Two of Nikon’s DSLRs, the Nikon D850 and Nikon D750 were also standout cameras in my mind. The D850 was, at launch, my pick for the best Nikon DSLR ever, a title it still holds in my mind.

The D850 took the flagship Nikon D4 DSLR and crammed it into a more traditionally sized body. Very few compromises were made to shoehorn pro-level tools into the smaller body though. It was a pro camera, just smaller.

The Nikon D750 was a step below the D850 in terms of features. More affordable than the D850, the D750 had a nicely rounded set of tools, but it was targeted toward a high-end enthusiast customer rather than a working pro. 

Both of these cameras were successful because they picked their customer and stuck to the features those customers would want, with no unnecessary bells and whistles. 

These two cameras are nearly directly parallel in today’s Nikon lineup. The Nikon Z8 and Z6 III are closest to the D850, with the Z8 targeting the pro photographer customer, and the Z6 III aiming for the video crowd.

The Z5 II is very similar to the D750, and it’s unapologetically targeting the photographer who doesn’t need advanced video tools. It’s polished, has the best features of Nikon’s higher-end models, is compact, and is several hundred dollars less than the D750 of old.

This camera is the successor to the Nikon Z5, and like its siblings, the Z6 and Z7, the first version did not have fantastic autofocus. Nikon won’t admit to that, but anybody who worked with those systems knows they were not on par with competitors. But the mark II and mark III versions of all these cameras have really upped the ante.

Nikon Z5 II

What We Think

The Nikon Z5 II is a full-frame mirrorless camera with a 24.3-megapixel CMOS sensor and the EXPEED 6 processor. It supports 4K UHD recording up to 60 fps (with a 1.7× crop) and Full HD at 120 fps. The camera includes 5-axis in-body image stabilization, a 273-point hybrid autofocus system with subject detection, and dual UHS-II SD card slots. It features a 2.36-million-dot EVF, 3.2-inch tilting touchscreen, weather-sealed magnesium alloy body, and USB-C power delivery. Connectivity options include Wi-Fi and Bluetooth for wireless transfer and tethering.

Reasons to Buy

• Excellent autofocus with subject detection for people, animals, vehicles, and airplanes
• Outstanding low-light performance with usable images up to ISO 12,800
• Compact and lightweight body ideal for travel
• 5-stop in-body image stabilization
• Dual card slots (CFexpress Type B/XQD and SD UHS-II)
• Clean 4K video with 10-bit N-Log recording
• Flip-out LCD perfect for vlogging and self-recording
• Excellent battery life and menu system
• Pro-level features at an accessible price point

Reasons to Avoid

• Electronic shutter limited to 10 fps (5 fps mechanical)
• Video features don’t match the Z6 III for serious videographers
• 24-megapixel resolution is lower than that of some competitors ‘

Specifications

• Sensor: 24.5MP Full-Frame BSI CMOS
• Processor: EXPEED 7
• Video Resolution: 4K 60p
• Continuous Shooting: 30 fps (electronic)

• Stabilization: 7.5-stop VR
• Viewfinder: 3.69m-Dot OLED EVF
• LCD: 3.2″ 2.1m-Dot vari-angle touchscreen
• Battery Life: Approx. 360 shots (CIPA)

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The Nikon Z5 II will be one of those cameras that people hold onto for years longer than you’d suspect, as it is so well-tuned for its key users. This isn’t a camera with every feature under the sun—it’s a camera with the right features for the vast majority of photographers and social media content creators.

PRODUCT

Low-Light Performance That Exceeds Expectations

Nikon did not update the imaging sensor in the Z5 II; it’s still the same 24-megapixel sensor found in the Nikon Z5, but the new EXPEED 7 processor in the body improves nearly every aspect of operation. 

In an era of 60-megapixel sensors, the 24-megapixel resolution of the Z5 II might not seem high enough resolution, but there are two reasons why this sensor was the right choice for this body. 

The first reason, although debatable, is that 24 megapixels is large enough to create large-format output. You can easily make prints large enough to hang on your wall. You can print around 17×22 on a 300dpi printer without losing much detail. 

For larger prints that will be viewed at a distance and that are output at 150 dots-per-inch, you can do around a 24×40 inch print without losing detail. And with Photoshop and other image editing tools able to scale images nearly perfectly, you can go much larger. 

You can even crop nicely on a 24-megapixel sensor and still have great detail. This shot is about a 50% crop, and the hawk’s eyes are visible; the feathers have great detail. 

The second reason that 24 megapixels is the right choice is light gathering. The resolution of a sensor is directly tied to its light-gathering ability: the fewer the pixels, the better the low-light performance. 

Since a full-frame sensor is a fixed size, the more pixels you put on the sensor, the closer they have to be and the smaller they have to be.

The smaller and nearer the pixels are, the worse the low-light performance. 

There’s a simple analogy to explain this. Place a glass and a bucket outside when it rains. Both the bucket and the glass will get the same height of water, but the bucket will have much more water in it. In this analogy, the water is incoming light, and the bucket is the bigger pixel. The more you gather, the better the low-light performance. 

The native ISO range goes up to 51,200, expandable to 102,400. I wouldn’t shoot at 102,400 regularly, but the fact that you can push to ISO 12,800 and still get usable images is remarkable.

Wedding photographers, event shooters, and anyone working in challenging lighting conditions will appreciate what this sensor can do.

I loved most of the low-light shots I got with this camera, especially these scenes on a beach as the sun was setting. The sun was nearly set in some of these photos. The low-light performance is really great.

This shot was lit only by the red light above it. It’s grainy because I shot at ISO 36000 handheld, but there are stars visible in the sky. Here’s what it looks like after Photoshop’s AI denoise processing. Here’s the sky zoomed in.

Keep in mind that WordPress, which our site runs on, heavily compresses images on upload. There’s no way to show you the lack of noise in this image because noise is added back in when the image is recompressed.

And this photo is mostly noise, but I think it’s impressive because it was shot at ISO 64000 at 1/4th of a second at f/5. I was on f/5 because I forgot to change the aperture between the last shot and this one, but I ran this through Photoshop’s AI noise reduction, and I get this.

I mean, that’s ISO 64000 handheld at a quarter of a second. That’s Crazy.

GALLERY

Nikon Z5 II Image Quality

The image quality on the Z5 II is where this camera really stands out. The 24-megapixel sensor might not sound impressive on paper when you’re comparing it to 45-megapixel or 60-megapixel cameras, but for most photographers, 24 megapixels is more than enough resolution. 

I haven’t seen a camera with bad image quality in the last decade, so it’s no surprise that the sensor in the Z5 II makes a great photo, but the resolution, plus the low noise from the sensor, makes the Nikon images easier to work with. 

Nikon has always had great color science, and that continues here. Skin tones look natural without a lot of post-processing work, and the dynamic range is wide enough that you’ve got good latitude in both highlights and shadows during post.

Images from the Z5 II are beautifully rendered, with plenty of detail and accurate color. 

In these close-up shots of bees, the plants are as vibrant as they appeared to me. This portrait of my son in front of fall foliage has good colors without getting oversaturated. 

Autofocus is Reliable

The autofocus on the Z5 II is fantastic. I think Canon and Sony still have a little bit of the edge when it comes to eye detect autofocus and tracking subjects when they pass out of view or are temporarily obscured, but that gap is closing. This is a huge improvement over the original Z5.

The 299 phase-detect AF points cover approximately ninety percent of the frame, and the system includes subject detection for people, animals, vehicles, and airplanes. In my testing, the autofocus locks on and tracks subjects well, even in lower light conditions. 

It works very well for people; it can easily focus on animals, including birds, and in my close-up shots of the bees, it was able to follow them as the flowers they were on were blown around in the wind.

I was impressed with the performance of the autorocus on birds of prey.

I was more impressed by these shots of bees. Not only did the AF catch them mid-gathering, but it tracked them flying. I had the animal detect on here, though these obviously aren’t the dogs and cats that mode is designed for. Without an “insect” subject detection setting, animal AF is as close as I could get. It’s hard to grab shots of bees in flight, and I hadn’t yet turned on the pre-release capture. 

Key Photo Specifications for Photographers

The 24.3-megapixel full-frame sensor is paired with Nikon’s EXPEED 7 processor, which is the same processor found in the Z8 and Z9. This means you’re getting the latest processing power.

In-body image stabilization is rated at five stops, which in practice seems accurate but is hard to measure without expensive testing gear. I certainly had no problems walking and photographing at the same time, and the only real motion blur I experienced was user-error settings-wise. 

You can handhold longer exposures than you’d expect, especially when paired with lenses that have their own stabilization. The photo earlier in the article that was taken at 1/4th of a second is a good example of this.

You also get pro-level speed with this camera. The max frame rate with mechanical shutter is eleven frames per second in RAW, and the electronic shutter goes up to thirty frames per second. That’s faster than any pro camera of five years ago could achieve, it’s double what the Z5 could do, and really, it’s all you need even for the fastest moving sports. But, and this is a big but, that 30 frames per second is JPEG only. So, you’re trading raw editing capabilities for speed. That’s fine for many shooters, but for pros, that might make this a no-go.

There’s also pre-release capture, which is my favorite function of the modern mirrorless era. When shooting birds and wildlife, it’s almost impossible to snag the moment the animal makes its move.

Before pre-release, I’d occasionally fire off some shots in case a hawk I was photographing was about to leap from its perch. With pre-release, I never have to worry about that. When my slow human brain detects movement, I press the shutter all the way, and the camera saves the shots before that moment.

All cameras should get this feature.

But, and again it’s another big but for some, the pre-release capture is JPEG, so that you might get that decisive moment, but it won’t be as high-res as if you were shooting one of Nikon’s other cameras that can capture RAW at the full frame rate. 

Dual card slots are critical for professionals, and the Z5 II delivers. You get one CFexpress Type B (CFe B) slot and one SD UHS-II slot. I appreciate having dual-slot redundancy, especially when shooting important events or travel photography, where you can’t go back and reshoot.

But, since it’s one CF E B and one SD card, a photographer needs to bring one of each card to have backup. And if they plan to fill up a card and switch to another one mid shoot, they’ll need another CFe B card and another SD card. Without the two different types of cards in your camera, there’s no backup capability.

The battery is rated to perform slightly worse than on the Z5, likely because the EXPEED 7 processor takes up more power. While I didn’t have access to the Z5, the difference was not at all noticeable from what I remember of the Z5. On my final day of testing this camera, I shot back-to-back videos with combined times of just under an hour, and the battery still had plenty of juice. 

I am a fan of the Nikon menu system. Sony’s system has a lot more settings and tweaks to it, but it is a confusing mess. Nikon and Canon have much better menu systems, with some features more accessible on each system. But as someone who’s been shooting Nikon cameras for decades, I’m more familiar with Nikon’s organization than Canon’s.

Video Performance for Content Creators and YouTubers

With a much faster processor than the previous version, the Z5 II handles better, but it is nothing to write home about. You can shoot 4K at up to 30fps, which gives you excellent image quality. For most YouTube content and social media posts, 4K/30 is perfect. You can capture 4K/60 but with a hefty 1.5x crop. All of my YouTube videos, including the one I shot for this video review, are captured at 4K/24. 

I’ve been using this camera for a lot of my A-roll footage, some studio work, and out in the field for B-roll, and it is great for those applications. 

If you need slow motion, you can shoot 1080p at 120fps, which gives you nice 5x slow-mo in a 24p timeline. The 10-bit internal recording to N-Log gives you good color grading flexibility if you want to do more professional color work.

The flip-out LCD screen is more than good enough for vlogging and self-recording. The screen is bright and responsive, and having that articulation means you can get creative with your angles. The LCD screen gained an additional million dots, and it’s very usable in bright sunlight. The touchscreen is fast and responsive as well, which makes changing settings during video shooting easier when filming yourself. 

Like other Nikon camcorders, there’s a toggle to switch between still photography and video mode, and settings in each mode are sticky.

I find the claimed five-stop IBIS system works well when shooting handheld video. For run-and-gun shooting where you’re moving around, the combination of in-body stabilization and a stabilized lens gives you footage that’s smooth enough to use without additional gimbal stabilization in many situations.

That said, the sensor isn’t “stacked,“ which is a term that refers to the circuitry and how fast the processor reads the sensor. Because it’s not a stacked sensor, the Z5 II exhibits rolling shutter when panning quickly. So if your shooting style is to move from place to place, recording a mostly static shot in each location, this is a good choice. It’s not such a good choice if you’re doing videos of airshows where you’re panning a lot. 

The USB-C port can be used for power delivery while recording, which means you can shoot indefinitely if you have a power bank or wall adapter. There are no artificial recording time limits, though, like most cameras without active cooling, you need to be aware of heat buildup during extended 4K recording sessions.

For social media creators and YouTubers, the Z5 II is a perfect tool. You get professional image quality, reliable autofocus for talking-head videos, good low-light performance for various shooting conditions, and enough video features to create content that looks great without needing a full cinema camera setup.

Nikon Z5 II vs Z6 III: Which is Right for you?

The Z6 III is the obvious comparison, even though it’s priced around $2,500—roughly $1,000 more than the Z5 II. Specs-wise, it’s the next nearest Nikon camera. What does that $1000 get you? 

The Z6 III has a partially stacked sensor that gives you faster readout speeds, which means less rolling shutter in video and better performance with the electronic shutter for stills. It also has more advanced video features, including internal RAW recording options, higher frame rates in 4K, and better heat management for longer recording times. The Z6 III also has a better EVF, faster continuous shooting speeds, and more robust AF tracking.

Watch Our Nikon Z6 III Review

But if you’re primarily a stills shooter or someone who shoots video but doesn’t need all those professional video features, the Z5 II gives you 80-90% of the photography performance of the Z6 III for 60% of the price. (That’s a rough estimate.) For photographers who occasionally shoot video for social media or YouTube, the Z5 II’s video capabilities are more than adequate.

The Z6 III is mostly an upgrade for serious video users who need features like higher bit rates, longer recording times without overheating, and more professional video codecs. If you’re a wedding videographer or someone shooting commercial video work, the Z6 III makes sense. If you’re a photographer who also creates content, the Z5 II is the smarter choice.

With Nikon’s recent acquisition of the high-end cinema camera company RED, we’re likely to see its mirrorless cameras get increasingly powerful video features, tools that the ideal Z5 II customers don’t really need.

Why the Z5 II Is Excellent for Photography

I’d been hesitant to return this camera to Nikon, keeping it far longer than I should have. That’s because this is a fantastic travel and everyday camera, and I’ve been enjoying taking it to family gatherings, trips to the beach, and the occasional school graduation. The body is small and light relative to something like the Nikon Z9, although it is naturally not as small as Nikon’s APS-C cameras.

The battery life is excellent despite the lower battery life specs. Nikon didn’t provide a second battery during testing, so I never had a backup one, and even on full days of taking travel photos, I didn’t run out of juice.

Nikon’s menu system is excellent. The controls on this camera are excellent, and everything works really as you would expect it to work.

One of my favorite things about this camera is that it’s lightweight, compact, and affordable. Nikon has really been trying to compete with its rivals by giving you cameras at a slightly lower price point than you would expect for similar systems from similar manufacturers.

Should You Buy the Nikon Z5 II?

Yes, if you want a capable full-frame camera that delivers excellent image quality, reliable autofocus, and strong video features without paying for capabilities you won’t use. At around $1,800 (as of this article), the Z5 II is an exceptional value. You’re getting performance that was reserved for cameras costing upwards of $3,000 just a few years ago.

This is the camera I’d recommend to someone moving from APS-C to full-frame, to someone who wants a lightweight travel camera without sacrificing image quality, to content creators who need good video alongside their stills work, and to photographers who wish for reliable performance at an accessible price. It’s also a great second camera or backup camera for the wedding or event photographer.

The image quality is excellent, particularly in low light, and the autofocus is reliable and fast enough for most shooting situations.

However, if you need the absolute fastest autofocus tracking, higher frame rates for sports, or professional video features like internal RAW recording and longer 4K recording times, you’ll want to look at the Z6 III or Z8. The Z5 II isn’t perfect for every use case, but for what most people actually shoot, it delivers where it matters. 

That’s why I think this is one of the best cameras Nikon has made—not because it has the most impressive spec sheet, but because it gets the fundamentals right at a price point that makes full-frame photography and quality video accessible to more people.

The post Nikon Z5 II Review – The Best Nikon for the Serious Photographer, and for Some Videographers appeared first on Imaging Resource.

I have a long history with Hasselblad cameras. I grew up in an era when the Hasselblad 500-series cameras were the pinnacle of medium-format photography. I personally shot with the Hasselblad 501 and put plenty of rolls of 120 and 220 film through it. 

When digital medium format cameras came to market, they were simply versions of the original film cameras that replaced the removable film magazine with one containing an imaging sensor. The bodies were upgraded to communicate electronically with the backs, but compared to today’s cameras, they were wildly unsophisticated. 

Hasselblad made a radical departure from its historical boxy 500-series cameras when it introduced the X1D 50C camera, a medium format system in a body that was clearly designed to look like the “modern” look of a DSLR of the era. 

I remember seeing it at the Photokina trade show in Germany, and being fascinated by it. Instead of a medium format camera built around the tradition of a film body, this was a body built around a digital sensor.

It was not a perfect camera by any means. Focus was slow, operation was slow, and while the images were beautiful, using it was a chore.

The X2D was a major upgrade, tackling a lot of the issues photographers like me had had. It had a combination of contrast and phase detect autofocus versus the contrast detection system of the X1-series. As someone who leaves their memory cards at home often enough that I keep one in my wallet, having built-in 1TB of storage was a brilliant idea. 

That camera had around seven stops of In Body Image Stabilization (IBIS), better than most full-frame cameras. It had around 15 stops of dynamic range, on par with the competing Fujifilm GFX100RF camera. 

Despite limitations, it was a usable and impressive camera in a way that the X1D was not, at least in uses like portraiture and landscape. It still lagged behind full-frame cameras for documentary work, lifestyle photography, and fast-paced journalism, but it was a solid and usable camera.

Hasselblad’s New Generation of Medium-Format 

With the new Hasselblad X2D II 100C, the company is hoping that the fourth time’s a charm, and largely it is. I enjoyed shooting with it more than the other X-series Hasselblad cameras, and more than some full-frame and APS-C cameras I’ve reviewed over the years. 

It’s still not a “fast” camera, but a medium format camera is unlikely to ever catch up to the performance of a similarly priced full-frame mirrorless, or even full-frame cameras that are a fraction of the price. Interestingly, the X2D II launched with a lower price than the X2D, at about $7,700 versus the $8.200 price of the X2D. 

Mostly Excellent Autofocus

The biggest update is in the area where the X-series has been particularly weak, the autofocus. It now has continuous AF aided by LiDAR, and while it’s hard to say how much of the improved AF is better focusing algorithms, and how much is the LiDAR, it is unquestionably better at autocusing than predecessors. 

The AF-S system of the older X-series cameras made them impractical for anything besides landscape photography or portrait work, where the subject isn’t moving. They were cameras you’d use to capture a bride and groom cutting their cake, but not one you’d use to capture them dancing. 

With the new subject-detection autofocus system, aided by LiDAR, the X1D II 100C can nail subjects including humans and animals, for the most part.

A good test of the new autofocus system came at a No Kings protest. I would not have brought the original X2D to a protest rally, as there’s little chance it would have focused accurately on people marching and holding signs, but the X2D II managed to capture images that the X1D and even the X2D could not. 

A person walking straight at the camera would have been too much for the AF-S on the X2D, since the focus would have locked on where the subject was at the time of shutter release. The blur might have been virtually unnoticeable, but it would be there.

The 425-point phase detect system, coupled with the new AF algorithm, tuned out the other spectators in favor of the main subject.

In this photo of my son, the camera had a hard time picking out the face. This is tricky for an eye-detection AF system, but I’ve captured many shots like this and the face detection is more accurate. In both images I’ve set the frame with the paintbrushes between myself and my son to see if the camera would leap onto the brushes. As brightly colored vertical elements, they could easily confuse an AF system, and they did not

That said, when pixel peeping, the minitature is in the sharpest focus. It’s relatively in the plane of the eyes, but there’s a tad more focus there than on the frames of his glasses or his eyelashes.

Animal Eye AF works very well, though it’s hard not to focus on the big eyes of a cat, but squirrel eyes are harder to detect since they’re black against dark fur, and the X2C II 100C nailed it.

At three frames per second, this camera isn’t winning any speed competitions, but in animal detection mode iit was fast enough to grab a few shots of swooping seagulls, and the animal-detect AF latched right onto the birds.

I also had the nwith me, and unsurprisingly, the R6 III outpaced it significantly. Still, the X2D II isn’t meant to be a photojournalist camera for fast-moving events, and it held up nicely. 

Read Our Caon R6 III Review

It’s still a camera designed for portraits, environmental portraits, some street photography, landscapes, and fine art, but you can also put it in your camera bag and bring home in-focus images that the X2D and X1D would have missed. 

An All HDR Workflow

The X2D II has an end-to-end High Definition Range (HDR) workflow, allowing it to capture, display, and process images with a massive tonal range. The HDR pipeline is 16-bit, meaning color and brightness information is nearly lossless from capture to output. 

On the surface, this doesn’t seem different from shooting raw files, but a raw file is designed to provide a standard definition image, so any adjustments to tonality need to be done in post-production. 

With an HDR workflow, every aspect of the process is tone-mapped to give you the most color-accurate image possible, with the maximum dynamic range available from capture. 

The display on the X2D II is HDR, so that you can preview and review the full amount of dynamic range captured on the device. When editing photos on an HDR display, you can work with the full dynamic range available more easily than working on an SDR display. When preparing images for devices like the iPhone, iPad, Apple displays, and any other HDR device, you’ll know what the result will be. 

To evaluate the HDR content, the camera has a 3.6-inch OLED touchscreen with 2.36 million pixels and a brightness of 1,400 nits. I had no problems using the camera in bright sun. The EVF is 5.76 million pixels and a .87x magnification.  

The EVF doesn’t have the highest resolution on the market. That distinction goes to the 9.44 million pixel resolution EVFs found on cameras like the Sony a9 II and Canon R1. But the EVF is the same resolution as the Canon R5 II. From a component standpoint, this is the one under-spec’d part of the camera. 

Note: The image compression used by WordPress is pretty aggressive. Evaluating these images after saving the draft, it’s obvious that the benefits of the HDR workflow are not going to be apparent here. Saturation of these images is washed out and details are softened compared to the originals.

Impressive In Body Image Stabilization (IBIS)

The Hasselblad X2D II 100C has a claimed 10 stops of IBIS, which is best in class. More accurately, it has IBIS that blows other systems out of the water. The medium format Fujifilm GFC100 has 5.5 stops, and the Canon R1 has up to 8.5 stops. 

Ten stops of stabilization are insane. It’s impossible to measure just how accurate that claimed rating is, but the lack of motion blur in images where I was panning to track a subject is impressive. Even when shooting birds in flight—something this camera was not designed to do—I saw no motion blur unless I was shooting too slowly. 

Video – Or Lack Thereof

There is no video recording capability on the X2D II, which may be enough to turn off some potential customers. I have no personal issues with the lack of video capabilities, as I wouldn’t want to capture from a 100MP sensor, and I’d think it would have considerable problems with overheating. 

If you need a video camera, don’t buy the X2D II, but I suspect that if you’re considering this camera, it isn’t for video anyhow. 

Hands On

I utterly and unabashedly love the design of the X2D II, and have always loved the style of the X-series. When I first used it, it felt futuristic. In my review of the X2D, I mentioned that all other cameras were built around a film workflow. (Consumer-level cinema cameras did not yet exist.) SLRs were designed around the shape needed for the film canister. DSLRs evolved around that same design, and mirrorless cameras continued that tradition. 

The X1 was one of the first cameras designed specifically for digital photography. Digital sensors are flat since there is no film canister. The size and thickness of the body are just thick enough to house the massive sensor, electronics, and a battery. The design is form-follows-function.

The double-edged sword of the design is that it was likely responsible in part for the performance of the earlier cameras. You can cram a lot of electronics in the part of a camera where film would have gone, and the X-series has little of that space. 

The X2D II 100C carries on that tradition, and even slims down compared to previous models. It feels very similar to the Fujifilm GFX100RF. However, the Fujifilm camera is designed to emulate the analog past that original Hasselblads dominated, and the Hasselblad feels like it’s designed for the future. 

Controls are sparse. The back of the camera has only the display with four buttons to control scrolling through menus and making menu selections, as well as a button to bring up the menu. There’s an AE-L and AF-D button. 

The latter is used to control the subject detection of the X2D II. Although that doesn’t seem like an obvious choice for a dedicated button, most systems require programming a custom button to handle AF subject control, and having a button just for the AF system is a smart idea. 

The back has the rear control dial and a joystick that does double duty, selecting menu settings and moving through the interface. 

The top deck is equally sparse, with just a power button, LED screen, mode button, ISO/WB button, and a front control dial. On the front is just a programmable button and the lens lock button. 

The power button on the top deck is my one quibble with the layout of the camera. Most cameras use a switch to turn the camera on or off, while the X2D II uses a press-and-hold power button. This design is to keep the top of the deck flat, but pressing and holding a button to power the camera on feels like a slow and cumbersome step. The camera might activate as quickly as a toggle switch, but it definitely feels slower to activate. 

Excellent Menus

Most digital cameras have awful menus. They’re cluttered, poorly organized, and many of the settings are impossible to determine from the names they’re given. I spent ten minutes the other day trying to remember where the picture profile settings are on a Sony camera, and then wondering why it calls things PP1, PP2, etc., instead of S-Log3/S-Cine3. 

The large LCD screen allows for big, visible controls. But it’s not just the size of the layout I like, it’s the way it’s laid out. Many cine cameras have a similar user interface where tapping a setting brings you immediately into the options, with clear ways to move between choices. The Hasselblad X2D II has one of the nicest interfaces on any camera today.

Lens Limitations

The Hasselblad X-series lens lineup comprises fewer than ten lenses, which is a much smaller number than any mirrorless full-frame system. It’s an even smaller collection than Fujifilm’s medium-format GFX-series lenses. 

There are third-party options available for the Hasselblad system, and the lenses Hasselblad makes cover a wide range of focal lengths and apertures, so the relative dearth of lenses is probably not an issue for a potential customer of the X-series. It’s just good to keep in mind you’re buying into a system with fewer options than some others.  

Software Woes

As of this article, Lightroom and Photoshop only have preliminary support for Hasselblad raw files. Capture One users will be disappointed to find out that there is not, nor likely ever will be Hasselblad support.

Capture One started life as software for the Phase One medium format camera system, and even though Capture One broke off from Phase One years ago, the grudge between the two is ongoing. 

The alternative is to use Hasselblad’s Phocus software, which, as is the case with most camera manufacturers’ software, is dismal. The software is required for tethering workflows, but runs like molasses. 

On my Mac Studio, which is fast enough to edit multiple streams of 4K footage in real time, Phocus often took more than ten seconds to load a file fully. Sometimes the full image data would fail to load until an adjustment was made, at which point the resolution and saturation would suddenly load.  Sometimes dragging sliders had no effect at all. 

With support for the full HDR workflow of the Hasselblad files, I’d like the Phoocus app to be speedier and for the tools to all work properly all the time.

Image Quality

While I usually discuss image quality earlier in a review, I’ve left this to last because the image quality on the X-series has always been impressive. The X2D II 100C is no exception. 

Files are as detailed as you’d expect from a 100MP sensor. With the HDR pipeline, colors are rich and accurate. If image quality is your main objective in camera selection, this has some of the best I’ve seen in any camera, ever. 

Images, in short, are superb. From the saturated colors of fall foliage to the skin tones in a portrait, the Hasselblad X2D II 100C delivers. In many ways, the image quality is the primary feature of this camera, with the design, autofocus, IBIS, and display secondary features. 

However, the tradeoff with the high resolution of a 100 megapixel sensor is a higher amount of noise relative to lower resolution sensors, all else being equal.

Image noise is a function of the size of the sensor and the number of pixels. A sensor needs to be covered from edge-to-edge in pixels, so when the number of pixels increases, they get smaller and closer together. It’s the size of these pixels and their proximity to other pixels that determines the light-gathering abilities of the sensor. 

You can think of this like putting a both a glass and a bucket outside in the rain. They both will have the same height of water after the rain stops, but the bucket will have more total water. When this comes to light, the bigger the bucket, the more light gathered. 

So, a 100 megapixel medium format camera would have more noise in low light or high ISO than a 50 megapixel medium format camera sensor. There are technologies that change this equation. A Backside Illuminated Sensor (BSI) gathers more light than a traditional sensor due to how the wiring is structured. 

In any case, the 100 megapixel X2D II 100C produces roughly the same amount of noise as the Sony a7R V at 61 megapixels. The sensor is smaller than medium format, but the lower resolution means bigger pixels. 

If you don’t need the 40 megapixel difference between the a7R V and the X2D 100C, then that Sony, or any mirrorless camera with a 60mp BSI sensor, would have the same low light performance. With the Sony, you get some of the best autofocus in the business, a smaller body, a larger selection of lenses, video capabilities, and a price that’s a few thousand dollars cheaper. 

To follow along with that math, a 50 megapixel camera would have even less noise, albeit at half the resolution as the 100 megapixel sensor in the X2D II 100C. 

I don’t think that most customers considering the Hasselblad are between it and a full-frame camera, just as I don’t think most Leica customers are considering alternative systems. 

Despite any noise tradeoffs, the HDR workflow and 100 megapixel sensor are hard to beat. 

Who Is This For

The Hasselblad X2D II is not a camera for the masses. It’s even more particular of a camera than a Leica, in that it’s designed not only for a specific type of customer, but a specific type of shooting. 

That said, it’s much more flexible than one might expect. The new autofocus, the HDR workflow, the IBIS, and the image quality make it an incredible option for a photographer looking for the ultimate in portable medium-format photography. 

The X2D II 100C feels faster, smarter, and more accurate than any Hasselblad X-series camera. Finally, it fulfills the promise of that first X1 camera I saw at Photokina so many years ago. 

The post Hands-On With the Hasselblad X2D II 100C — Hasselblad Finally Got it Right (Mostly) appeared first on Imaging Resource.

If it feels like new camera models have fewer upgrades for the photographer, yet massive upgrades for video creators, you’re not wrong.

The Canon R6 III is a modest (yet important) update for photography, but nearly a brand new camera from a video standpoint. For still shooters, the Canon R6 III feels almost identical to the R6 II, while the  R6 III is so much better at video that the R6 II seems almost comically underperforming by comparison.

Because Canon and Nikon caught up to the sophistication of Sony’s full-frame mirrorless system, all three companies have been introducing models with only modest improvements in photo features, but major upgrades in video specs.

There are a few reasons why new models seem so video-centric.

The most obvious is that camera processor power and storage are improving at a fast enough clip to have caught up to basic 4K capture, and now can do professional-level recording in enthusiast-level bodies.

The competitive landscape is another reason cameras are getting more video features. The video creator economy is booming, thanks to YouTube, TikTok, Instagram, and dozens of other social media tools. A camera’s features follow the money, and the money is in video.

But for photographers, we might be seeing the end of radical improvements in photography-specific features in hybrid cameras, and settling back to the incremental improvements of the DSLR era.

Simply put, it’s because there’s not a lot more you can do with still photography. Cameras now come with 40 frames per second capture, they have more than a dozen stops of dynamic range, and eight or more stops of In-Body Image Stabilization (IBIS) when body and IBIS are combined. Newer CFexpress cards and in-camera buffers provide stupendous write speeds.

It’s not surprising then that the R6 III has more features than its Mark II predecessor, but fewer of them are targeted to the photographer.

Watch Our Full Video Review

Features – What has and Hasn’t Changed From the R6 II.

In ergonomics and features, the R6 III is practically unchanged from the Mark II, with the biggest difference being a new battery and the addition of the CFexpress Type B (CFe Type B) slot. A new full-size HDMI port is a welcome addition to the body, as the smaller HDMI port on the R6 II is prone to breaking. There’s now a tally light on the front for recording video, and as someone who has blown many a shoot forgetting to hit record, that’s a great addition.

There’s a tweak to the top dials with the addition of a Slow and Fast mode, but essentially, the camera is indistinguishable from the R6 II just from looks alone.

Internally, the camera gains a new 32.5 megapixel sensor versus 24.2 for the R6 II, and new AF algorithms improve AF detection and “stickyness.” The R6 III does not have the action AF found in Canon’s newer high-end bodies, but the improvements over the Mark II are noticeable, if not major. The focus system is now very similar to the new C50 cine body.

In my tests, the AF system was improved (as advertised), but still a bit sluggish-feeling compared to the R5 II. One of my favorite subjects to test autofocus is birds in flight because they move quickly, change direction rapidly, and have such teeny tiny eyeballs. 

IBIS is about a half-stop better when combined with optically-stabilized lenses. ISO sensitivity has increased from ISO 64000 to ISO 102,400, which is expandable to an absurd ISO 204,000, perfect, I suppose, for capturing photos of Navy SEALs operating under the cover of night.

Both share the same 40 frames per second (fps) and 12 fps mechanical capture rates, while the pre-capture rate improves just slightly from .3 seconds to .5 seconds.

For still photography, that’s pretty much all that has changed. See our photo and video spec charts below for a complete comparison.

Massive Video Improvements in the R6 III

The Canon EOS R6 Mark III is a big leap in Canon’s hybrid video system. The improved video features make it more closely resemble the new one than the R6 III. The video overhaul feels similar to the Canon 5D series, which saw major video improvements in each model.

The new camera now has 7K internal RAW up to 60p, and oversampled 4K for 10-bit 4:2:2 full-sensor capture. The R6 III captures 4K 120p with audio, which Canon says is a first for cameras in this class. At 2K it has a staggering 180p. Videos can be recorded in XF-AVC and HEVC, and impressively, it now has All-Intra recording.

To help with post-processing color editing, the R6 III can record in both C-Log 2 and C-Log 3, on par with Sony and Nikon bodies at this price range. The CFexpress Type B card allows for that internal RAW recording.

With 7K internal RAW, 4K 10-bit 4:2:2, the faster frame rates, and the pro-level grading, make the R6 III one of the most impressive video cameras in Canon’s lineup, and in the market in general.

The new Slow and Fast dial on the top deck gives shooters quick access to the super-fast and super-slow recording settings, which saves dives into the menu system. Canon’s menu system is uncluttered and easy to use, but preventing trips to the menu is always good.

The R6 III doesn’t stop at a new video codec and raw recording; it has gained quality of life improvements. The Mark II has waveform monitors, tally lamps, a tool to magnify the video image while still recording to check focus, and has shockless white balance. Canon says that the new focus acceleration and deceleration speeds have been tweaked ot create better focus racking with autofocus.

Canon makes a capable app for image transfer and for camera control, though I couldn’t test it for this review as it only works with publicly available cameras. Based on the functionality of the other Canon cameras, the ease of image transfer is a plus compared to many different company apps.

Handling and Autofocus

If you liked the design of the R6 II, you’ll enjoy the design of the R6 III, as it’s virtually unchanged from the Mark II body. I’ve always liked the feel of Canon’s sculpted grip better than some competitor designs. Even shooting with the long, holding the body lightly by the grip was no problem, and felt well-balanced.

I wish that the R6 III had gained a better EVF and LCD screen, as they’re a bit low-res for the price of this camera. Most of the time, I’d shoot video with this camera; I’d have it hooked up to an external HDMI display anyhow, so it’s not a dealbreaker for me, but it’s disappointing with a new upgrade of this system.

I’ve never been a fan of the placement of the photo and video control switch on the left side of the body. It requires a second hand to toggle modes, which I find annoying. I know the switch is placed on the left to prevent accidental toggling, but I prefer the placement of the switches on the Nikon, Sony, and Panasonic systems, which are found on the right side of the camera..

Performance feels identical in every way, as the camera is almost identical in every way. The change in pre-capture speed is impossible to detect, since it’s working in the background and is very slight.

Also impossible to detect are the improvements in IBIS. A half stop of increased stabilization with an optically stabilized lens is so minimal when capturing still that it is also impossible to detect.

In video operation, though, the added stabilization is more apparent. I shot with the Canon 100-500mm at the full 500mm length, and while the video was not perfectly stable while handholding, I would not expect it to be. The resulting footage was easily stabilized in post, albeit with the crop necessary to keep such a long focal length still.

The AF is noticeably better, though still not on par with Canon’s cameras featuring activity detection. I still found hunting on animal detection mode, and when photographing birds (which do not have their own detection setting), the camera would often jump to the closest bird, and not focus on them as the primary subject moved around.

Animal eye detection and tracking are still better on some competitor cameras, even the Sony a7C II, which is a fraction of the price of this camera. Sony and Canon trade off AF capabilities, with some subjects more accurately tracked on each system. I shot the high-resolution A7c R while on a safari in Brazil, and it was able to lock onto the eyes of birds as they flew through tall grasses, while this R6 III would indicate it was following the whole bird rather than its eye, and lost track against complex backgrounds. 

Still, it’s a powerful AF system, and it’s better than the predecessor. The action-priority focus system found in the higher-end cameras would have been a welcome addition, but at least the R6 III sees an overall improvement. 

Possibly it’s just that the Sony system has a better implementation of displaying the focus points, keeping the focus indicator firmly on the eye of a moving person or animal. At the same time, the Canon AF seems to track eyes nearly as well, but doesn’t always display a small box over the eyes of the subject.

Image Quality

The R6 III is a more-than-capable camera for any subject, from landscapes to portraits to editorial to sports.

Canon’s praised “color science” is on full display in the R6 III. Fall foliage images are nicely saturated without being overblown. The blues of the sky are vibrant, and skin tones are neutral. Evaluating RAW files required the beta version of Canon’s Digital Photo Professional (DPP)software, which is cumbersome, to put it mildly.

For reviews, I avoid heavy editing, sticking largely to cropping and exposure adjustments to compensate for in-field mirroring. Since I’m not familiar with the editing tools in Canon’s DPP, I opened the raw files in Canon’s software, exported them as 16-bit TIFFS, and then imported them into Capture One. 

After all the moving back and forth, I found the out-of-camera JPEG files ot be very similar to the 16-bit TIFF files created from the RAWs, only a bit brighter and more saturated than the raw files. This is to be expected, and it goes to show how good the JPEGs are from modern cameras. 

As with all JPEG files, even the high-res ones started to fall apart under heavy editing, but for capture-and-done workflows, the JPEGs are excellent. 

There should be raw converters from Adobe and Capture One around the release date of this camera. 

The R6 III also captures in HEIF, a better format than JPEG for color adjustments without using raw files, though Capture One, which I use for image editing, does not support 10-bit HEIF for some reason, so I used the Canon workflow. 

Like with other Canon cameras, raw files can be created in several sizes. These various raw sizes were more helpful on lower-powered computers that were standard years ago, but most modest computers and above have no problems with the full-sized raw files. The smaller formats reduce storage requirements, but I’d rather pay more for storage than throw out image data. If you’re upgrading to a higher-resolution camera, using a smaller raw file doesn’t make much sense to me.

It’s not surprising that the image quality is excellent, particularly with Canon’s sharper lenses. I shot with the Canon RF100-500mm F4.5-7.1 L IS USM.

The image quality on the 100-500mm is slightly muddier and with low contrast at the long end, while prime lenses like the Canon RF35mm F1.4 L VCM Lens make superbly sharp images. 

Thanks to the higher resolution sensor in the R6 III compared to the R6 II, I was able to crop photos like this Northern Harrier without losing detail in the image. 

I used the long 500mm focal length of the RF 100-500mm lens to create a close-up of this dragonfly, and the compound eyes are clearly visible in the shot, as is the bright color of its head. 

Interestingly, animal-detect AF mode locked onto the face of the dragonfly, despite it not looking like any mammal I’ve ever seen. 

Video In The Field

The interesting thing about video features is that they’re hard to write about and hard to show off on something like YouTube. The 7K recording is a massive improvement, and it allows for pretty extreme post-capture cropping and reframing. When 4K first showed up in cameras, it was used similarly. Most YouTubers edit and upload in 1080p, due to the processing requirements for editing, and YouTube’s lackluster support for 4K.

Many consumers had yet to upgrade to 4K televisions when the capture resolution showed up in mirrorless cameras, making 4K perfect for cropping to HD. Likewise, 7K recording isn’t intended to display footage in 7K, but to provide wide latitude in editing composition.

I found absolutely no overheating while shooting in any resolution or codex, though most of my testing occurred in early fall in New York, where daytime temperatures hovered around 60 degrees.

Video quality is excellent, just as was the case with the R6 II; improvements come down to post-processing editing. I did not have a LUT specific to this camera. Still, generally Canon C-Log2 and C-Log 3 worked for basic color correction, and the 10-bit overhead allowed for corrections without highlights getting overblown.

For audio in studio use, it connects to the digital hot shoes on the R6 III for cable-free audio recording. I did not have access to that XLR adapter, but I’ve used it previously on other camera systems with good results. It makes the R6 III one of the best choices for the studio where creators also want a capable photography camera.

At the Connecticut Audubon Society Cosal Center wildlife refuge, I was able to capture murmurations of starlings at 180 as they shifted and changed patterns in the air. I also captured a dragonfly at 180fps as it lifted from a handrail on the beach walkway. If you’ve ever seen how fast a dragonfly moves, you’ll understand how impressive that is without a specialized camera. 

Purchase Recommendations

If you’re a stills-only user of the R6 II, the R6 III is probably not worth upgrading to unless you need the higher-resolution sensor, tweaked AF, and bigger battery. With the performance of the R6 III so close to that of the R6 II photo-wise, it’s a complicated upgrade path.

Canon says the R6 II will remain in the lineup. Any price changes to the R6 II won’t be announced until after launch, so I have no direct cost-based recommendations, but as the R6 III is being released ahead of Black Friday, I suspect we’ll see at least temporary discounts on the R6 II.

However, if you’re an expert-level or pro-level video-shooter, or this is your first Canon camera, and you’re looking to shoot both photos and videos, this is a no-brainer.

Canon R6 Mark III vs Canon R6 Mark II — Comparison Summary

Video Feature Comparison

Canon R6 II and R6 III Comparison

Canon R6 III – Photo and Video Specs

Photo Specs

• 32.5MP full-frame CMOS sensor (same as the Canon C50)
• DIGIC X processor
• Dual Pixel AF II with improved AF algorithm
• No DIGIC Accelerator (so no Action Priority), but includes Register People Priority.
• Up to 40 fps electronic and 12 fps mechanical shutter
• Pre-continuous shooting up to 0.5 sec (improved from R6 II)
• 6.5 stops of IBIS, up to 8.5 stops coordinated with IS lenses (7.5 at periphery)
• Subject Track IS — keeps subject centered via digital stabilization
• New color filter modes (creative looks from Canon’s V-series)
• Native ISO 100–64,000 (expandable to 102,400)
• Same EVF and touchscreen as R6 Mark II
• Improved buffer thanks to the addition of a CFexpress Type B slot + UHS-II SD slot
• LPE6-P battery (same as R5 Mark II, ~600 shots per charge)

Video Specs

• Full-width DCI 4K 10-bit 4:2:2 up to 60p oversampled from 7K (slight quality drop at 60p)
• 7K up to 60p RAW internally
• 7K up to 30p open gate RAW or HEVC (first for a hybrid Canon ILC)
• Full-width 4K up to 120p with audio
• DCI 2K/1080p up to 60p oversampled from 3.5K
• 2K up to 180fps with audio
• Full-width DCI recording is supported
• Slow & Fast mode from Cinema line — choose playback framerate, burn-in slow motion
• Same codecs as C50: XF-AVC and HEVC; intra recording now added (previously IPB only)
• C-Log 2, C-Log 3, and full log/gamut support
• New Magnify Recording Display — check focus while recording
• New video white balance system with shockless WB and adjustable response time
• Tally lamps and waveform monitors included
• Focus acceleration/deceleration algorithm from C50 and C400 for smoother focus pulls.
• Full HDMI port
• Proxy and sub-recording options for RAW video

The post Canon R6 III Hands-On Review – One Small Step for Photography, One Giant Leap for Video-Kind appeared first on Imaging Resource.

After more than a decade of waiting for a proper successor to the RX1R II, we were expecting something big. The original was groundbreaking; we hoped this one might be too.

Instead, we got… a sensor update. And a steep price hike.

I’ve had the RX1R III in hand for a week of real-world shooting, and I’ve got to say: it’s not just underwhelming-it’s frustrating. There are a few things to like, but the problems stack up fast. Let’s start with the good (it won’t take long) and then dig into where this camera goes wrong.

As a note, usually we get cameras in to test for several weeks. With the RX1R III, the press is only getting access for several days. Since the image quality of the sensor and power of the autofocus in the RX1R III is on par with the cameras that already use this, my review focused less on that, and more on the confusing aspects of the camera.

That said, it’s unlikely that after more time with this camera, my opinions would have changed.

Watch Our Hands-On Review Video

What’s Good About the RX1R III

Sony gave this camera the same 61-megapixel full-frame sensor found in the a7R V and a7CR, packed into a body that’s even smaller than the a7CR. That’s no small feat. You also get Sony’s latest AI-based autofocus system, at least on paper.

And that’s it. That’s the entire list of pros.

The previous RX1R II shoehorned the sensor and focus from the a7R II, which was cutting-edge at the time, into a surprisingly small body. This update takes the internals of the current a7R V and sticks them in what is essentially the same shell.

The image quality in the camera is impressive, as is the image quality of the a7CR and a7R V, which share the same sensor.
Photos are rich in detail with resolution so high that you can easily crop shots to frame your subject. With 61 megapixels, there’s plenty of data to use for post-processing adjustments.

The camera can shoot in several different RAW modes, as well as high-quality HEIF. HEIF is a much better format than JPEG, and I encourage all JPEG shooters to give HEIF a try instead.

As of the writing of this article, there is no raw converter for Lightroom or other camera apps, so images were opened and reviewed in Sony’s Imaging Edge desktop app.

What’s Changed-And What Hasn’t

There’s this concept in camera design we used to talk about where I worked previously, we called “table stakes”-the minimum feature set needed to even sit at the table in today’s market.

When few cameras had subject detection autofocus, the lack of this feature in a camera wasn’t a problem. But when the first cameras with subject detection showed up, it became the new table stakes. Camera systems without subject AF are often compared unfavorably to those that do.

The RX1R II met those stakes a decade ago and handily exceeded them. The RX1R III? Not even close.

Let’s start with that 61MP sensor. It’s high resolution, which means more cropping flexibility-but also more noise at moderate ISO settings. Usually, you’d rely on IBIS to compensate for slower shutter speeds and keep ISO lower.

But the RX1R III doesn’t have IBIS. Ten years ago, fine. Today, it’s an oversight that makes a noticeable difference in real-world results.

I’ve spent a lot of time in the comment section on our video review of this camera, and there are plenty of people who say that IBIS isn’t necessary. That’s true, strictly speaking. You don’t need IBIS, but it’s a staple on all but the lowest-end cameras.

IBIS allows you to shoot at a lower shutter speed to avoid noisy images. A 61 megapixel sensor is noisier (all things being equal) than, say, the 42 megapixel sensor in the a7C II. IBIS would help compensate for that.

Since Sony managed to squeeze a whole pro-level mirrorless camera into the RX1R II, people were expecting an update, especially a decade-long update, to have this key technology.

With IBIS, this camera would be vastly more useful for street photography and to capture quickly moving animals while panning. Billing this as a travel camera means that there are certain expectations for its use.

IBIS would allow shooters to handhold as the sun sets on a foreign travel destination, or to capture images of your travel partner while you’re both walking. In the dim interior of a coffee shop in another country, handholding at slower shutter speeds would result in noticeably cleaner photos.

A 10-Year-Old Lens on a Modern Sensor

There’s a catch with this camera, despite the sensor’s excellent performance. This camera ships with the same Zeiss 35mm f/2 lens as the RX1R II. Not a redesign. Not an updated version. The same lens.

It was fine when Sony’s autofocus was slower. But now that the AF system is lightning fast, pairing it with an outdated, slow-focus lens creates a performance bottleneck. You can even hear the motors working-something you don’t expect in a $5,000 camera.

To be fair, some reviewers haven’t noticed the lag. But I use the a7R V daily-I know what this sensor and AF system should feel like. This doesn’t match it. It’s not very far off from the a7R V or the a7CR, but it’s not on par with them either.

I even shot some tests with our kittens, using multiple bodies for comparison: my a7R V, the Nikon Z6 III and Z5 II, and this RX1R III. The subject detection on Sony, Canon, and Nikon can usually lock onto a cat’s eye without breaking a sweat.

But with this RX1R III, I missed a lot of shots. This is either because the lens is holding back the AF system, or because the lack of IBIS meant my movements introduced blur.

That said, when the camera does hit, and that is the majority of the time, the image quality is superb. Zeiss glass is still Zeiss glass, and paired with that sensor, you can get gorgeous shots, albeit with some chromatic aberrations if you pixel-peep.

Major Ergonomic Misses

The RX1R III lost the tilting LCD screen of the RX1R II, which is something that confused and infuriated many reviewers.

All of the photo press are friends, and after a company’s briefing, we often call or FaceTime each other to talk about the products. Every one of the five calls I had about this camera started off discussing the lack of a tilting LCD screen.

This isn’t the first time a feature has been removed in a camera’s update, but a tilting screen makes a camera more usable. A fixed-in-place screen is just odd.
If you’re framing at eye level, it’s fine. But if you’re shooting low to the ground-flowers, pets, wildlife-you’re getting down on the ground. For overhead shots, it’s nearly impossible to see a non-tilting LCD screener. That’s something I haven’t had to do with a modern camera in years.

The built-in EVF is better than the pop-up version on the RX1R II, which always seemed to collect grime, but it’s still not great. It’s small, doesn’t have excellent resolution, and doesn’t inspire confidence when manually focusing or checking fine details.

And the LCD? Also mediocre. It washes out in sunlight unless you crank the brightness, at which point your already bad battery life becomes worse.

Speaking of Battery Life

Sony says you’ll get around 250 shots per charge. That’s pretty accurate-I got 75 shots and dropped to 61% battery. Not ideal for travel or street shooting. You’ll need a second battery, minimum.

Worse yet, the SD card and battery live in the same compartment under the grip. If you’ve got a tripod plate attached, you have to remove the camera from the tripod, unscrew everything just to change batteries or swap cards, and then put the plate back on and attach it to the tripod again.
Sony fixed this in the ZV series. Which makes me think they didn’t redesign this body at all-they just made minor tweaks and called it a day.

Other Frustrations and Missed Opportunities

Let’s run through the rest:

• No joystick. You can move AF points using the touchscreen, but if you’re left-eye dominant like I am, your nose hits the screen.
• No locking dials. Not the worst omission, but come on-it’s 2025.
• No 4K/60 video. You’re stuck at 4K/30, which is fine for some travel footage-but again, $5,000.
• Fixed lens. No flexibility. And for this price? You could have an interchangeable system.

There is one small but appreciated detail: when you turn the camera vertically, the interface rotates. That’s great. But it just reminds me of what could have been.

This Could Have Been a Killer Vlogging Camera

Imagine this: a lightweight, full-frame compact with a slightly wider lens, flip-out screen, digital audio support, and the same mic system found in Sony’s ZV series.
Throw in IBIS, and this could have been the ultimate street/travel/vlogging hybrid. Sony got this close, then gave up.

The Bigger Picture

Some commenters pointed out that adjusted for inflation, the RX1R II would cost around $5,000 today. That’s Fair.
But the a7CR is $3,000. It has IBIS, a flip screen, better video, interchangeable lenses, and vastly better battery life.
So for two grand more, the RX1R III gives you… a smaller body, an old lens, and fewer features.

If you’re a Sony shooter, just buy the a7CR.

Final Thoughts

Sony built its reputation on miniaturization. Radios that fit in a shirt pocket. A Walkman that shrunk every generation. Cameras and lenses that beat DSLRs in size and specs.

The RX1R II was part of that legacy. The RX1R III? Not so much.

It’s the same size, with minimal innovation, and a feature set that doesn’t match the price. Give me this camera at a7CR pricing, and maybe we’re talking. Still not a great value-but at least closer to making sense.

As it stands, this is a $5,000 reminder that progress isn’t guaranteed-even from Sony.

The post Hands On Review of Sony’s Premium Compact RX1R III: Is the Sony Fan Disappointment Warranted? appeared first on Imaging Resource.

Watch Our Review of the Fujifilm GFX100RF

What Was Special About the Fujifilm X100

I purchased my first X100 camera when it launched in 2011, and it quickly became my favorite travel camera. Despite the fixed lens, the X100 was small enough to look inconspicuous when traveling and produced amazing results.

At the time, the iPhone 4S was Apple’s most powerful smartphone, but it couldn’t touch the X100. While I owned a Canon EOS 1Dx, I only took it on trips where I was shooting for work because of its weight and value.

The original X100 came out years before the full-frame Sony a7 (Alpha 7), and until that came to market, the X100 was my go-to travel body. APS-C has definite advantages for body size and performance, but many photographers prefer full-frame thanks to the low-light performance of those sensors.

Pixel Size, Not Pixel Resolution, Determines Light Gathering Capabilities

The GFX100RF uses a sensor that’s around 1.7 times larger than a full-frame sensor and nearly a four times greater area than APS-C. That’s a staggering amount of light.

All things being equal, the bigger the sensor, the more light-gathering ability and often the more dynamic range. That’s because the size of the pixel “wells,” the individual light-sensing pixels, determines low-light performance. The size of these wells is called the pixel “pitch,” and the higher the value, the bigger the pixels.

To explain this with an analogy, imagine you have a cup and a bucket. If you put both outside when it’s raining, they’ll have the same water height when the storm passes. If you have one inch of rain, both the cup and bucket will have the same water height.

While they have the same “resolution” in this example, the bucket gathers much more water by volume. In this analogy, the bucket’s “sensitivity” is greater, as it gathers muchmore water simultaneously.

Image Stabilization? There is None

The most disappointing thing about the GFX100RF is the lack of In-Body Image Stabilization (IBIS). Let me tackle this before I touch on the other positive aspects of the camera, as it’s the subject that reviewers like myself have hit on the most.

There is no IBIS in the GFX100RF. There is no optical image stabilization (OIS) in the lens either.

That might not seem surprising, since it’s a compact medium format camera, but unlike an interchange lens camera, there’s no way to add a lens with OSS tro make up for the lack of internal stabilizaiton.

It’s a fair point to say that one wouldn’t expect IBIS nor OIS in a camera this size, but it would not be impossible to do so. The Leica Q3 has optical stabilization on the lens, and Fujifilm’s interchangeable-lens GFX camera does as well, and it’s very capable.

The lack of IBIS is something we also pointed out in our review of the Sony RX1R III. At this price point IBIS would be incredibly useful. Especially for street photographers, having a stabilized body would elevate this to a much higher level, and would make it one of the best fixed-lens cameras.

So I don’t belabor the point, let me say it was one of the few disappointments with the camera. When photographing at a parade, where I had to pan quickly to keep up with moving subjects, there was a lot of motion blur, something even a smartphone doesn’t suffer from.

With that out of the way, let’s talk about the more positive aspects of the camera.

Image Quality is Superb, Mostly

Even more than image stabilization and autofocus (see below for more on that), a camera is judged by its image quality, and unsurprisingly, the image quality on the GFX100RF is superb. It has a look that’s unmistakably Fujifilm, with good saturation, great dynamic range, and nice background defocus.

In bright sunlight, the images are slightly washed out, though that’s easy to fix in post, and not uncommon in camera bodies. I think the metering on the GFX100RF tends to overexpose if not set manually, and shooting in manual mode mostly fixes the contrast and saturation drop in super-bright situations.

This image was taken around noon, with a very bright sun. The details in the foreground and background shadows disappears.

A flat, washed-out image is typical in conditions like this, and straight out of the camera, this image feels unusable. Thanks to the dynamic range of the sensor though, there’s plenty of detail in the highligths and shadows to pull good images out of bad lighting conditions.

In more reasonable conditions, the images are just superb. If you’re going to buy this camera for any one reason, this is the reason. You’re getting fantastic resolution and fantastic colors, gerneally righ out of the box. Images that seem unusable are often fixable in post with less work than a 35mm would need, and there is much more latitude than I’ve seen on Fujifilm’s compact APS-C X100 lineup.

Body, Lens, and Styling of the GFX100RF

The GFX100RF has a machined aluminum enclosure that looks like the X100VI was stretched slightly in height and depth. The black body features a textured surface, making the camera easier to hold and use than the traditional GFX body.

To fit the sensor into a body this small, Fujifilm used a focal plane shutter instead of a leaf shutter. There are no practical limitations to the photographer due to this choice.

Like the X100VI, the GFX100RF has a fixed lens. In this case, it’s a Fujinon 35mm f/4 lens, a 28mm f/3.5 equivalent in full frame. Fujifilm lauds the lens’s optical design due to the collection of 10 elements in eight groups, including two aspherical lenses, to reduce chromatic aberration and ghosting.

The company’s Nano-GI coating reduces internal reflections, and the minimum focus distance is 7.9 inches (20cm).

There is also a built-in neutral density filter built in, something I wish all cameras had.

The only curious aspect of this camera’s design is its lens choice. It has amazing resolution, but the 28mm lens makes it unsuitable for portraits or other close-subject work. This focal length is more appropriate for landscapes and street photography, limiting the camera’s use for many.

GFX100RF Autofocus

The camera uses what Fujifilm calls an “AF prediction function,” which I think just means it has autofocus. (AF, after all, is just predicting where a subject will be to keep in focus.) The company says the GFX100RF can detect human faces and eyes, animals, vehicles, birds, and airplanes.

In my tests, I found the GFX100RF has decent autofocus, though not on par with similarly priced mirrorless cameras. That’s to be expected in a camera with such a large sensor, though the GFX 100 II has autofocus that felt faster than this camera did.

Few people would use a camera like this for sports or other fast-moving subjects, so the AF speed is on point for the type of photographyt his camera is designed for.

When looking at portraits and street photography the AF is spot on, and the images are tack sharp.

Digital Teleconverter and Other Curiosities

Fujifilm showed off the “digital teleconverter” dial, which lives in front of the camera. The PR team and the press materials discuss the ability to change the focal length (angle of view) with this dial as if this were not just an in-camera crop of the sensor area.

This dial is unnecessary for RAW shooters, as the full sensor area is always maintained in RAW images. Cropping in an image editor is a better solution, as it allows for custom crop placement. The rear of the body has an aspect ratio dial that “crops” to 3:4 or 17:6, but this has no effect when shooting RAW.

When shooting in JPEG, the digital crop and aspect ratio crops are maintained, so these are handy for quick JPEG use, but many will find these dials unnecessary.

Fujifilm took a play from the smartphone handbook with a “Surround View” mode that shows the whole sensor capture area with a crop line superimposed for these in-body digital tele and aspect ratio tools.

This on-screen display is why the letters “RF” are in the name-rangefinder cameras use crop boxes to show the photographer what the final image area will look like

Viewfinder and LCD Screen on the GFX100RF

The only place Fujifilm has compromised is in the resolution of the EVF and LCD screen. The EVF has a 5.76 million dot resolution, which is not bad per se but is below what I would expect for a camera of this design. It’s well above the resolution of the Nikon Z9, but around four million dots less than the Sony Alpha 1 II and the Canon R1. The rear LCD screen has just over two million dots, lower than many full-frame cameras.

GFX100RF Video Capabilities

Video will probably not be at the top of users’ minds for the GFX100RF, but it is surprisingly capable, nonetheless. The camera can capture 4K/30p in 4:2:2 10-bit, with a claimed 13 stops of dynamic range when shooting F-Log2.

The GFX100RF has headphones in and out jacks and a mini-HDMI port to accommodate video use.

Direct-To-Cloud Transfer with Frame.io

The GFX100RF lets you send photos and videos directly to Adobe’s Frame.io service. I’ve used Frame. Io-capable cameras and the workflow is excellent. Files from the camera arrive for post-processing without waiting for images to be downloaded to a computer.

Most companies use their own cloud storage service, but Frame.io is more robust and integrated with Adobe’s offerings.

Pricing and Availability of the Fujifilm GFX100RF

The Fujifilm GFX100RF is now on sale from major online retailers.

The post Fujifilm GFX100RF Puts 102 Megapixel Medium Format Sensor Into Compact, Vintage Body appeared first on Imaging Resource.

Sony ZV-E1 — First Impressions

Sony has announced its first full-frame ZV camera. The new flagship vlogging camera combines the flexibility of an interchangeable lens design with the image quality and video performance of a full-frame image sensor.

Purpose-built for content creators and designed for “crew of one” shooting, the Sony ZV-E1 is not a hybrid camera. It’s not intended to be equally useful for photos and videos. Sony has built the camera and designed its impressive features with video content creation in mind.

While we often focus on photography-oriented and hybrid cameras, the video content creation market is undoubtedly growing. Sony’s E-mount system is remarkably diverse and able to satisfy the needs of many users. We’ve had some hands-on time with the Sony ZV-E1 before today’s release, and the camera includes some interesting features that will excite any user interested in video content creation.

Sony ZV-E1 Key Features and Specs

• E-mount interchangeable lens camera designed for vlogging and video content creation
• World’s smallest and lightest full-frame ILC
• 12.1-megapixel full-frame Exmor R CMOS image sensor
• ISO up to 409,600
• 15+ stops of dynamic range
• Bionz XR image processing engine
• Dedicated AI processing unit
• AI-based Auto Framing
• AI-based Dynamic Active Mode stabilization
• AI-based autofocus
• Cinematic Vlog setting
• S-Cinetone
• User LUT handling
• Full-frame 4K video at up to 120p (with firmware update post-launch)
• FHD video at up to 240p
• Multiple Face Recognition
• Product Showcase setting
• In-camera timelapse
• Intelligent 3-capsule mic with AI audio
• Vari-angle LCD
• Tally lamp, video-friendly control layout, and self-timer
• Dust and moisture-resistant
• UVC/UAC USB streaming up to 4K/30p
• FINAL PRICE

Where does the Sony ZV-E1 fit into Sony’s ZV series?

The Sony ZV series is designed from the ground up to provide features and performance for video content creators. While each ZV camera, including the ZV-E1, can capture high-quality still photos, the camera is primarily built for video content. Accordingly, the cameras’ designs and features are engineered with video creation in mind.

Each ZV camera is targeted at different levels of content creation. While some people are just getting their feet wet and don’t require the best image quality or the flexibility of an interchangeable lens design, others demand more versatility and better video performance.

The ZV-1F is a fixed-lens camera with a type-1.0 image sensor designed for beginners. For a bit better performance but the same sensor size and a fixed lens, there’s also the ZV-1. For users who want the flexibility of an interchangeable lens design, enabling the creation of different types of content, the ZV-E10 sports an E-mount and a larger APS-C image sensor. The ZV-E10 is aimed at creators who are serious about video content creation and want to improve the quality of their work.

For those who want the best the ZV series has to offer, the new ZV-E1 is for you. It promises the highest-quality video thanks to its 12.1-megapixel full-frame image sensor. As we will learn throughout this hands-on preview, Sony has not just “promised” high-end performance for top creators but has seemingly delivered it in spades.

Sony ZV-E1 design and handling: Super compact and lightweight full-frame ILC

The Sony ZV-E1 is the smallest and lightest full-frame interchangeable lens camera on the market. Its dimensions (W x H x D) are 121 x 71.9 x 54.3mm (4.7 x 2.8 x 2.1 in.). The ZV-E1 weighs just 483g (17 oz) with its battery and memory card inserted.

The ZV-E1 is a bit smaller than the Sony A7C and much smaller than the Canon EOS R8, which lacks in-body image stabilization. Of course, the ZV-E1 lacks an eye-level viewfinder, so that’s part of the explanation for the size difference.

The camera’s control layout is designed for video. Examples include a physical tally lamp on the top and front of the camera, a switch for easily swapping between stills and video shooting, a zoom lever (works well with Sony’s PZ lenses, by the way), a prominent record button, physical controls for Product Showcase and Background Defocus modes, and a vari-angle LCD that allows for easy self-recording.

The ZV-E1 sports a large Z-battery, which promises up to 95 minutes of actual recording. The camera also plays nicely with Sony’s GP-VPT2BT grip, which includes useful on-grip controls for recording, zooming, and more.

Image sensor and image quality: Full-frame sensor offers numerous benefits for the ZV series

As the first full-frame ZV camera, users might wonder why now? What benefits does a full-frame image sensor offer video content creators?

The benefits are multi-faceted, but a major and immediately apparent consequence of a larger image sensor is better bokeh, all else equal. The larger sensor allows for shallower depth-of-field, meaning backgrounds are softer, and the video looks more cinematic.

The larger image sensor also allows for the native use of the nearly 50 full-frame Sony E-mount lenses. While you can use full-frame lenses on the APS-C ZV-E10, you don’t achieve the full benefit of them because they experience a 1.5x crop factor.

With a bigger sensor, especially in the case of the 12.1-megapixel sensor used in the ZV-E1, pixel size is increased. This results in improved low-light performance, as each pixel can capture greater light than the smaller pixels on the smaller sensors in the ZV-E10 and ZV-1 models. The ZV-E10’s ISO goes all the way up to ISO 409,600, which is almost like seeing in the dark.

It’s worth noting that full-frame sensors don’t always deliver better low-light performance than smaller sensors, but in the case of the ZV series and their respective resolutions, that’s the case for the ZV-E1.

Similarly, the ZV-E1 also promises impressive dynamic range. Sony claims 15+ stops of dynamic range, which is very impressive. This means that users can capture better-looking videos in situations with highly varied light.

It’s also worth pointing out that while the ZV-E1 and A7S III each feature a 12.1-megapixel full-frame Exmor RS image sensor, Sony stopped short of saying that the cameras use the same image sensor. The potential differences between the sensors weren’t expounded.

Special features for video content creation

As we’ve mentioned a few times, the Sony ZV-E1 is created for video content creation. Yes, the camera can capture images, just like other ZV cameras, but it’s designed for video. Accordingly, the ZV-E1 has distinct features that are useful for video recording and enable easier capture of high-quality video content.

One such feature is a built-in “Bokeh Switch.” For users who don’t understand or want to deal with manual aperture control, the ZV-E1’s Bokeh Switch automatically opens up the lens’ aperture to enable shallower depth of field and create video with a defocused background. Compared to the smaller sensors in the ZV-E10 and ZV-1(F), the ZV-E1 promises softer backgrounds. A blurred background can instantly make video appear more cinematic and professional. It can help the subject stand out, especially against a busy background.

The ZV-E1’s new AI-powered Multiple Face Recognition feature automatically adjusts bokeh and focus when multiple people are in the frame. The camera uses a wide-open aperture and narrower depth-of-field if a single person is in the frame. When someone else is in the frame, especially when they’re closer to or further from the camera, the lens automatically stops down to ensure that both people remain in focus. The camera automatically returns to a wider aperture if the person leaves the frame. This feature helps ensure that people are in focus and the background is as blurred as possible. It’s a fascinating use of AI and the first time a Sony camera has offered a feature like this.

While not unique to the ZV-E1, the camera’s Product Showcase setting is specially designed for content creators who do unboxing videos, product reviews, and tutorials. When a person is on camera and may hold a product up, the Product Showcase setting allows quick AF tracking from a person’s face to a featured object and back to the face.

LUTs, or look-up tables, are useful ways to give videos a specific, predetermined look and feel. LUTs tell a video editing application precisely how to edit color in video. It’s like a preset or filter, in a way. The ZV-E1 allows users to import LUTs directly into the camera, a first for Sony. This will further reduce the time users need to get the precise appearance they want for their video content.

In a similar spirit of “ease of use,” the ZV-E1 includes a new Cinematic Vlog setting. According to Sony, this is an “intuitive way” to create cinematic scenes. What makes a video “cinematic” differs a bit by the user. Still, there are certain settings that most agree deliver a cinematic look, including a 2.35:1 aspect ratio and 24p frame rate. The Cinematic Vlog setting allows users to pick between different looks, including S-Cinetone, and moods, including an intriguing “Auto” setting. Combining the five available “looks” and four “moods,” users can pick from 17 appearances for their Cinematic Vlog video.

The ZV-E1 also includes Creative Look for stills and movies, including 10 different types, each with eight user-selectable parameters. The ZV-E1 introduces a new “My Image Style” setting that allows the user to customize different style parameters while others are handled automatically.

Next generation image stabilization

The Sony ZV-E1 includes five-axis in-body image stabilization. The camera’s “Optical Active” image stabilization delivers up to five steps of stabilization in exchange for a minor crop. However, a brand new Dynamic Active Mode combines the optical image stabilization with electronic image stabilization to deliver up to 30% better performance. Unsurprisingly, this necessitates a noticeably larger crop factor.

However, the Dynamic Active Mode seems like a great option for fast-moving operation, casual shooting, and longer focal lengths. For shooting while walking, the Optical Active mode is a good choice.

Advanced, AI-powered autofocus

Thanks to its dedicated AI processing unit, first introduced in the recent Sony A7R V, the Sony ZV-E1 promises sophisticated, advanced autofocus performance.

The ZV-E1’s AI can perform human pose estimation, track subjects better when their face is covered, deal better with subjects whose backs are to the camera, track a target even if they’re temporarily obscured, and deliver more accurate autofocus when a subject’s face is very small in the frame.

Combining the dedicated AI processing unit with Sony’s Bionz XR processing engine, the ZV-E1 promises 40% higher precision autofocus performance when performing subject recognition and can even recognize more subjects. The camera has special subject-detection modes for animals, birds, cars and trains, airplanes, and insects.

The ZV-E1 utilizes its AI-powered autofocus and new Dynamic Active Mode to deliver AI-based Framing Stabilizer and Auto Framing. These features use in-camera processing to keep a subject in a pre-determined area of the frame through intelligent cropping. It’s quite impressive and should be useful for video content creators working alone. It can be hard to stay framed, so the ZV-E1’s assistance should prove helpful.

With AI-based Auto Framing, users can customize different crop levels and framing tracking speeds to achieve the desired results. Available crop levels include small, medium, and large. Framing Tracking speed ranges from 1 (slowest) to 5 (fastest). The feature also offers automatic modes that start recording when a subject is recognized in the frame, which is great for interviews, music performances, cooking shows, tutorials, etc., with a single fixed camera.

Audio and ports: Sony ZV-E1 sports an AI-enhanced 3-capsule mic

Video is only one part of the equation – audio matters too. While it’s easy to be swept up by resolutions and framerates, bad audio will sink even the highest-quality video.

The ZV-E1 has a built-in three-capsule mic. Thanks to AI, the mic can change directivity automatically, switching between front, rear, and all directional as needed. Users can also manually swap between these options.

The camera has a supplied windscreen, which easily attaches to the camera’s Multi Interface Shoe. The windscreen reduces wind noise when recording outside. The camera also works with Sony’s Multi Interface (MI) shoe accessories thanks to the camera’s digital audio interface.

Aimed at serious video work, the camera includes separate mic and headphone jacks. Unfortunately, it doesn’t have a full-size HDMI output, instead using mini HDMI.

Summary: Where does the Sony ZV-E1 fit into the landscape?

The Sony ZV-E1 offers many compelling features for video-focused content creators. While it’s not useless for still photography, that’s not its focus or strength. In that respect, it’s quite different from other hybrid-oriented full-frame cameras on the market, like the Panasonic S50.

One of the most notable omissions is an eye-level viewfinder. This severely limits the ZV-E1 for photography, especially compared to similarly-priced cameras.

However, what the ZV-E1 lacks in “photo” features, it more than makes up for concerning video. The camera is packed to the brim with impressive new AI-powered features that will make the life of a one-person-crew video creator significantly easier. AI-powered autofocus, framing, improved stabilization, and the list goes on…these features promise to make it easier to dramatically improve someone’s overall video and production quality.

The content creation market is booming, and Sony hopes its new ZV-E1 will appeal to the most ambitious creators. From our perspective, Sony’s hopes will be realized. The ZV-E1 is a very impressive video camera that goes far beyond being just a “vlogging” camera.

The post Sony ZV-E1 Review appeared first on Imaging Resource.

Canon EOS R8 Hands-on Preview

Canon’s newest full-frame camera is an excellent bang for your buck

Last week, we headed down to charming Charleston, South Carolina, for a hands-on experience with Canon’s latest cameras and lenses ahead of the official announcement. Joined by our peers in the press, we tested out the new APS-C Canon EOS R50, which my colleague William Brawley is writing about, and the full-frame Canon EOS R8.

While we rarely report on rumors here at Imaging Resource, we do keep an eye on them, and we had seen many rumors about the R8 – none of which correctly identified the camera’s full-frame image sensor. The name itself can be a bit misleading, with the R8 nestling between a pair of APS-C mirrorless cameras, the R7 and R10. However, where the “R8” model name isn’t misleading at all is concerning the camera’s target audience. With Canon and its single digital models, like the R3, R5 and R6, the general pattern is that the higher the number, the lower the price. Coming in at just $1,499 body only ($1,699 in a kit with the new RF 24-50mm zoom lens), the Canon R8 is one of Canon’s most affordable full-frame cameras, costing more than only the EOS RP, which is getting a bit long in the tooth.

Canon RF 24-240mm F4-6.3 IS USM lens at 24mm, F10, 1/60s, ISO 125.

For what it’s worth, the EOS R8 seems like an EOS R replacement in Canon’s lineup. However, the EOS R remains available for purchase and, in typical Canon fashion, has yet to be officially discontinued. While $1,000 less expensive than the new Canon R6 Mark II, the R8 shares many features with the R6 II – including the same 24.2-megapixel CMOS image sensor and excellent autofocus system. The R8 includes some compromises, as we’ll discuss, but it includes an impressive array of features and performance considering its price point. Without further ado, let’s take a close look at the R8.

Canon EOS R8 Key Features and Specifications

• Full-frame interchangeable lens camera
• Canon EOS RF mount
• 24.2-megapixel full-frame CMOS image sensor (not backside-illuminated or stacked)
• ISO range: 100-102,400 (50-204,800 expanded)
• DIGIC X processor
• Continuous shooting at up to 40 frames per second with electronic shutter
• Doesn’t include a typical mechanical shutter, only electronic first curtain and electronic
• Dual Pixel CMOS AF with approximately 100% AF area coverage
• Includes Face Detect and Tracking AF
• AI-powered subject detection AF like the R6 Mark II
• No in-body image stabilization
• 4K/60p video oversampled from 6K
• 10-bit Canon Log 3 and HDR PQ
• High Frame Rate video at Full HD up to 180p
• Body only $1,499

Canon RF 24-240mm F4-6.3 IS USM lens at 240mm, F6.3, 1/320s, ISO 8000.

Canon EOS R8 design and handling

The Canon EOS R8 is a pretty compact full-frame camera. With that small size comes some compromises in terms of control. Before diving into that, let’s break down the dimensions. The R8’s dimensions (W x H x D) are 132.5 x 86.1 x 70.0mm (5.22 x 3.39 x 2.76 in.). The camera weighs 461g (1.01 lbs) with a Canon LP-E17 battery and an SD card (the camera has just a single UHS-II SD card slot).

Let’s compare that to the EOS RP. The R8 is 1mm (0.04 in.) taller and about 20g lighter. What about the R6 Mark II? The R6 Mark II is 138.4 x 98.4 x 88.4mm (5.45 x 3.87 x 3.48 in.), and it weighs 670g, so the R8 is quite a bit smaller in overall volume and significantly lighter than the R6 II. Heck, the full-frame R8 is smaller and lighter than the APS-C EOS R7, although not by as wide a margin as compared to the R6 II.

The R8 is an impressively compact, lightweight camera. It’s very well-suited to travel photography because of its small stature. Even still, the camera’s grip is reasonably large and comfortable, resulting in a good user experience even when using a longer lens, like the RF 100-400mm telephoto zoom.

The R8 includes a decent electronic viewfinder. It is a 0.39-inch OLED with 2.36M dots and 0.7x magnification. The EVF is reasonably sharp, although its low magnification makes it seem small. The EVF is lower res and has lower magnification than the R6 Mark II’s EVF, and the difference is noticeable in use. The R8 sports the same rear display as the R6 II – a 3-inch tilt/swivel touchscreen with 1.62M dots.

When looking at the top of the R8, it’s straightforward. There’s a switch to the left of the viewfinder to switch between photo and video modes. To the right, there’s a mode dial, movie record button, a power switch, a pair of control dials, an M-Fn button, and shutter release. It looks a lot like the R6 Mark II from the top.

Moving to the rear, there are some big differences. The R8 lacks an autofocus joystick and doesn’t have the same rotating control dial around the SET button as the R6 Mark II. The R6 II is set up for enthusiasts and professional use, whereas the R8 is aimed more at first-time camera owners or beginners. The lack of an autofocus joystick is very difficult to overcome for someone like me, who is used to nearly every camera having an AF joystick. You can set the directional buttons to have direct access over the AF area using custom control settings, but that’s not how the camera operates by default.

In use, there’s much to like about the R8. The highlights are the camera’s compact size and lightweight design. The camera’s controls are capable in most situations, although the lack of an AF joystick might limit the R8’s appeal to enthusiast-level and above photographers. However, you can’t have everything, especially not for $1,500.

The same impressive 24.2-megapixel sensor as the R6 Mark II

The heart of the Canon R8 is the same 24.2-megapixel full-frame CMOS image sensor introduced in the R6 Mark II late last year. The sensor was newly developed for that camera and now has made its way into a much less expensive and smaller full-frame body. No, the sensor isn’t as high-resolution as the 30MP EOS R that kicked off Canon’s full-frame mirrorless system in 2018, nor is the 24.2-megapixel sensor backside-illuminated or stacked. It’s a pretty straightforward, basic sensor. However, don’t mistake basic for bad. It’s an excellent image sensor that produces impressive image quality across various situations. For 24.2 megapixels, it also produces impressively sharp, detailed images.

Canon RF 24-240mm F4-6.3 IS USM lens at 40mm, F6.3, 1/160s, ISO 100.

During our time in Charleston, the R8 had plenty of opportunity to strut its stuff at high ISO. During the first hands-on day at the Magnolia Plantation, I routinely hit ISO 6400 and above, even hitting ISO 25,600 a few times. Even at ISO 25,600, which is a pretty high ISO, even for a full-frame camera, the R8 did extremely well – at least with its JPEG images at default noise reduction. Since the camera isn’t out yet, there’s no raw processing support outside of a beta version of Canon’s in-house image editing software, so I stuck to JPEG images. However, I captured raw images the entire time, and you can download them in the Gallery. You won’t be able to process them yet, but support should arrive shortly.

Canon RF 100-400mm F5.6-8 IS USM lens at 400mm, F8, 1/400s, ISO 25600.

Canon RF 24-240mm F4-6.3 IS USM lens at 240mm, F6.3, 1/80s, ISO 25600.

At high ISO, colors remained accurate, along with good tonal range. There’s also quite a bit of detail in high ISO files and little noise. The default noise reduction processing is heavy-handed for my taste, but it’s not bad. If you want to get a good sense of the R8’s image quality performance, you can check out our R6 Mark II sample images from the lab.

Canon RF 24-240mm F4-6.3 IS USM lens at 34mm, F5.6, 1/80s, ISO 400.

At low ISO, the R8 is even more impressive. The camera delivers sharp, detailed images with excellent color accuracy and performance. While automatic white balance struggled slightly in very dim, challenging conditions, the camera produced pleasing JPEG images without fuss. I’m looking forward to processing the raw images later because there’s a lot of potential for even better performance, especially concerning dynamic range. That said, the story so far is a good one.

Canon RF 24-240mm F4-6.3 IS USM lens at 240mm, F7.1, 1/250s, ISO 500.

Autofocus: Impressive all-around performance

The Canon R8 may make a few compromises regarding body design and high-speed shooting (more on that shortly), but it makes no sacrifice in the autofocus department. Between the image pipeline and autofocus, there’s not much to differentiate the R8 and the R6 Mark II – and for many photographers, image quality and autofocus are the most important characteristics.

The impressive image sensor is paired with Canon’s Dual Pixel CMOS AF system, a tried-and-true autofocus system that, simply put, consistently works well. The autofocus area covers the entire sensor, although you can’t manually select autofocus points across the whole image area. Instead, you can select from points covering about 90% of the horizontal and 100% of the vertical areas, which is still very impressive. The autofocus system is rated to work down to -6.5 EV, which is also excellent.

Canon RF 100-400mm F5.6-8 IS USM lens at 400mm, F8, 1/400s, ISO 640.

The user can select from a wide range of autofocus area modes, including spot AF, 1-point AF, expanded AF, flexible zone AF, and whole area AF. There’s customizability with expanded and flexible zone options. Again, this is a good time to lament the lack of a dedicated autofocus control joystick. I don’t want to keep beating that drum. Still, it is a significant usability difference that separates the R8 and the more expensive R6 II, and it’s clear that the latter camera delivers a better user experience in that regard.

As for how the autofocus system operates, it’s practically indistinguishable from the R6 Mark II, which is fantastic news. The camera’s AF performance is swift and reliable. A star of the show is the AI-powered subject detection autofocus modes. The camera can automatically detect subjects like people, animals and vehicles. Like the R6 II, you don’t need to specify a target subject but can instead utilize an “Auto” mode. If you want to only focus on people, that’s an option, of course, but it’s great to have the camera adapt on the fly as subjects change.

Canon RF 24-240mm F4-6.3 IS USM lens at 240mm, F9, 1/320s, ISO 12800.

Overall, the R8’s autofocus system and overall performance are highly impressive. Canon has managed to take what we loved about the R6 II’s AF and put it into a smaller, lighter, more affordable camera.

Video specs: 4K/60p

The R8 includes some pretty impressive video features. The camera records 4K UHD video at up to 60p frame rates using the full width of the image sensor. The 4K output is oversampled from 6K video, resulting in what should be highly-detailed and sharp 4K video. We’ll be testing the video features during our full hands-on review once we get hands-on with the camera again, but let’s briefly look at the R8’s promised features and performance.

Beyond 4K/60p video using the full width of the image sensor, the camera also records Full HD video at up to 120p with audio and 180p without audio using the camera’s High Frame Rate mode. The R8 can capture 10-bit Canon Log 3 video and includes an HDR PQ mode. It has a mic input, although it lacks a headphone jack. The camera’s impressive autofocus features also apply to video. The R8 can also live stream via USB.

The all-too-common and quite annoying 29’59” recording limit per clip is gone. You can record two hours per video file, which should work for just about every scenario. As for thermals, the R8 should record 4K/60p video for about 30 minutes at room temperature before the camera has overheating concerns. With 4K/30p video, there are no such restrictions.

Image stabilization is limited to optical image stabilization with IS-equipped lenses or Canon’s Movie Digital IS, which incorporates a crop factor to stabilize footage.

The R8 has a single UHS-II SD card slot. It’s worth noting that some video modes, namely 4K/60p video, requires UHS Speed Class 3 or higher SD cards. In some cases, Video Speed Class V60 may be required.

We’re looking forward to testing video performance further later, but suffice it to say the R8 should be good for light and medium video users. It only has some of the bells and whistles for high-end video applications, but it should work well for entry-level content creation.

Performance: Fast, but not ideal for action photography

The R8 lacks a mechanical shutter, which is interesting. Well, “lacks” isn’t quite the right word. The R8 has an electronic first curtain shutter, which means that the second curtain is still mechanical, but it doesn’t have a fully mechanical shutter option. The R8 includes an electronic shutter mode, which is not only silent but offers pretty good performance, as we saw with the R6 Mark II. Rolling shutter still exists, but it’s impressively minimized.

Canon RF 24-240mm F4-6.3 IS USM lens at 168mm, F6.3, 1/250s, ISO 2000.

The R8’s shooting speeds depend greatly upon your shutter selection. When using the electronic first curtain shutter, the default option, the R8 tops out at 6 frames per second with one-shot or Servo AF. When using the electronic shutter, the speed increases to 40 frames per second. There’s also a RAW Burst Mode, which includes a half-second of pre-shooting to help you capture fast action before you can even press the shutter. This mode requires the electronic shutter and tops out at 30 fps.

The R8 is plenty fast for action when using the electronic shutter, including pretty good Servo AF. However, as a purpose-built sports camera, it comes up a bit short due to a somewhat shallow buffer depth. When shooting raw or raw+JPEG, the buffer depth is just over 50 frames. You can roughly double the buffer by shooting C-RAW or get up to 120 frames by shooting only JPEG. That performance isn’t bad, per se, but you work through the buffer really fast at 40 fps. Compare that to the R6 Mark II, which has the same imaging pipeline, and you’ll see that the R8 lags. The R6 Mark II, when using C-RAW, can shoot more than a thousand C-RAW files or nearly 400 RAW files before the buffer fills.

Canon RF 24-240mm F4-6.3 IS USM lens at 240mm, F6.3, 1/320s, ISO 2500.

Another difference between the R8 and the R6 II comes down to in-body image stabilization. The R6 Mark II has it, and the R8 doesn’t. In bright light, that’s not a big deal for stills photography. However, in dim light, IBIS can help capture sharper shots with lower ISO settings.

Overall, the R8’s performance is impressive, especially considering its price point. We’ve come a long way since the original EOS R and its poor Servo AF and lackluster shooting speeds. The R8 can’t quite match the R6 II regarding best-possible performance, but the R8 is no slouch.

In the field: The EOS R8 is a great travel camera

Canon spent quite a bit of time talking to us about the appeal of the EOS R8 as a travel camera, and we agree, it’s a great choice for travel photography. There’s a lot going on for the R8 in this regard.

Canon RF 100-400mm F5.6-8 IS USM lens at 100mm, F5.6, 1/100s, ISO 1000.

For starters, the camera is relatively small and lightweight, especially for a full-frame camera. We’ve already mentioned the camera’s weight (461g / 1.01 lbs with battery and memory card), but what about a typical kit? If you get the R8 with its new kit lens option, the RF 24-50mm F4.5-6.3, the total weight is just 731g (1.6 lbs), which is just 60g heavier than the R6 Mark II body only. If you use the R8 with Canon’s RF 24-240mm F4-6.3 IS USM lens, which is $900, the total weight is 1,211g (2.67 lbs). That’s not exactly lightweight, but it’s alright considering you’re working with a full-frame camera and an excellent 24-240mm zoom range. I loved that combination and used it extensively. You can do almost everything with the R8 and that lens, save for long-distance wildlife and sports. You can even capture portraits or shoot in low light, albeit not as effectively as you can with a fast prime.

Canon RF 24-240mm F4-6.3 IS USM lens at 76mm, F10, 1/100s, ISO 320.

If you’re on an exciting vacation, you want to come home with good pictures. The R8 handles that extremely well thanks to its high-quality 24.2-megapixel full-frame image sensor. You also need to return with sharp shots, which are made straightforward thanks to the sophisticated and reliable autofocus system. The R8’s lack of in-body image stabilization is somewhat disappointing, but you can use an IS-equipped lens to help make up for the omission. If the R8 had IBIS, it’d cost more and be larger and heavier, so that’s the tradeoff.

Canon RF 24-240mm F4-6.3 IS USM lens at 62mm, F7.1, 1/60s, ISO 6400.

A great travel camera must also be versatile, an area where the R6 Mark II and R8 alike excel. The R8 is a bit less capable than its more expensive, larger sibling when it comes to high-speed and low-light shooting (concerning IBIS, not the image quality), but the R8 remains a very capable camera for many types of situations. It can produce high-quality results in most scenarios, albeit with less polish in the usability department. The R8 has impressive video chops, with 4K/60p video using 6K oversampled footage. We’ll dive into the video more in our hands-on review down the road, but if you want a suitable camera for both photo and video, the R8 is a good option.

While I wish the EVF was larger and the controls a bit more refined, the R8 is a pleasant camera to use. Canon’s menu system is good, able to be understood by beginners and experienced photographers alike. The camera packs just about every feature you could ask for at the $1,500 price point and delivers image quality and autofocus performance far exceeding its relatively affordable asking price.

Canon RF 24-240mm F4-6.3 IS USM lens at 240mm, F6.3, 1/320s, ISO 1600.

Summary: The Canon EOS R8 offers impressive value and good all-around performance

Whether shooting in dreary, dark overcast conditions surrounded by old, ivy-laden trees or walking around picturesque and historic Charleston, the Canon EOS R8 was a joy to use. The lightweight body and intuitive menus made it easy to pick up and shoot, no matter the subject. Better still, the 24.2-megapixel image sensor delivers impressive image quality and the autofocus system is intelligent and reliable.

Canon RF 24-240mm F4-6.3 IS USM lens at 28mm, F10, 1/60s, ISO 2000.

The R8 may not have all the same features as the R6 Mark II, but it nonetheless feels like an R6 II-lite. And coming in at $1,499 body only, it’s hard to complain too much about the missing features. For someone’s first full-frame mirrorless camera, especially someone looking for something for travel photography or all-around content creation, the R8 seems like a promising option. Stay tuned to Imaging Resource for our full hands-on review as soon as we receive our review unit. Until then, check out our Canon R8 Gallery. If you’d like to learn about Canon’s latest APS-C camera, the R50, head to our Canon EOS R50 Hands-on Preview.

The post Canon R8 Review appeared first on Imaging Resource.

Canon R50 Hands-on Preview

Canon’s most affordable R-series camera offers an impressive entry in their mirrorless system

Canon is going full-steam ahead with their R-series of mirrorless cameras, continuing to broaden their customer base with two new models aimed towards more beginner and advanced amateur creators. Last year, Canon introduced the R10 and R7 mirrorless cameras, the first R-series cameras with APS-C sensors, and we now have a third option, the Canon EOS R50. Announced alongside a new EOS R8 full-frame model, this new ultra-compact APS-C R50 model sits right below the EOS R10 in the Canon R-series lineup and is, at this time, the most entry-level and affordable model with a body-only price of under $700.

The new R50 is what Canon is considering an “advanced entry-level” camera, one that’s designed for the beginner photographer or video shooter but a camera that still has a little more features and flexibility that customers with some experience and knowledge of cameras will feel at home with this model, too. They are squarely pushing this camera towards those looking to step up from a smartphone camera and get better image quality and more versatility to capture different kinds of images and video.

R50 + RF100-400mm F5.6-8 IS USM: 100mm, F8, 1/200s, ISO 3200, -0.6EV

Canon’s R series lineup is getting a bit crowded, which is a bit surprising given the system’s fairly young age overall, especially when you look at the full-frame offerings. However, the situation with Canon’s APS-C mirrorless cameras is also a little confusing, as the R7, R10 and now the R50 going up against Canon’s existing M-series of APS-C mirrorless cameras. Canon says that the new R50 is, in fact, aimed at the same target audience as the popular EOS M50 Mark II (which has been selling like gangbusters, though Canon wouldn’t tell us actual sales figures). There is definitely some overlap now in Canon’s camera offerings, with models like the new R50 and R10 competing directly with cameras like the M50 II and M200. However, Canon was quick to state that the R50 was, for example, not directly replacing the M50 Mark II, nor is the M-series being discontinued. The M50 II and M200 would remain in Canon’s camera lineup for now.

We’re speculating a bit, but it seems obvious the Canon M-series cameras’ days are numbered. We’re not likely to see any new models or lenses for that platform, but Canon will most likely continue to sell these products as stock remains. How long that process will last, we do not know. However, it’s clear that Canon is trying to focus its camera lines down to a one-lens mount arrangement, at least when it comes to their mirrorless cameras. For Canon, when it comes to mirrorless, the R series and the RF-mount is the future.

R50 + RF-S18-45mm F4.5-6.3 IS STM: 32mm, F5.6, 1/200s, ISO 100, -0.3EV

Getting back to the Canon R50 itself, we had an opportunity to test out the new APS-C mirrorless camera for a couple of days, along with the new Canon R8 as well, at a Canon-organized press event. If you’re curious to see what this new compact and impressively small and light APS-C camera can do, read on for an in-depth, hands-on preview and an array of real-world gallery images.

Unfortunately, we couldn’t hang onto the camera at this time, so a full hands-on review and lab testing will be added here as soon as we get a review sample.

With that, let’s dive in…

Key Features & Specs

• Compact, advanced entry-level RF-mount mirrorless camera
• 24.2MP APS-C CMOS image sensor
• DIGIC X image processor
• ISO range: 100-32000 (native); Expanded high: ISO 51,200
• No mechanical shutter: only 1st curtain electronic shutter & all-electronic shutter
• Continuous shooting rates: 15fps (1st curtain elec.), 12fps (electronic shutter)
• 4K 30p video uncropped
• Full HD 60p
• High-speed video up to 1080p 120fps
• Dual Pixel CMOS AF with People, Animal, Vehicle Subject Detection
• Camera designed for full-automatic shooting with more Automatic Assist shooting modes
• Body-only: $679.99; RF 18-45mm Kit: $799.99; Two Lens Kit: $1029.99

Design & Handling

While the Canon R50 may not use the “Rebel” branding like their entry-level DSLRs, the new R50 looks and feels like a spiritual successor in a way to Canon’s advanced Rebel cameras, such as the T8i, or even the tiny Rebel SL3 when you consider the R50’s physical dimensions. The R50’s design is ultra-light and compact, and the controls and buttons are dialed back to provide a more simplified user experience. Though the R50 doesn’t technically replace the EOS M50 Mark II, it’s targeted towards the same audience: casual users who want something that’s not super bare-bones and entry-level, but are still wanting a camera for photos and video that can offer better quality and more versatility than their smartphone. A camera with higher quality but still a streamlined, easy-to-use experience.

Alongside the new R8, I had a chance to test out the svelte Canon R50 for a couple of days, and as you might expect, the first thing you notice when you pick up the camera is just how small and lightweight it is. The camera is impressively small, despite the large-diameter RF-mount and APS-C sensor. The large RF-mount flange dominates the front of the camera. The R50 weighs just 375g (0.83 lbs.) for the body alone (and battery), and when paired with the RF-S 18-45mm kit lens — itself weighing a paltry 130g (4.6oz) — the R50 kit weighs less than the Canon Rebel SL3. The R50 is also smaller than the SL3!

Despite the small size, the R50 still has a nice, prominent handgrip for this class of camera, though it certainly doesn’t fill my hand like a larger camera would. Nonetheless, the camera’s grip has good contouring and overall pleasing ergonomics for an ultra-compact interchangeable lens camera, at least from a pure handling standpoint. When it comes to the control layout, however, this is where you start to see compromises and omissions, especially if you’re someone like me who’s accustomed to more advanced cameras with lots of physical controls and dials.

Looking around the camera, it’s a much more simplistic experience regarding the buttons and dials. On the top of the camera, you have just a basic cluster of controls on the right side, and that’s all. There’s the shutter release button and a mode dial, as you’d expect. But apart from the on/off switch, there are only three other buttons: a single control dial, a movie record button and an ISO button. I do think the dedicated ISO button is a nice touch, especially for those photographers already have some experience with cameras and photography basics.

However, a couple of things threw me off when using this camera for the first time. For one thing, there is only a single command dial on the top of the camera, and while that’s not really that uncommon for a camera of this class, I am just so used to having at least one more control dial on the camera somewhere. I am so used to this that I found myself accidentally rotating the Mode Dial with my thumb thinking I was changing an exposure parameter. The placement of the Mode Dial here towards the back edge of the camera didn’t help, either; it’s right above the rear thumb grip and was easy to adjust inadvertently with my thumb. A new user or someone picking up this type of camera for the first time would probably not have this issue, but it’s certainly something I noticed right away.

Moving to the back of the camera, we again see only a small selection of buttons, all of which are located off to the right side of the camera. However, the standard set of controls are all there, including a Menu button, Info button, Playback button, plus a Quick Menu/SET button surrounded by a 4-way directional control with various pre-assigned mode options. Finally, the AEL/AFL and AF point/area adjustment buttons are both placed within easy reach right next to the thumb rest. It’s a very familiar and easy-to-use control layout, but more advanced users may notice a distinct last of a critical control: a joystick.

I remember a time when cameras didn’t come with multi-directional or joystick-style control (my Olympus E-M1 II doesn’t have one, for example). Still, it seems like almost every camera has this type of control these days. It’s an excellent control for instantly moving the AF point around, and with a mirrorless camera, you can usually put the AF point/area essentially anywhere in the frame. So, when a new camera is lacking this now-common control, it feels especially noticeable, at least to me.

Canon has really pushed the R50 to be used via its touchscreen LCD, which is fine and certainly a familiar way to interact with the camera if you’re coming from a smartphone. It’s also designed to be used in Automatic shooting modes, which sometimes doesn’t allow you to manually select the AF point to begin with. The lack of a joystick to move the AF point around can be a little frustrating for those who like some control. The new R8 lacks a joystick, too, but you are allowed to reprogram the camera’s 4-way directional controls to instantly control the placement of the AF point. However, the R50, oddly, does not have this functionality.

In terms of displays, the EOS R50 has both an EVF and a vari-angle LCD touchscreen. The EVF in the R50 is essentially the same as one the one in the R10, with a 0.39-inch OLED panel with 2.36-million dots of resolution and a 0.95x magnification factor or approximately a 28-degree field of view, a 22mm eye point, and provides about 100% frame coverage. For a more entry-level-focused camera, the EVF looks pretty good in the field, with decent sharpness and feels fairly large for this class of camera. The LCD panel is also similar to the one on the R10, though the R50’s has a bit more resolution at 1.62-million dots compared to 1.04-million on the R10. The overall display is still a 3.0-inch TFT LCD with adjustable brightness and vari-angle articulation.

Overall, the Canon R50 offers a good user experience for the most part when it comes to handling and usability. The camera is incredible small and highly-portable yet still has that characteristically well-built Canon quality that we’ve come to expect. It’s not the most rugged camera, but still feels solid and nicely built. The controls are stripped down to just the essentials, which is perfect for a more beginner-oriented camera. There are a few controls, such as the joystick, that more advanced users will certainly miss on this camera. However, if you’re a beginner or used to a more touchscreen-oriented way of interacting with your camera, the EOS R50 works very well.

R50 + RF100-400mm F5.6-8 IS USM: 400mm, F8, 1/640s, ISO 1000

Image Quality

When it comes to the imaging pipeline of the new Canon R50, this new model is essentially the same as the Canon R10. They share the same newly-designed 24.2-megapixel APS-C CMOS sensor and use the same latest-generation DIGIC X image processor. Both cameras offers the same ISO range, as well, with a native range spanning 100 – 32,000, with expandable ISOs down to a low ISO 50 and up to ISO 51,200. Overall, the image quality performance should be similar, if not the same, as the R10.

In terms of just the sensor, Canon makes several other crop-sensor cameras with a 24.2MP resolution, such as the M50 Mark II. Now, officially Canon isn’t saying the R50 replaces the M50 Mark II, but this camera is targeted towards the same customer and it’s very likely the R50 will become the de-facto successor. Despite having the same resolution, Canon states that 24MP sensor in the R50 (and R10) is a newly-designed chip. Plus, when combined with the newer imaging processor, users should see improved image quality performance and better High ISO quality. Canon stated that customers should expect noticeable improvements in image quality compared to the M50 Mark II.

In addition to the usual RAW and RAW+JPEG image capture modes, the R50 also offers HDR shooting and HDR-PQ options for displaying higher dynamic range images on specialized HDR10-compatible devices, such as iPad Pros and the latest iPhones. You can also save higher-quality 10-bit HEIF images from RAW files.

R50 + RF100-400mm F5.6-8 IS USM: 400mm, F8, 1/800s, ISO 800, -0.6EV

Now, while you can shoot in RAW, as you would with most Canon EOS cameras, Canon stressed that R50 was designed for fully automatic shooting as well. If you want to pick up the camera and a kit lens and start shooting and perhaps you’re not familiar with apertures or shutter speeds or how to adjust the camera to get nice blurry backgrounds, for instance, the R50 has several built-in automatic shooting modes to help the more novice photographer capture the images they want.

The Creative Assist mode, within the A+ (“Green Box”) shooting mode, has a variety of on-screen options that will guide you visually in the adjustments and changes you can make to help you achieve the photo you’re after. The camera also has a Creative Bracketing mode that will capture a single frame but will save several other version with different looks and filters applied (it’ll still work with RAW+JPEG enabled, so you have a RAW file, too).

The R50 also introduces a new “Advanced A+” mode that is and sort of isn’t a “computational photography” shooting mode. Canon was a little coy in straight-up calling this mode a computational photography mode, oddly enough. However, if you enable this full-automatic shooting mode via the on-screen icon and fire off a shot, the camera will actually take several images rapidly, analyze the results, and automatically adjust things to make a final image. The camera assess shadows and highlights, adjust for under-exposures or boost contrast, or even analyze the scene for greater depth of field. We’re not sure how it all works yet, as Canon didn’t describe it much in-depth.

R50 + RF-S18-45mm F4.5-6.3 IS STM: 42mm, F9, 1/320s, ISO 100 – Advanced A+

R50 + RF-S18-45mm F4.5-6.3 IS STM: 18mm, F5, 1/320s, ISO 100 – Advanced A+

In use, you definitely notice the fully-automatic nature of shooting mode. It’s really a point-and-shoot experience; you can’t adjust your focusing point, for instance. It’s all automatic. As you compose your scene, the camera will pick the focus mode and what to focus on, adjust and indicate the kind of scene it thinks you’re trying to photograph, such as a macro shot, landscape, etc. When you finally fire off a shot, there is a brief pause and the camera will say “BUSY” on the LCD while image processing is happening. It’s a very brief pause, fortunately, but it’s certainly not a mode to use if you’re capturing fast action.

Overall, from my time with the camera so far, the image quality performance is quite good out of this tiny little camera. Similar to my colleague Jeremy Gray’s experience with the Canon R8, we only had a very short time with these new cameras. RAW file support is also not yet available beyond just a pre-production version of Canon’s in-house raw processing software. So this initial assessment is based on just JPEG images, but images look very good straight out of camera, at both low and higher ISOs.

R50 + RF-S18-45mm F4.5-6.3 IS STM: 18mm, F4.5, 1/2000s, ISO 100, -0.6EV

Images at low ISOs display a lot of fine detail, pleasing, accurate colors, and good contrast. I had the chance to shoot at higher ISOs quite a bit, thanks to some slower-aperture lenses I tried and the cloudy, overcast conditions we shot in on the first day. Fortunately, the little R50 does well at higher ISO, too. The high ISO images are quite impressive for an APS-C camera of this class. Noise is very well controlled at the R50’s default level of NR processing. Of course, if you zoom-in you can definitely see the NR processing at work, and to my eye, the noise reduction is a bit strong for my personal taste. However, it still does a good job and removing a lot of egregious noise while preserving some nice, sharp detail.

Once we get a R50 in-house and raw processing software is updated to handle these new RAW files, we’ll take a deeper dive into the image quality performance. So stayed tuned for our in-depth review!

R50 + RF100-400mm F5.6-8 IS USM: 400mm, F8, 1/800s, ISO 5000, -0.6EV

Autofocus & Performance

Even though the R50 is a sub-$700 camera designed for more entry-level creators, Canon didn’t shy away from giving it a fairly impressive autofocusing system, including intelligence subject-detection modes. Like pretty much all of Canon’s modern mirrorless cameras, the new EOS R50 features Dual Pixel CMOS AF with on-sensor phase-detection autofocusing. Autofocus coverage spans the entire sensor area, so no matter where your subject is in the frame, the camera should be able to focus on it; face-detection and Tracking AF work across the entire sensor area.

If you want to manually select your AF point, the R50 has selectable AF points across 90% of the horizontal and 100% of the vertical area. The camera has 4503 selectable AF point positions (79 x 57), and for automatic AF zone selection, the camera offers 651 zones in a 31 x 21 grid. Autofocusing is rated low-light situations down -4EV.

The camera offers a wide array of AF point options, including Spot AF and Single-point AF, a couple of Expand AF area modes, three Flexible Zone AF modes and Whole Area AF. The camera also includes subject-tracking AF with its continuous AF (Servo AF) mode.

Beyond manual subject tracking, the R50 also features intelligent subject-detection modes, much like their higher-end mirrorless cameras. The system here isn’t as advanced as the EOS R7 or R6 II, for example, but the R50 can still automatically detect and track People (faces, eyes), Animals (dogs, cats, birds), and Vehicles (cars, motorcycles). The camera is even sophisticated enough to have an Auto mode and will automatically switch subject-detection preset upon detecting that type of object in the scene. Overall, it’s quite impressive the amount of AF tech put into this little entry-level camera, and it works quite well from what I’ve seen so far.

R50 + RF100-400mm F5.6-8 IS USM: 400mm, F8, 1/640s, ISO 500, -0.3EV

Dual Pixel CMOS AF inside the R50 is very fast, accurate and responsive for general shooting both with single-shot AF and Servo AF, just like I’ve experienced with other Canon cameras that have Dual Pixel CMOS AF. The addition of subject detection makes the camera even easier to use. The camera could quickly and accurately detect the faces and eyes of various subjects, both with people and animals, and continued to track as they moved or as I moved to recompose my shots. Further testing is needed for a definitive verdict, but so far, the R50’s AF system works very well.

Now, in terms of burst performance, the Canon R50 is pretty good, but as you can imagine, it’s not a speed demon designed for intense sports and action subjects. Continuous shooting speeds vary depending on the shutter mode used, and they are pretty decent overall, but it’s the buffer depth that will hamper burst performance for serious sports and action pursuits. It’s just not that category of camera.

Like the R8, the Canon R50 lacks a fully mechanical shutter mode, opting just for an Electronic 1st-curtain Shutter mode and a fully-electronic shutter mode. In 1st curtain shutter mode, the maximum burst rate is a still-decent 12fps with either One-Shot AF and Servo AF. Switching to Electronic Shutter mode will give you a little speed boost up to 15fps with both One-shot and Servo AF. (Note: the 12fps 1st-curtain maximum burst mode will work with Servo AF, but AE, flash metering, and white balance will not change past the first frame during a burst sequence.)

R50 + RF100-400mm F5.6-8 IS USM: 335mm, F8, 1/800s, ISO 200, -0.3EV

On the other hand, Buffer depths are pretty restrictive, but you must keep in mind the class of camera here. With the 12fps 1st-curtain maximum burst mode, buffer capacity is rated up to 42 JPEG frames, or 28 JPEG frames in the 15fps electronic shutter burst mode. Enabling RAW or RAW+JPEG severely restricts buffer capacity to just 7 frames with RAW or RAW+JPEG (or RAW+HEIF). Opting for Canon’s compressed C-RAW format will give you a bit more room with up to 15 frames for just C-RAW or 13 frames for C-RAW+JPEG/HEIF.

It’s also worth pointing out that the R50 has just a single UHS-I-speed SD card slots (the higher-end R10 has a UHS-II card slot).

Video: First Canon APS-C camera with uncropped 4K video

The little Canon R50 isn’t a video creator’s ideal camera by any means, but it’s no slouch for casual creators who want high-quality 4K video without spending an arm and leg. In fact, the R50 is Canon’s first entry-level EOS APS-C camera with uncropped 4K video. Indeed, 4K video can be recorded at up to 30fps using the full-width of the sensor and is derived from a 6K oversampled signal.

Full HD video is also available at standard recording (with audio) up to 60fps, or High Frame Rate shooting at up to 120fps (no audio recorded).

Unlike the R7 or R8 cameras, the Canon R50 does not have a headphone jack, but it does include a 3.5mm microphone input jack.

Dual Pixel CMOS AF also functions during video recording, and you still have access to the handy subject-detection systems as you have in photo modes. You can track people, animals and vehicles in video as well.

R50 + RF-S18-45mm F4.5-6.3 IS STM: 28mm, F5, 1/1000s, ISO 100, -0.3EV

Pricing & Availability

The Canon EOS R50 camera body will be available for an estimated retail price $679.99. The EOS R50 with the RF-S 18-45mm 4.5-6.3 IS STM lens kit will be available for an estimated retail price of $799.99. The EOS R50 with the RF-S 18-45mm 4.5-6.3 IS STM and RF-S 55-210mm F5-7.1 IS STM lenses will be available for an estimated retail price of $1,029.00.

The RF-S55-210mm F5-7.1 IS STM lens will also be sold on its own, and will have an estimated retail price of $349.99.

All products are currently scheduled to be available in Spring 2023.

The post Canon R50 Review appeared first on Imaging Resource.

Canon EOS R50 Gallery

All images copyright © 2023 by The Imaging Resource. All rights reserved.

Y-JG-CANON-R50-0005.JPG Y-JG-CANON-R50-0005.CR3 14,024,621 bytes 6000×4000 1/152 sec f2.8 0.0 EV 35.0 mm focal length ISO 100	Y-JG-CANON-R50-0008.JPG Y-JG-CANON-R50-0008.CR3 17,037,743 bytes 6000×4000 1/76 sec f4.5 +0.3 EV 35.0 mm focal length ISO 617	Y-JG-CANON-R50-0012.JPG Y-JG-CANON-R50-0012.CR3 8,911,588 bytes 6000×4000 1/161 sec f8.0 +0.3 EV 270.0 mm focal length ISO 6400
Y-JG-CANON-R50-0013.JPG Y-JG-CANON-R50-0013.CR3 9,017,854 bytes 6000×4000 1/256 sec f8.0 +0.3 EV 300.0 mm focal length ISO 6400	Y-JG-CANON-R50-0017.JPG Y-JG-CANON-R50-0017.CR3 10,829,773 bytes 6000×4000 1/108 sec f8.0 +0.3 EV 400.0 mm focal length ISO 6400	Y-JG-CANON-R50-0023.JPG Y-JG-CANON-R50-0023.CR3 9,714,135 bytes 6000×4000 1/645 sec f8.0 +0.3 EV 347.0 mm focal length ISO 6400
Y-JG-CANON-R50-0030.JPG Y-JG-CANON-R50-0030.CR3 15,287,944 bytes 6000×4000 1/431 sec f8.0 +0.3 EV 214.0 mm focal length ISO 2468	Y-JG-CANON-R50-0043.JPG Y-JG-CANON-R50-0043.CR3 10,609,352 bytes 6000×4000 1/323 sec f8.0 +0.3 EV 400.0 mm focal length ISO 6400	Y-JG-CANON-R50-0065.JPG Y-JG-CANON-R50-0065.CR3 10,474,290 bytes 6000×4000 1/161 sec f8.0 +0.3 EV 83.0 mm focal length ISO 519
Y-JG-CANON-R50-0093.JPG Y-JG-CANON-R50-0093.CR3 10,449,786 bytes 6000×4000 1/645 sec f8.0 +0.3 EV 400.0 mm focal length ISO 1600	Y-JG-CANON-R50-0096.JPG Y-JG-CANON-R50-0096.CR3 7,351,748 bytes 6000×4000 1/431 sec f8.0 +0.3 EV 236.0 mm focal length ISO 259	Y-JG-CANON-R50-0102.JPG Y-JG-CANON-R50-0102.CR3 10,246,272 bytes 6000×4000 1/813 sec f8.0 +0.3 EV 400.0 mm focal length ISO 1600
Y-JG-CANON-R50-0107.JPG Y-JG-CANON-R50-0107.CR3 10,150,746 bytes 6000×4000 1/470 sec f8.0 +1.0 EV 236.0 mm focal length ISO 400	Y-JG-CANON-R50-0110.JPG Y-JG-CANON-R50-0110.CR3 9,047,831 bytes 4000×6000 1/323 sec f8.0 +1.0 EV 165.0 mm focal length ISO 308	Y-JG-CANON-R50-0117.JPG Y-JG-CANON-R50-0117.CR3 6,357,726 bytes 6000×4000 1/645 sec f8.0 +1.0 EV 400.0 mm focal length ISO 519
Y-JG-CANON-R50-0122.JPG Y-JG-CANON-R50-0122.CR3 4,310,690 bytes 6000×4000 1/645 sec f8.0 +1.0 EV 400.0 mm focal length ISO 519	Y-JG-CANON-R50-0128.JPG Y-JG-CANON-R50-0128.CR3 6,925,322 bytes 4000×6000 1/645 sec f8.0 0.0 EV 400.0 mm focal length ISO 617	Y-JG-CANON-R50-0138.JPG Y-JG-CANON-R50-0138.CR3 11,470,731 bytes 6000×4000 1/645 sec f8.0 0.0 EV 400.0 mm focal length ISO 1037
Y-JG-CANON-R50-0158.JPG Y-JG-CANON-R50-0158.CR3 11,637,114 bytes 4000×6000 1/609 sec f8.0 0.0 EV 300.0 mm focal length ISO 3200	Y-JG-CANON-R50-0176.JPG Y-JG-CANON-R50-0176.CR3 15,556,490 bytes 6000×4000 1/724 sec f8.0 +0.7 EV 400.0 mm focal length ISO 2468	Y-WB-R50-IMG_0003.JPG Y-WB-R50-IMG_0003.CR3 8,885,036 bytes 6000×4000 1/813 sec f8.0 0.0 EV 347.0 mm focal length ISO 6400
Y-WB-R50-IMG_0004.JPG Y-WB-R50-IMG_0004.CR3 10,944,658 bytes 4000×6000 1/161 sec f8.0 0.0 EV 100.0 mm focal length ISO 1234	Y-WB-R50-IMG_0007.JPG Y-WB-R50-IMG_0007.CR3 13,299,966 bytes 4000×6000 1/279 sec f8.0 0.0 EV 141.0 mm focal length ISO 4935	Y-WB-R50-IMG_0017.JPG Y-WB-R50-IMG_0017.CR3 12,868,927 bytes 4000×6000 1/203 sec f8.0 -0.7 EV 100.0 mm focal length ISO 3200
Y-WB-R50-IMG_0025.JPG Y-WB-R50-IMG_0025.CR3 7,646,883 bytes 6000×4000 1/431 sec f7.1 -0.7 EV 225.0 mm focal length ISO 1037	Y-WB-R50-IMG_0027.JPG Y-WB-R50-IMG_0027.CR3 7,781,442 bytes 4000×6000 1/203 sec f7.1 -0.7 EV 100.0 mm focal length ISO 1037	Y-WB-R50-IMG_0028.JPG Y-WB-R50-IMG_0028.CR3 11,980,982 bytes 6000×4000 1/161 sec f7.1 -0.7 EV 100.0 mm focal length ISO 130
Y-WB-R50-IMG_0033.JPG Y-WB-R50-IMG_0033.CR3 6,548,993 bytes 6000×4000 1/724 sec f8.0 -0.7 EV 400.0 mm focal length ISO 800	Y-WB-R50-IMG_0039.JPG Y-WB-R50-IMG_0039.CR3 9,207,321 bytes 6000×4000 1/645 sec f8.0 -0.7 EV 400.0 mm focal length ISO 4150	Y-WB-R50-IMG_0052.JPG Y-WB-R50-IMG_0052.CR3 9,362,932 bytes 4000×6000 1/724 sec f8.0 -0.7 EV 400.0 mm focal length ISO 4935
Y-WB-R50-IMG_0064.JPG Y-WB-R50-IMG_0064.CR3 12,274,163 bytes 4000×6000 1/323 sec f5.6 0.0 EV 100.0 mm focal length ISO 6400	Y-WB-R50-IMG_0073.JPG Y-WB-R50-IMG_0073.CR3 11,199,051 bytes 6000×4000 1/279 sec f8.0 0.0 EV 400.0 mm focal length ISO 6400	Y-WB-R50-IMG_0086.JPG Y-WB-R50-IMG_0086.CR3 7,618,611 bytes 6000×4000 1/645 sec f8.0 -0.3 EV 400.0 mm focal length ISO 519
Y-WB-R50-IMG_0095.JPG Y-WB-R50-IMG_0095.CR3 8,193,044 bytes 6000×4000 1/645 sec f8.0 -0.3 EV 400.0 mm focal length ISO 519	Y-WB-R50-IMG_0107.JPG Y-WB-R50-IMG_0107.CR3 8,012,329 bytes 6000×4000 1/645 sec f8.0 0.0 EV 400.0 mm focal length ISO 400	Y-WB-R50-IMG_0114.JPG Y-WB-R50-IMG_0114.CR3 7,398,483 bytes 4000×6000 1/645 sec f8.0 0.0 EV 400.0 mm focal length ISO 1037
Y-WB-R50-IMG_0123.JPG Y-WB-R50-IMG_0123.CR3 6,414,647 bytes 6000×4000 1/813 sec f8.0 -0.3 EV 335.0 mm focal length ISO 200	Y-WB-R50-IMG_0126.JPG Y-WB-R50-IMG_0126.CR3 9,716,677 bytes 4000×6000 1/724 sec f5.6 -0.3 EV 32.0 mm focal length ISO 100	Y-WB-R50-IMG_0127.JPG Y-WB-R50-IMG_0127.CR3 8,521,298 bytes 6000×4000 1/1024 sec f5.6 -0.3 EV 24.0 mm focal length ISO 100
Y-WB-R50-IMG_0131.JPG Y-WB-R50-IMG_0131.CR3 12,667,098 bytes 6000×4000 1/108 sec f5.6 -0.3 EV 31.0 mm focal length ISO 100	Y-WB-R50-IMG_0132.JPG Y-WB-R50-IMG_0132.CR3 10,272,912 bytes 6000×4000 1/140 sec f6.3 -0.3 EV 45.0 mm focal length ISO 100	Y-WB-R50-IMG_0137.JPG Y-WB-R50-IMG_0137.CR3 8,520,791 bytes 6000×4000 1/215 sec f6.3 -0.3 EV 45.0 mm focal length ISO 100
Y-WB-R50-IMG_0138.JPG Y-WB-R50-IMG_0138.CR3 12,006,927 bytes 6000×4000 1/203 sec f5.6 -0.3 EV 32.0 mm focal length ISO 100	Y-WB-R50-IMG_0145.JPG 9,179,609 bytes 6000×4000 1/108 sec f5.6 0.0 EV 32.0 mm focal length ISO 130	Y-WB-R50-IMG_0146.JPG 9,086,663 bytes 6000×4000 1/161 sec f6.3 0.0 EV 45.0 mm focal length ISO 200
Y-WB-R50-IMG_0153.JPG Y-WB-R50-IMG_0153.CR3 12,713,179 bytes 4000×6000 1/215 sec f6.3 -0.7 EV 55.0 mm focal length ISO 100	Y-WB-R50-IMG_0154.JPG Y-WB-R50-IMG_0154.CR3 8,494,661 bytes 6000×4000 1/2233 sec f4.5 -0.7 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0155.JPG Y-WB-R50-IMG_0155.CR3 9,535,155 bytes 6000×4000 1/2233 sec f4.5 -0.7 EV 18.0 mm focal length ISO 100
Y-WB-R50-IMG_0156.JPG Y-WB-R50-IMG_0156.CR3 9,912,809 bytes 6000×4000 1/1625 sec f5.6 -0.7 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0157.JPG Y-WB-R50-IMG_0157.CR3 10,512,729 bytes 6000×4000 1/1117 sec f6.3 -0.7 EV 45.0 mm focal length ISO 100	Y-WB-R50-IMG_0158.JPG Y-WB-R50-IMG_0158.CR3 7,503,244 bytes 4000×6000 1/3444 sec f5.6 -0.7 EV 18.0 mm focal length ISO 100
Y-WB-R50-IMG_0160.JPG Y-WB-R50-IMG_0160.CR3 9,598,679 bytes 6000×4000 1/939 sec f6.3 -0.7 EV 45.0 mm focal length ISO 100	Y-WB-R50-IMG_0165.JPG Y-WB-R50-IMG_0165.CR3 9,951,204 bytes 4000×6000 1/1117 sec f5.0 -0.3 EV 28.0 mm focal length ISO 100	Y-WB-R50-IMG_0168.JPG Y-WB-R50-IMG_0168.CR3 9,197,522 bytes 6000×4000 1/645 sec f5.0 -0.3 EV 18.0 mm focal length ISO 100
Y-WB-R50-IMG_0174-CreativeBracketing.JPG Y-WB-R50-IMG_0174-CreativeBracketing.CR3 18,407,246 bytes 6000×4000 1/152 sec f5.6 0.0 EV 35.0 mm focal length ISO 130	Y-WB-R50-IMG_0175-CreativeBracketing.JPG 17,064,102 bytes 6000×4000 1/152 sec f5.6 +1.0 EV 35.0 mm focal length ISO 130	Y-WB-R50-IMG_0176-CreativeBracketing.JPG 18,761,388 bytes 6000×4000 1/152 sec f5.6 +1.0 EV 35.0 mm focal length ISO 130
Y-WB-R50-IMG_0177-CreativeBracketing.JPG 19,745,256 bytes 6000×4000 1/152 sec f5.6 0.0 EV 35.0 mm focal length ISO 130	Y-WB-R50-IMG_0189.JPG Y-WB-R50-IMG_0189.CR3 7,816,776 bytes 6000×4000 1/431 sec f6.3 -0.3 EV 45.0 mm focal length ISO 100	Y-WB-R50-IMG_0191.JPG Y-WB-R50-IMG_0191.CR3 6,019,141 bytes 6000×4000 1/362 sec f6.3 -0.3 EV 45.0 mm focal length ISO 100
Y-WB-R50-IMG_0199.JPG Y-WB-R50-IMG_0199.CR3 7,279,963 bytes 6000×4000 1/2233 sec f6.3 -0.3 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0204.JPG Y-WB-R50-IMG_0204.CR3 5,492,298 bytes 6000×4000 1/1448 sec f6.3 -0.3 EV 177.0 mm focal length ISO 100	Y-WB-R50-IMG_0209.JPG Y-WB-R50-IMG_0209.CR3 5,630,425 bytes 6000×4000 1/2435 sec f6.3 -0.3 EV 108.0 mm focal length ISO 100
Y-WB-R50-IMG_0211.JPG Y-WB-R50-IMG_0211.CR3 5,694,453 bytes 6000×4000 1/1625 sec f6.3 -0.3 EV 108.0 mm focal length ISO 100	Y-WB-R50-IMG_0212.JPG Y-WB-R50-IMG_0212.CR3 6,449,193 bytes 6000×4000 1/1117 sec f6.3 -0.3 EV 108.0 mm focal length ISO 100	Y-WB-R50-IMG_0234.JPG Y-WB-R50-IMG_0234.CR3 7,565,463 bytes 6000×4000 1/70 sec f6.3 -0.3 EV 28.0 mm focal length ISO 617
Y-WB-R50-IMG_0236.JPG Y-WB-R50-IMG_0236.CR3 12,216,941 bytes 6000×4000 1/235 sec f8.0 0.0 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0243.JPG Y-WB-R50-IMG_0243.CR3 11,814,347 bytes 6000×4000 1/470 sec f6.3 -0.3 EV 25.0 mm focal length ISO 100	Y-WB-R50-IMG_0247.JPG Y-WB-R50-IMG_0247.CR3 11,093,602 bytes 6000×4000 1/813 sec f6.3 -0.3 EV 24.0 mm focal length ISO 100
Y-WB-R50-IMG_0255.JPG Y-WB-R50-IMG_0255.CR3 17,276,317 bytes 6000×4000 1/117 sec f5.6 0.0 EV 23.0 mm focal length ISO 100	Y-WB-R50-IMG_0258-AdvancedAuto.JPG 18,749,457 bytes 6000×4000 1/161 sec f7.1 0.0 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0259-AdvancedAuto.JPG 11,436,735 bytes 6000×4000 1/323 sec f9.0 0.0 EV 33.0 mm focal length ISO 100
Y-WB-R50-IMG_0260-AdvancedAuto.JPG 11,122,030 bytes 6000×4000 1/323 sec f5.6 0.0 EV 21.0 mm focal length ISO 100	Y-WB-R50-IMG_0261-AdvancedAuto.JPG 10,383,519 bytes 6000×4000 1/323 sec f9.0 0.0 EV 42.0 mm focal length ISO 100	Y-WB-R50-IMG_0263-AdvancedAuto.JPG 10,430,079 bytes 4000×6000 1/362 sec f10.0 0.0 EV 18.0 mm focal length ISO 100
Y-WB-R50-IMG_0265.JPG Y-WB-R50-IMG_0265.CR3 17,170,036 bytes 4000×6000 1/102 sec f6.3 -0.3 EV 38.0 mm focal length ISO 100	Y-WB-R50-IMG_0267.JPG Y-WB-R50-IMG_0267.CR3 18,743,203 bytes 6000×4000 1/215 sec f6.3 -0.3 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0269.JPG Y-WB-R50-IMG_0269.CR3 9,951,923 bytes 4000×6000 1/1448 sec f6.3 -0.3 EV 30.0 mm focal length ISO 100
Y-WB-R50-IMG_0273.JPG Y-WB-R50-IMG_0273.CR3 12,665,804 bytes 6000×4000 1/181 sec f6.3 -0.3 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0276.JPG Y-WB-R50-IMG_0276.CR3 9,612,882 bytes 4000×6000 1/235 sec f6.3 -0.3 EV 35.0 mm focal length ISO 100	Y-WB-R50-IMG_0278.JPG Y-WB-R50-IMG_0278.CR3 11,333,150 bytes 6000×4000 1/256 sec f6.3 -0.3 EV 18.0 mm focal length ISO 100
Y-WB-R50-IMG_0285-AdvancedAuto.JPG 9,611,107 bytes 6000×4000 1/362 sec f5.0 0.0 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0288.JPG Y-WB-R50-IMG_0288.CR3 10,251,170 bytes 4000×6000 1/128 sec f6.3 -0.3 EV 18.0 mm focal length ISO 100	Y-WB-R50-IMG_0294.JPG Y-WB-R50-IMG_0294.CR3 15,417,188 bytes 6000×4000 1/215 sec f6.3 -0.3 EV 18.0 mm focal length ISO 100
Y-WB-R50-IMG_0300.JPG Y-WB-R50-IMG_0300.CR3 9,922,935 bytes 4000×6000 1/512 sec f6.3 -0.3 EV 45.0 mm focal length ISO 100	Y-WB-R50-IMG_0302.JPG Y-WB-R50-IMG_0302.CR3 14,117,685 bytes 6000×4000 1/724 sec f6.3 -0.3 EV 45.0 mm focal length ISO 100	Y-WB-R50-IMG_0308.JPG Y-WB-R50-IMG_0308.CR3 7,846,342 bytes 6000×4000 1/128 sec f5.6 -0.3 EV 27.0 mm focal length ISO 1037
Y-WB-R50-IMG_0311.JPG Y-WB-R50-IMG_0311.CR3 8,552,405 bytes 4000×6000 1/128 sec f6.3 -0.3 EV 37.0 mm focal length ISO 2075	Y-WB-R50-IMG_0315.JPG Y-WB-R50-IMG_0315.CR3 7,648,992 bytes 4000×6000 1/128 sec f6.3 -0.3 EV 34.0 mm focal length ISO 1234	Y-WB-R50-IMG_0322.JPG Y-WB-R50-IMG_0322.CR3 7,252,496 bytes 6000×4000 1/128 sec f5.6 -0.3 EV 28.0 mm focal length ISO 800
Y-WB-R50-IMG_0334.JPG Y-WB-R50-IMG_0334.CR3 9,886,018 bytes 6000×4000 1/70 sec f4.5 0.0 EV 18.0 mm focal length ISO 1037	Y-WB-R50-IMG_0354.JPG Y-WB-R50-IMG_0354.CR3 7,189,886 bytes 4000×6000 1/76 sec f6.3 0.0 EV 33.0 mm focal length ISO 308

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Canon EOS R8 Gallery

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Y-JG-CANON-R8-0003.JPG Y-JG-CANON-R8-0003.CR3 12,387,182 bytes 4000×6000 1/161 sec f6.3 +0.3 EV 149.0 mm focal length ISO 4935	Y-JG-CANON-R8-0005.JPG Y-JG-CANON-R8-0005.CR3 13,355,729 bytes 6000×4000 1/431 sec f8.0 +0.3 EV 400.0 mm focal length ISO 25600	Y-JG-CANON-R8-0008.JPG Y-JG-CANON-R8-0008.CR3 12,456,380 bytes 6000×4000 1/108 sec f5.6 +0.7 EV 100.0 mm focal length ISO 1037
Y-JG-CANON-R8-0010.JPG Y-JG-CANON-R8-0010.CR3 14,397,367 bytes 6000×4000 1/215 sec f7.1 +0.7 EV 165.0 mm focal length ISO 9870	Y-JG-CANON-R8-0015.JPG Y-JG-CANON-R8-0015.CR3 17,953,645 bytes 6000×4000 1/117 sec f9.0 0.0 EV 100.0 mm focal length ISO 6400	Y-JG-CANON-R8-0017.JPG Y-JG-CANON-R8-0017.CR3 9,508,582 bytes 6000×4000 1/431 sec f8.0 +0.3 EV 400.0 mm focal length ISO 19740
Y-JG-CANON-R8-0021.JPG Y-JG-CANON-R8-0021.CR3 14,117,388 bytes 4000×6000 1/470 sec f8.0 0.0 EV 325.0 mm focal length ISO 9870	Y-JG-CANON-R8-0025.JPG Y-JG-CANON-R8-0025.CR3 13,841,612 bytes 6000×4000 1/304 sec f8.0 0.0 EV 248.0 mm focal length ISO 19740	Y-JG-CANON-R8-0028.JPG Y-JG-CANON-R8-0028.CR3 9,251,936 bytes 6000×4000 1/102 sec f9.0 -0.3 EV 400.0 mm focal length ISO 6400
Y-JG-CANON-R8-0063.JPG Y-JG-CANON-R8-0063.CR3 14,842,544 bytes 6000×4000 1/64 sec f7.1 +0.3 EV 62.0 mm focal length ISO 6400	Y-JG-CANON-R8-0073.JPG Y-JG-CANON-R8-0073.CR3 8,953,335 bytes 6000×4000 1/81 sec f6.3 +0.3 EV 240.0 mm focal length ISO 25600	Y-JG-CANON-R8-0079.JPG Y-JG-CANON-R8-0079.CR3 12,453,058 bytes 6000×4000 1/128 sec f6.3 +0.3 EV 105.0 mm focal length ISO 16600
Y-JG-CANON-R8-0110.JPG Y-JG-CANON-R8-0110.CR3 7,204,838 bytes 6000×4000 1/304 sec f6.3 +0.3 EV 240.0 mm focal length ISO 8300	Y-JG-CANON-R8-0121.JPG Y-JG-CANON-R8-0121.CR3 10,936,474 bytes 4000×6000 1/304 sec f6.3 +0.3 EV 240.0 mm focal length ISO 8300	Y-JG-CANON-R8-0140.JPG Y-JG-CANON-R8-0140.CR3 8,085,905 bytes 6000×4000 1/279 sec f8.0 +0.3 EV 240.0 mm focal length ISO 16600
Y-JG-CANON-R8-0149.JPG Y-JG-CANON-R8-0149.CR3 9,154,440 bytes 6000×4000 1/431 sec f8.0 +0.3 EV 400.0 mm focal length ISO 617	Y-JG-CANON-R8-0156.JPG Y-JG-CANON-R8-0156.CR3 7,768,889 bytes 4000×6000 1/256 sec f6.3 0.0 EV 222.0 mm focal length ISO 130	Y-JG-CANON-R8-0164.JPG Y-JG-CANON-R8-0164.CR3 11,250,304 bytes 6000×4000 1/215 sec f6.3 0.0 EV 168.0 mm focal length ISO 519
Y-JG-CANON-R8-0166.JPG Y-JG-CANON-R8-0166.CR3 15,399,076 bytes 6000×4000 1/140 sec f6.3 0.0 EV 118.0 mm focal length ISO 519	Y-JG-CANON-R8-0181.JPG Y-JG-CANON-R8-0181.CR3 11,347,522 bytes 4000×6000 1/279 sec f6.3 0.0 EV 240.0 mm focal length ISO 4935	Y-JG-CANON-R8-0191.JPG Y-JG-CANON-R8-0191.CR3 12,405,585 bytes 6000×4000 1/279 sec f6.3 0.0 EV 240.0 mm focal length ISO 2468
Y-JG-CANON-R8-0197.JPG Y-JG-CANON-R8-0197.CR3 9,786,904 bytes 6000×4000 1/279 sec f9.0 0.0 EV 240.0 mm focal length ISO 12800	Y-JG-CANON-R8-0243.JPG Y-JG-CANON-R8-0243.CR3 12,060,840 bytes 6000×4000 1/152 sec f6.3 +0.7 EV 40.0 mm focal length ISO 100	Y-JG-CANON-R8-0245.JPG Y-JG-CANON-R8-0245.CR3 13,865,141 bytes 6000×4000 1/81 sec f6.3 +0.7 EV 79.0 mm focal length ISO 800
Y-JG-CANON-R8-0247.JPG Y-JG-CANON-R8-0247.CR3 8,511,661 bytes 4000×6000 1/152 sec f6.3 +0.7 EV 50.0 mm focal length ISO 100	Y-JG-CANON-R8-0253.JPG Y-JG-CANON-R8-0253.CR3 9,277,975 bytes 6000×4000 1/140 sec f6.3 0.0 EV 123.0 mm focal length ISO 400	Y-JG-CANON-R8-0254.JPG Y-JG-CANON-R8-0254.CR3 11,061,222 bytes 4000×6000 1/304 sec f6.3 0.0 EV 240.0 mm focal length ISO 2075
Y-JG-CANON-R8-0256.JPG Y-JG-CANON-R8-0256.CR3 10,334,199 bytes 6000×4000 1/558 sec f5.6 0.0 EV 100.0 mm focal length ISO 100	Y-JG-CANON-R8-0268.JPG Y-JG-CANON-R8-0268.CR3 5,568,800 bytes 4000×6000 1/558 sec f5.6 0.0 EV 87.0 mm focal length ISO 100	Y-JG-CANON-R8-0272.JPG Y-JG-CANON-R8-0272.CR3 6,638,873 bytes 4000×6000 1/235 sec f6.3 +0.7 EV 168.0 mm focal length ISO 2075
Y-JG-CANON-R8-0278.JPG Y-JG-CANON-R8-0278.CR3 13,721,496 bytes 6000×4000 1/117 sec f6.3 +0.7 EV 55.0 mm focal length ISO 100	Y-JG-CANON-R8-0291.JPG Y-JG-CANON-R8-0291.CR3 8,059,197 bytes 6000×4000 1/102 sec f6.3 +0.3 EV 70.0 mm focal length ISO 1600	Y-JG-CANON-R8-0294.JPG Y-JG-CANON-R8-0294.CR3 11,409,113 bytes 6000×4000 1/91 sec f6.3 -0.7 EV 65.0 mm focal length ISO 259
Y-JG-CANON-R8-0304.JPG Y-JG-CANON-R8-0304.CR3 15,676,037 bytes 6000×4000 1/128 sec f8.0 +0.3 EV 87.0 mm focal length ISO 154	Y-JG-CANON-R8-0306.JPG Y-JG-CANON-R8-0306.CR3 10,142,951 bytes 6000×4000 1/161 sec f8.0 +0.3 EV 129.0 mm focal length ISO 259	Y-JG-CANON-R8-0308.JPG Y-JG-CANON-R8-0308.CR3 8,205,647 bytes 6000×4000 1/203 sec f8.0 +0.3 EV 162.0 mm focal length ISO 400
Y-JG-CANON-R8-0309.JPG Y-JG-CANON-R8-0309.CR3 7,570,771 bytes 6000×4000 1/152 sec f8.0 +0.3 EV 118.0 mm focal length ISO 259	Y-JG-CANON-R8-0317.JPG Y-JG-CANON-R8-0317.CR3 17,726,670 bytes 4000×6000 1/76 sec f8.0 +0.3 EV 55.0 mm focal length ISO 400	Y-JG-CANON-R8-0322.JPG Y-JG-CANON-R8-0322.CR3 10,976,272 bytes 6000×4000 1/128 sec f6.3 +0.3 EV 113.0 mm focal length ISO 3200
Y-JG-CANON-R8-0325.JPG Y-JG-CANON-R8-0325.CR3 11,230,177 bytes 4000×6000 1/102 sec f5.6 +0.3 EV 37.0 mm focal length ISO 100	Y-JG-CANON-R8-0329.JPG Y-JG-CANON-R8-0329.CR3 9,728,301 bytes 4000×6000 1/76 sec f5.6 0.0 EV 58.0 mm focal length ISO 154	Y-JG-CANON-R8-0331.JPG Y-JG-CANON-R8-0331.CR3 15,528,131 bytes 6000×4000 1/76 sec f5.6 0.0 EV 34.0 mm focal length ISO 400
Y-JG-CANON-R8-0335.JPG Y-JG-CANON-R8-0335.CR3 11,284,187 bytes 6000×4000 1/70 sec f7.1 0.0 EV 58.0 mm focal length ISO 259	Y-JG-CANON-R8-0338.JPG Y-JG-CANON-R8-0338.CR3 15,107,001 bytes 6000×4000 1/256 sec f7.1 0.0 EV 240.0 mm focal length ISO 519	Y-JG-CANON-R8-0344.JPG Y-JG-CANON-R8-0344.CR3 7,077,467 bytes 6000×4000 1/181 sec f7.1 0.0 EV 157.0 mm focal length ISO 308
Y-JG-CANON-R8-0348.JPG Y-JG-CANON-R8-0348.CR3 11,413,519 bytes 6000×4000 1/70 sec f10.0 0.0 EV 28.0 mm focal length ISO 2075	Y-JG-CANON-R8-0350.JPG Y-JG-CANON-R8-0350.CR3 13,921,636 bytes 6000×4000 1/91 sec f10.0 0.0 EV 76.0 mm focal length ISO 308	Y-JG-CANON-R8-0354.JPG Y-JG-CANON-R8-0354.CR3 8,097,766 bytes 6000×4000 1/64 sec f10.0 0.0 EV 24.0 mm focal length ISO 130
Y-JG-CANON-R8-0367.JPG Y-JG-CANON-R8-0367.CR3 12,848,346 bytes 6000×4000 1/81 sec f10.0 0.0 EV 50.0 mm focal length ISO 100	Y-JG-CANON-R8-0373.JPG Y-JG-CANON-R8-0373.CR3 6,817,661 bytes 4000×6000 1/304 sec f6.3 0.0 EV 240.0 mm focal length ISO 1600	Y-JG-CANON-R8-0375.JPG Y-JG-CANON-R8-0375.CR3 7,888,339 bytes 6000×4000 1/117 sec f5.6 0.0 EV 100.0 mm focal length ISO 9870
Y-JG-CANON-R8-0385.JPG Y-JG-CANON-R8-0385.CR3 13,279,264 bytes 4000×6000 1/76 sec f5.0 0.0 EV 44.0 mm focal length ISO 2075	Y-WB-R8-IMG_0013.JPG Y-WB-R8-IMG_0013.CR3 14,956,305 bytes 6000×4000 1/70 sec f6.3 -0.7 EV 50.0 mm focal length ISO 519	Y-WB-R8-IMG_0030.JPG Y-WB-R8-IMG_0030.CR3 16,143,018 bytes 4000×6000 1/70 sec f6.3 -0.3 EV 24.0 mm focal length ISO 400
Y-WB-R8-IMG_0034.JPG Y-WB-R8-IMG_0034.CR3 5,532,464 bytes 4000×6000 1/76 sec f6.3 -0.3 EV 38.0 mm focal length ISO 519	Y-WB-R8-IMG_0038.JPG Y-WB-R8-IMG_0038.CR3 7,494,112 bytes 6000×4000 1/70 sec f6.3 0.0 EV 24.0 mm focal length ISO 617	Y-WB-R8-IMG_0041.JPG Y-WB-R8-IMG_0041.CR3 7,861,665 bytes 4000×6000 1/70 sec f6.3 0.0 EV 24.0 mm focal length ISO 519
Y-WB-R8-IMG_0050.JPG Y-WB-R8-IMG_0050.CR3 14,547,062 bytes 4000×6000 1/64 sec f6.3 -0.7 EV 30.0 mm focal length ISO 200	Y-WB-R8-IMG_0059.JPG Y-WB-R8-IMG_0059.CR3 16,960,576 bytes 6000×4000 1/76 sec f6.3 -0.3 EV 38.0 mm focal length ISO 800	Y-WB-R8-IMG_0061.JPG Y-WB-R8-IMG_0061.CR3 8,752,373 bytes 6000×4000 1/70 sec f6.3 -0.3 EV 38.0 mm focal length ISO 2468
Y-WB-R8-IMG_0079.JPG Y-WB-R8-IMG_0079.CR3 8,012,972 bytes 4000×6000 1/70 sec f6.3 -0.3 EV 50.0 mm focal length ISO 800	Y-WB-R8-IMG_0087.JPG Y-WB-R8-IMG_0087.CR3 15,120,132 bytes 6000×4000 1/64 sec f6.3 -0.3 EV 24.0 mm focal length ISO 1037	Y-WB-R8-IMG_0093.JPG Y-WB-R8-IMG_0093.CR3 9,892,743 bytes 6000×4000 1/70 sec f6.3 -0.3 EV 41.0 mm focal length ISO 1600
Y-WB-R8-IMG_0115.JPG Y-WB-R8-IMG_0115.CR3 8,318,144 bytes 6000×4000 1/470 sec f8.0 -0.3 EV 400.0 mm focal length ISO 9870	Y-WB-R8-IMG_0120.JPG Y-WB-R8-IMG_0120.CR3 14,756,208 bytes 4000×6000 1/128 sec f7.1 -0.3 EV 141.0 mm focal length ISO 1037	Y-WB-R8-IMG_0121.JPG Y-WB-R8-IMG_0121.CR3 8,435,105 bytes 6000×4000 1/128 sec f6.3 -0.3 EV 135.0 mm focal length ISO 1234
Y-WB-R8-IMG_0126.JPG Y-WB-R8-IMG_0126.CR3 9,694,322 bytes 6000×4000 1/128 sec f8.0 -0.3 EV 400.0 mm focal length ISO 617	Y-WB-R8-IMG_0138.JPG Y-WB-R8-IMG_0138.CR3 6,277,445 bytes 6000×4000 1/431 sec f8.0 -0.3 EV 400.0 mm focal length ISO 154	Y-WB-R8-IMG_0152.JPG Y-WB-R8-IMG_0152.CR3 8,371,559 bytes 4000×6000 1/406 sec f8.0 -0.3 EV 400.0 mm focal length ISO 617
Y-WB-R8-IMG_0169.JPG Y-WB-R8-IMG_0169.CR3 9,550,455 bytes 4000×6000 1/512 sec f8.0 -0.3 EV 400.0 mm focal length ISO 800	Y-WB-R8-IMG_0213.JPG Y-WB-R8-IMG_0213.CR3 10,285,043 bytes 6000×4000 1/431 sec f8.0 -0.3 EV 400.0 mm focal length ISO 617	Y-WB-R8-IMG_0220.JPG Y-WB-R8-IMG_0220.CR3 13,522,306 bytes 6000×4000 1/431 sec f8.0 -0.3 EV 400.0 mm focal length ISO 617
Y-WB-R8-IMG_0277.JPG Y-WB-R8-IMG_0277.CR3 6,919,948 bytes 6000×4000 1/470 sec f8.0 -0.3 EV 325.0 mm focal length ISO 154	Y-WB-R8-IMG_0294.JPG Y-WB-R8-IMG_0294.CR3 5,476,589 bytes 4000×6000 1/431 sec f8.0 -0.3 EV 400.0 mm focal length ISO 200	Y-WB-R8-IMG_0310.JPG Y-WB-R8-IMG_0310.CR3 6,376,870 bytes 6000×4000 1/431 sec f8.0 -0.3 EV 400.0 mm focal length ISO 100
Y-WB-R8-IMG_0345.JPG Y-WB-R8-IMG_0345.CR3 8,848,565 bytes 6000×4000 1/128 sec f6.3 -0.3 EV 50.0 mm focal length ISO 100	Y-WB-R8-IMG_0369.JPG Y-WB-R8-IMG_0369.CR3 17,161,825 bytes 4000×6000 1/304 sec f4.5 -0.3 EV 24.0 mm focal length ISO 100	Y-WB-R8-IMG_0372.JPG Y-WB-R8-IMG_0372.CR3 12,686,618 bytes 6000×4000 1/181 sec f4.5 -0.3 EV 24.0 mm focal length ISO 100
Y-WB-R8-IMG_0375.JPG Y-WB-R8-IMG_0375.CR3 12,160,957 bytes 6000×4000 1/140 sec f4.5 -0.3 EV 24.0 mm focal length ISO 100	Y-WB-R8-IMG_0384.JPG Y-WB-R8-IMG_0384.CR3 7,721,868 bytes 6000×4000 1/470 sec f8.0 -0.3 EV 400.0 mm focal length ISO 519	Y-WB-R8-IMG_0392.JPG Y-WB-R8-IMG_0392.CR3 6,237,572 bytes 4000×6000 1/431 sec f8.0 -0.3 EV 400.0 mm focal length ISO 259
Y-WB-R8-IMG_0397.JPG Y-WB-R8-IMG_0397.CR3 10,823,658 bytes 6000×4000 1/431 sec f8.0 -0.3 EV 400.0 mm focal length ISO 400	Y-WB-R8-IMG_0406.JPG Y-WB-R8-IMG_0406.CR3 9,233,571 bytes 4000×6000 1/512 sec f8.0 -0.3 EV 400.0 mm focal length ISO 259	Y-WB-R8-IMG_0410.JPG Y-WB-R8-IMG_0410.CR3 7,877,138 bytes 6000×4000 1/406 sec f8.0 -0.3 EV 400.0 mm focal length ISO 2468
Y-WB-R8-IMG_0426.JPG Y-WB-R8-IMG_0426.CR3 9,996,553 bytes 6000×4000 1/406 sec f8.0 -0.3 EV 300.0 mm focal length ISO 2468	Y-WB-R8-IMG_0436.JPG Y-WB-R8-IMG_0436.CR3 7,270,630 bytes 6000×4000 1/470 sec f8.0 -0.3 EV 400.0 mm focal length ISO 1600	Y-WB-R8-IMG_0464.JPG Y-WB-R8-IMG_0464.CR3 12,834,163 bytes 6000×4000 1/470 sec f8.0 -0.3 EV 335.0 mm focal length ISO 2468
Y-WB-R8-IMG_0466.JPG Y-WB-R8-IMG_0466.CR3 11,534,978 bytes 6000×4000 1/181 sec f6.3 -0.3 EV 141.0 mm focal length ISO 617	Y-WB-R8-IMG_0524.JPG Y-WB-R8-IMG_0524.CR3 6,799,158 bytes 6000×4000 1/76 sec f6.3 0.0 EV 50.0 mm focal length ISO 2468	Y-WB-R8-IMG_0534.JPG Y-WB-R8-IMG_0534.CR3 8,882,625 bytes 4000×6000 1/64 sec f6.3 0.0 EV 41.0 mm focal length ISO 4150

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