
  • 1.41x (1:1)
10-bit 4:2:0 H.265 SD / SSD
  • 59.94
  • 50
  • 48
  • 47.95
  • 29.97
  • 25
  • 24
  • 23.98
10-bit 4:2:2 H.264 ProRes SSD UHD 4K
(3840 x 2160)
  • 119.88
  • 100
  • 59.94
  • 50
  • 48
  • 47.95
  • 29.97
  • 25
  • 24
  • 23.98
16:9
  • Full width
  • 1.50x (1:1)
10-bit 4:2:0 H.265 SD / SSD
  • 59.94
  • 50
  • 48
  • 47.95
  • 29.97
  • 25
  • 24
  • 23.98
10-bit 4:2:2 H.264 ProRes SSD

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 stabilization

There 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.

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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 Conclusion

By 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.

Scoring

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

Panasonic Lumix DC-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 peers

The 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.

Buy now:

$1898 at B&H Photo $1898 at Adorama $1898 at Amazon Sample gallery

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Kategorier: Produkt nyheder

The best cameras around $2000

13 mar 2024 - 14:46

Updated: March 13, 2024

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It's not so long ago that $2000 would buy you the lowliest, entry-level full-frame camera. Now, for around the same money, you get a choice of high spec cameras that shoot excellent stills and video, and include autofocus systems approaching the performance of professional sports cameras.

Choosing a camera also means committing to a lens mount, and the wider system that goes with it, so we advise checking whether the lenses you want to use are available at a price you're willing to pay. Not all camera makers allow other lens makers to produce lenses for thier mount, for instance, which can limit choice.

It's worth noting that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, it's worth considering whether they're good enough that you need to stick with a camera to which they can be adapted. You might get better results by selling-up and buying modern equivalents of your most-used lenses.

Several cameras have arrived in this price bracket fairly recently, and we've not yet completed our full reviews. We've only recommended cameras we've used extensively enough to be confident you'll be happy with them.

Our recommendations: Best camera around $2000: Canon EOS R6 II

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

Photo: Dale Baskin

Buy now:

$2499 at Amazon $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.

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. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"7953502801","isMobile":false}) }) Best camera under $2000: 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:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon 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. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) 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 B&H Photo $2198 at Adorama $2198 at Amazon 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. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"0861943200","isMobile":false}) }) Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is, in several ways, a better camera than the a7C II. It has a much nicer viewfinder and slightly better ergonomics. It also has a full mechanical shutter, which means there's no 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 compactness doesn't matter to you then 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. 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 is the OM System OM-1 II, released in early 2024, holding the torch as a flagship for Micro Four Thirds. At a price of $2,400, it's quite a bit more than $2,000 and really only makes sense for adventurers who demand high speed from the most compact possible kit.

Best for video and stills: Panasonic Lumix DC-S5 II

24MP BSI CMOS sensor | 6K/30p 10-bit video | 96MP high-resolution mode

Photo: Richard Butler

Buy now:

$1998 at B&H Photo $1998 at Adorama $1998 at Amazon What we like:
  • Great ergonomics
  • Effective subject recognition
  • Fan gives long video record periods
What we don't:
  • Subject tracking could be stickier
  • E-shutter not as fast as rivals
  • Middling battery life

The Panasonic Lumix DC-S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.

The S5 II can't quite keep up with the latest Sony and Canon bodies for AF reliability, but it's pretty close, and its video feature list is particularly strong. Features such as waveforms and a built-in fan for recording dependability make it the strongest option in its class if you plan to shoot both stills and video.

The mid-sized, weather-sealed body has good ergonomics. It includes a lot of external control points, including a dedicated AF mode switch, which isn’t common at this level, and an articulating rear screen. The menu system and touchscreen interface are among the best at any level. Phase detect autofocus provides more predictable AF than previous Panasonic models. Human subject recognition is effective, prioritizing the eyes, followed by faces, heads, and bodies. An 8-way joystick makes manual AF point selection easy. 30fps bursts use e-shutter, with moderate risk of rolling shutter distortion. “The Panasonic S5 II is one of the most well-rounded cameras in its class... For an enthusiast-level camera, there’s a lot to like.” The S5 II captures detailed video in a variety of resolutions and aspect ratios, all in 10-bit color. There are also advanced video tools that are rare or unique in this class of camera, including waveform and vectorscopes, shutter angle, and advanced audio options like dual input gain.

There's also an S5 IIX model which can record video directly to an external SSD, allowing higher quality capture in All-I and ProRes codecs. It's a better choice if you're serious about video.

The Panasonic S5 II is one of the most well-rounded cameras in its class. Its excellent ergonomics make for great handling, and its AF system is adept at identifying subjects, though subject tracking could be stickier and more decisive. It produces great photos and video and includes one of the deepest video feature sets for its price range. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"1023117505","isMobile":false}) }) What's best for video?

If you're only interested in video, Sony's FX30 might be a better choice than the S5 II or S5 IIX. The Panasonics offer full-frame 4K up to 30p, which give a potential image quality benefit over the APS-C FX30, but the Sony will exhibit less rolling shutter distortion. The FX30 also has the benefit that its 60p footage isn't cropped-in, compared with its 24 and 30p capture, meaning you won't have to zoom or swap lenses if you change frame rates. It applies a heavy crop for its 4K/120p mode, but that's something the Panasonics can't offer at all.

The S5 II also offers a waveform display and control in terms of shutter angle, which the Sony lacks, but the Sony's gimbal or rig-friendly design and superior autofocus make it the better choice if video is your primary focus.

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 $2198 at Adorama $2198 at Amazon 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. 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:

$1,599 at B&H Photo $1,599 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 can't quite go toe-to-toe with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7109242674","isMobile":false}) }) 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.

Kategorier: Produkt nyheder

Leica SL3 preview

7 mar 2024 - 15:00
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Product photos: Richard Butler

The Leica SL3 is a 60MP DSLR-shaped mirrorless camera built around Leica's L-mount. It brings a lot of technology from the Leica M11 models but also features a radically redesigned interface.

Key specifications
  • 60MP BSI CMOS sensor
  • 5-axis in-body image stabilization rated at 5.0EV
  • ISO 50-100,000 (base ISO 100)
  • Hybrid phase/contrast-detect autofocus
  • Eye/face/body and animal detection AF
  • DCI 8K video in H.265, 1080p in ProRes all with no time limits
  • 5.76M dot OLED EVF with up to 120fps refresh
  • 2.33M dot tilting rear touchscreen
  • 4fps 14-bit shooting with AF, 5fps in 12-bit mode, up to 15fps, 12-bit with focus and exposure locked at first frame.

The Leica SL3 is available immediately at a recommended price of $6995. This is a $1000 increase over the price of 2019's SL2, though inflation means this is lower in real terms.

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Buy now:

$6995 at B&H Photo$6995 at Adorama Index: What's new

The Leica SL3 is the fourth in the company's range of full-frame, L-mount cameras, following 2017's 24MP SL, the 47MP SL2 from 2019 and the video/stills hybrid SL2-S from 2020. The SL3 adopts a 60MP BSI CMOS sensor, making it both the highest resolution SL camera yet and also the one most likely to play nicely with Leica's M series rangefinder lenses (BSI sensors are better at receiving light from close-mounted lenses, as their photosensitive region is closer to the surface).

As with the M11 cameras, the SL3 can output Raws or JPEGs in your choice of 60MP, 36MP or 18MP resolution, with the option for different resolutions for each file type.

The available ISO range of the sensor stretches from 50 to 100,000, but the company says the native gain steps of this dual gain sensor are ISOs 100 and 320 (200 and 640 in L-Log, 400 and 1250 in HLG).

The SL3 accepts CFexpress Type B slot in addition to UHS-II SD.

The sensor has on-sensor phase detection elements, allowing depth-aware focusing. This combines with a subject recognition system we suspect stems from the L² technology partnership with Panasonic. It can be set to recognize human bodies, faces and eyes, and will track and focus on the smallest of these that's available. It also has animal detection including birds.

The camera uses the same "Maestro IV" processors as Leica's Q3 model, with an 8Gb buffer that's double the size of that in the SL2. Despite this processing power and buffer the SL3's continuous shooting rate is very low by modern standards, hitting just 4 frames per second if you want autofocus and the sensor's full 14-bit readout. This increases to 5fps if you drop to 12-bit mode and then trebles if you don't need focus or exposure updates between shots. This is especially odd given the camera has enough grunt to deliver 8K video.

8K video The SL3's includes a full-sized HDMI port, as well as headphone and mic sockets

The SL3 can capture 8K video (in 1.89:1 or 16:9 aspect ratios) at up to 30p in 10-bit. This uses the H.265 codec and can record 4:2:0 to the CFexpress slot until you run out of card space or battery. It will also output 4K in 10-bit 4:2:2 over the HDMI socket if you shoot Log or HLG, or are recording to a card at the same time. HDMI output is 8-bit 4:2:0 UHD 8K if you're not in one of these modes and not recording to a card.

The 4K (UHD or DCI) is taken from the 8K capture when shooting at up to 30p. It appears to line-skip to deliver up to 4K/60p from the same region of the sensor.

Frame rates Crop Bit-depth Chroma Codec Bitrate
(Mbps) Rolling shutter C8K mode Internal
(DCI 8K) 30, 25, 24, 23.97 1.17 10-bit 4:2:0 H.265 300 31.5ms HDMI*
(DCI 4K) 4:2:2 8K mode Internal (UHD 8K) 30, 25, 24, 23.97 1.24 10-bit 4:2:0 H.265 300 31.5ms HDMI*
(UHD 4K) 4:2:2 C4K mode DCI 4K 60, 50, 48, 47.95** 1.17 10-bit 4:2:2 H.265 600 15.6ms 30, 25, 24, 23.97 400 31.5ms 4K mode UHD 4K 60, 50, 48, 47.95 1.24 10-bit 4:2:2 H.265 600 15.6ms 30, 25, 24, 23.97 400 31.5ms *C8K or UHD 8K is output over HDMI in 8-bit 4:2:0 if you are not recording internally and not in L-Log or HLG modes.
**Camera outputs 4K/24 or 23.98 over HDMI in 4K 48p or 47.95p modes

The camera offers five preset slots in which you can define resolution, frame rate, codec, compression, with the choice of gamma encoding, Log or HLG capture. This lets you jump between pre-defined modes, rather than risking changing one setting and forgetting to change another (or forgetting to change a contingent setting back, when you revert to your main shooting mode).

The SL3 also has the ability to sync timecode over a flash sync socket on the side of the viewfinder hump.

Body and controls The third command dial on the right of this image sets the SL3 apart from its predecessors

The body of the SL3 looks a lot like the previous SL models but is recognizably a little smaller. And, while the overall appearance is consistent with prior models, there are more changes, the closer you look at the camera.

The biggest change is the addition of a third command dial to the left of the camera's viewfinder. This allows default behavior that puts the key exposure controls, shutter speed and aperture, on the main two command dials and ISO on the new left-hand dial, giving immediate access to all the fundamental photographic settings.

The other really obvious alteration is that the array of three buttons (Play, Fn, Menu) have been shifted across to the right-hand side of the rear screen, so that a tilting screen design can be implemented without conflict between the screen and the buttons.

The on-off switch on the left of the camera has been replaced by a button that you hold down to wake the camera. This is surrounded by an LED indicator that glows green when the camera is charging, pulses white when the camera is in sleep mode and is constantly illuminated white when the camera is awake.

Despite the articulated screen, the SL3 continues to offer the IP54 water and dust protection rating as its predecessor.

It has a 5.76M dot (1600 x 1200 pixel) viewfinder with 0.76x magnification that can run at up to 120fps and a 2.33M dot (1080 x 720 pixel) rear screen that tilts up or down.

Interface

Where the SL3 stands out is in its user interface (UI). Leica has been working on variations of a touch-led interface all the way back to its first L-mount camera, the Leica T (long enough that the mount was still called the T-mount at that point). The SL3's UI isn't quite as radical as its APS-C forebear but it still feels quite innovative compared with most cameras.

The primary means of interacting with the camera is through the three command dials, as you might expect. Their functions can be reconfigured for each of the camera's exposure modes but with the choice of a second configuration if you're using adapted M lenses (ie: if you're using a lens with an aperture ring, you may choose not to assign a dial to aperture value).

The bulk of the camera's other settings are adjusted through its touch-operated settings menu, with a relatively shallow menu system sitting behind this. Holding your finger on one of the onscreen buttons lets you customize its function (the exposure and ISO settings can't be repurposed).

Swipe left and the photo settings give way to the video settings and yellow highlighting (reflecting the color scheme of the distance scales on Leica's Cine lenses).

The settings panel shows either the stills settings or, if you swipe a finger across the screen, the video settings. The settings screen and menus have red indicators when you're in stills mode and yellow to denote video mode.

The camera's live view displays can also be customized, with a choice of which settings appear onscreen, and whether the screen is re-arranged for portrait orientation. Up to six banks of presets that include button and screen customization can be named, saved and exported, so that you can quickly set the camera up for your preferred way of working.

The menu includes touch toggles, meaning you don't need a separate screen for binary choices. On this screen you can limit which options are available when you customize the action of the Fn button, to make operation faster.

The menus themselves include nice touches such as toggle switches for on/off settings, so that you don't need to go into a deeper level of the menus just to switch settings on and off. You can also slim down the list of which settings are available to be assigned to buttons, to make selection quicker.

On top of this, the camera lets you define up to four presets of capture assistants (grids, levels, highlight warnings, etc). The camera will use whichever of these presets you last used and will retain separate settings for capture and playback.

Battery

The SL3 uses a new, higher power BP-SCL6 battery which now offers 15.8Wh capacity (up from 14.4). The camera is still compatible with the older BP-SCL4 batteries but some video functions are only available with the newer version. The camera is rated at a rather low figure of 320 shots per charge per the CIPA standard. But Leica says that it will deliver 1350 shots per charge if the camera auto power off function is used every 50 shots, rather than the standard's 10, giving an insight into why the CIPA standard tends to significantly underestimate most people's real-world usage

A DC-powered dummy battery is available, allowing the camera to be powered using USB-C for extended periods and without tying up the camera's USB-C socket.

Initial impressions

By Richard Butler

The Leica SL3 is an interesting camera, bringing the sensor and many of the developments of the recent M11 models to the L-mount for the first time. The body is appreciably smaller without sacrificing any of the solidity or consistency of look from the existing cameras.

The size reduction and increased contribution from Leica's technology tie-up with Panasonic doesn't mean the SL3 is simply a rebadged DC-S5 II. The three-dial layout makes it distinct both from the Panasonic and the existing SL models, and this felt informative, as I was using the camera.

It's that focus on the fundamentals, and the back-to-basics rethink that led to it, that leaps out about the SL3. The rest of its specifications aren't particularly different to most of its peers, but the way it's operated is.

The SL3's interface will be unfamiliar to almost everyone at first, in that it doesn't particularly resemble the behavior of most cameras we've encountered. But this is perhaps a good time to remind ourselves that, while the word is often used, almost no aspect of camera operation is literally "intuitive". You don't know how to use a different brand's cameras because it's innately obvious, you do so because it behaves like something you've learned. And our first impressions are that the SL3's interface, while unfamiliar, is simple, sensibly arranged and should be quick to learn.

Leica says it redesigned every one of the camera's icons, and even went so far as to adopt a new typeface for its menus, but these are merely the outward signifiers of a fairly 'ground, up' approach to rethinking how a camera should work.

We suspect we'll find a few quirks and oddities, as we get to use it day-in, day-out, but in a landscape of cameras that can often look and feel interchangeable, with only lens choices to distinguish between them, it's interesting to encounter a camera that tries to do something different. And, in keeping with its maker's reputation, the SL3 seems to be searching for a way to make a camera that's focused on photography's fundamentals.

That said, it's hard not to notice that the SL3 costs around 80% more than Sony's excellent a7R V which also features a 60MP, dual conversion gain BSI CMOS sensor. And that's a significant premium to have to pay for an innovative interface. So the wisdom of choosing the SL3 may come down to your belief in the quality of Leica's lenses, meaning the decision essentially does come back to lens choice.

Buy now:

$6995 at B&H Photo$6995 at Adorama Sample gallery

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Kategorier: Produkt nyheder

New: 7 Best cameras for travel

6 mar 2024 - 19:19

Updated March 2024

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Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so that you can capture whatever you encounter on your travels. We've also tried to select relatively small cameras so they don't interfere with your trip.

Our selections include relatively compact cameras with fixed lenses, perfect for just documenting what you saw on your trip; they also include Micro Four Thirds and APS-C models that allow smaller camera/lens combinations, if you're looking to travel light. Full-frame cameras open up the potential for even better image quality but the lenses can get pretty big, so it's worth checking how big the total package is, before committing to a large-sensor model.

Our recommendations Best pocketable travel camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The Ricoh is a pocketable compact with a large APS-C sensor.

Photo: Barney Britton

Buy now:

$997 at B&H Photo $997 at Adorama $1016 at Amazon What we like:
  • Excellent image quality
  • Good controls and ergonomics
  • Truly pocketable
What we don't:
  • Short battery life
  • No built-in flash
  • Sluggish AF in low light

The Ricoh GR III is the latest in a series of classic compact cameras with a large APS-C sensor and a 28mm equivalent lens. It's not the most flexible camera but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with.

The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The GR III focuses swiftly and accurately in good light, but it slows significantly as light levels drop. There's also a Snap Focus option, where the user can preset a focus distance the camera 'snaps' to with a full press of the shutter button. The GR III's battery life is disappointing, at a rated 200 shots per charge. "Offers direct control and excellent image quality in a pocketable camera"

Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.

The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7380089310","isMobile":false}) }) The classic choice: Fujifilm X100VI

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

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

Photo: Richard Butler

Buy now:

$1,599 at B&H Photo $1,599 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

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. But being in active production following its 2024 launch, the X100VI is somewhat easier to buy than its constantly out-of-stock forebear.

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.

Like its older brother, the X100VI isn't the smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

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

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers. With any luck, however, its release will depress the over-inflated sale price of previous generation X100V cameras, which are still quite capable if you can find them for prices befitting used gear.

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7109242674","isMobile":false}) }) Truly compact mirrorless: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

Photo: Brendan Nystedt

Buy now:

$999 at B&H Photo $999 at Adorama $999 at Amazon What we like:
  • Attractive JPEG output
  • Selection of clever photo features
  • Excellent image stabilization
  • IP53 rating supports claims of weather sealing
What we don't:
  • AF tracking is disappointing
  • Image quality is behind larger sensor cameras

The OM System OM-5 is a compact interchangeable lens camera with a 20MP Four Thirds sensor in a compact body with plenty of external control.

That relatively small sensor means it can remain fairly small, even with a lens attached, and the Micro Four Thirds lens system provides extensive options in that regard, from compact zooms to small prime lenses.

The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price. It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick. "Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different" The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects. The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"0126081229","isMobile":false}) }) All-round compact capability: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

Buy now:

$1398 at B&H Photo $1398 at Adorama $1398 at Amazon What we like:
  • Front and rear command dials
  • Excellent AF in stills and video
  • 4K/120p capture (with crop)
What we don't:
  • No AF joystick
  • JPEG sharpening can be aggressive

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"7692340468","isMobile":false}) }) The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS

26MP X-Trans APS-C sensor | Up to 6.2K/30P 10-bit video | In-body image stablization

Photo: Shaminder Dulai

Buy now:

$1699 w/ 18-55mm at B&H Photo $1699 w/ 18-55mm at Adorama $1699 w/ 18-55mm at Amazon What we like:
  • Excellent still and video quality
  • Long battery life
  • Comfortable, simple ergonomics
What we don't:
  • AF tracking still lags behind peers
  • Small electronic viewfinder
  • Micro HDMI instead of full-size

Fujifilm's X-S20 is also worth considering. Like the a6700, it's built around a 26MP BSI CMOS sensor and is strong at both stills and video. Its autofocus isn't as simple and powerful as the Sony's, but its JPEG color modes produce really attractive results, and there's a wide choice of lenses including compact prime and the well-priced, supremely useful 18-55mm F2.8-4.0 OIS, which is a great travel option.

The camera has an approachable layout with two customizable dials set into a large hand grip. The camera is well-built and feels robust thanks to its partial metal construction. The EVF is a little small, though. "The X-S20 delivers a long list of options to still shooters and vloggers alike, all while offering solid battery life." Overall image quality is very good. JPEGs have pleasing color, and Film Simulation modes make it easy to change the style of your photos. Some cameras capture more detail at low sensitivities, but the X-S20 is more competitive at high ISOs. The camera's sensor gives you plenty of latitude when processing Raw images. The X-S20's video specs are impressive, with 10-bit 4K capture at up to 60p. Videographers will appreciate its F-Log capture, while the Eterna color profile is attractive if you want a simpler workflow. An optional fan extends record times but autofocus isn't especially dependable. The X-S20 takes Fujifilm's higher-end still and video features and puts them into a simple, cleanly designed body with built-in image stabilization. Image quality is great, autofocus is good in most situations, and the breadth of video features is impressive. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"7569171898","isMobile":false}) }) The stylish travel companion: Nikon Zf

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

Photo: Richard Butler

Buy now:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon What we like:
  • Distinctive design with direct controls
  • Effective subject recognition
  • Strong stills and video features
What we don't:
  • Weight and minimal grip can become uncomfortable
  • Slow MicroSD second slot
  • Few custom buttons

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention, when you're out and about in an unfamiliar setting.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) Portable full-frame: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:
  • Big camera features in a small body
  • Outstanding AF performance
  • Auto Framing video mode
What we don't:
  • Small, low-res viewfinder
  • No joystick control
  • No fully mechanical shutter

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus. The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) 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.

Kategorier: Produkt nyheder