This has led Panasonic to a more video-focused approach than the other companies, even lacking some of the still photo features that were taken for granted in other brands. But that has changed, and Panasonic now makes camears that are as good for photographers as videographer, but still they’re mostly designed for video.

The original Panasonic mirrorless cameras were in the Micro Four Thirds format, and many of them still use this smaller sensor. With the launch of the L-Mount Alliance, a lens standard adopted by several companies and which Panasonic helped create, Panasonic is going all-in on full-frame cameras.

Panasonic’s cameras feature unlimited recording, advanced video codecs, and professional video features that make their cameras perfect for video-first creators. I’ve been using a Panasonic S1 II as my YouTube studio camera, so if you’ve ever watched one of our videos, it was probably shot on Panasonic.

Our Picks at a Glance

Key Takeaways

Panasonic’s mirrorless cameras are built around strong video capabilities and reliable handling. The Lumix G100 II is aimed at vloggers who want Micro Four Thirds portability with good audio and stabilization. The Lumix S5 II strikes a balance between professional video and full-frame still performance, adding phase-detect autofocus to the series for the first time. The Lumix S5 IIx expands those capabilities with more advanced codecs and streaming options for creators who need a compact production camera. The Lumix GH6 remains a favorite among video shooters for its internal ProRes recording and flexible Micro Four Thirds lens options, while the Lumix S1H continues to serve as the most robust hybrid video camera in Panasonic’s lineup. Together, they form a system that covers everything from travel vlogging to commercial film production.

Panasonic Lumix S1 II

What We Think

The Panasonic Lumix S1 II is a full-frame mirrorless camera built around a 24.2-megapixel CMOS sensor and the latest Phase Hybrid autofocus system. It records 6K video up to 30 fps and 4K up to 120 fps, supports 5-axis in-body image stabilization rated up to 8 stops, and features a new Real Time LUT function for applying looks directly in-camera. The magnesium alloy body includes dual SD card slots, a 5.76-million-dot EVF, and an articulating 3.2-inch touchscreen.

Reasons to Buy

Dual card slots allow flexible workflows

5-axis IBIS makes handheld shooting practical

Phase-detect AF finally resolves past focus issues

Full-size HDMI and USB-C with power delivery

6K and high-frame-rate 4K options for hybrid use

Reasons to Avoid

Larger and heavier than the S5 series

No CFexpress option for faster data rates

Battery life shorter than DSLR standards

Menus and customization can overwhelm new users

Specifications

• Sensor: 24.1 MP partially‑stacked full‑frame CMOS
• Processor: Latest Panasonic S‑series engine
• Autofocus: Phase Hybrid Autofocus with 779 focus points
• Video: Open Gate 5.1K/60p, 4K up to 120p in some modes; internal ProRes RAW in supported modes
• Stabilization: 5-Axis IBIS up to 8 stops
• Storage: Dual SD UHS-II slots
• Screen: 3.2-inch articulating touchscreen
• Viewfinder: 5.76 M-dot OLED
• Weight: Approximately 740 grams (1.63 pounds

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This is currently my A-camera in the studio because it offers incredible image quality and best-in-class color rendition. It takes some time to dial in for studio setups, but once you have it set up, it produces amazing videos. The Dynamic Range Boost feature is extremely helpful for challenging lighting situations.

Panasonic’s flagship full-frame camera represents the pinnacle of its video-focused technology. It has excellent build quality and extensive video support, making it perfect for studio and location video work alike.

Panasonic S9

What We Think

The Lumix S9 is a compact full-frame mirrorless camera using the same 24.2-megapixel sensor as the S5 II but in a smaller, lighter body. It records 6K 30p and 4K 60p 10-bit video and includes Panasonic’s Real Time LUT feature for quick color grading in-camera. The S9 omits a viewfinder to keep the body slim and relies on a tilting rear touchscreen for composition. It shares the L-Mount system, making it compatible with Panasonic, Leica, and Sigma lenses.

Reasons to Buy

• Ultra-compact design makes it the most portable full-frame camera available while maintaining professional video recording capabilities.
• Professional video features, including advanced codecs and color profiles, provide serious production capability in a remarkably small package.
• Phase-detection autofocus is much better than Panasonic’s previous contrast-detect models and provides reliable tracking performance.

Reasons to Avoid

• No electronic viewfinder limits usability in bright outdoor conditions and traditional photography applications.
• Single SD card slot provides no backup option, which may concern content creators shooting important sessions or commercial work.
• Limited physical controls due to compact design may frustrate users who prefer buttons over touchscreen interfaces.

Specifications

• Sensor: 24.2MP Full-Frame CMOS
• Processor: Venus Engine
• Video Resolution: 6K 30p, 4K 60p
• Continuous Shooting: 30 fps (electronic)

• Stabilization: 5-axis IBIS
• LCD: 3″ 1.84m-Dot vari-angle touchscreen
• Connectivity: Wi-Fi 6E, Bluetooth 5.0
• Battery Life: Approx. 470 shots (CIPA)

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This camera is the best choice in Panasonic’s lineup for users who want full-frame image quality in the most compact package possible. The lack of an electronic viewfinder is a significant trade-off. Still, for content creators who primarily use the rear LCD, it offers professional video features in a portable design that’s perfect for travel and mobile production.

Panasonic’s ultra-compact full-frame camera prioritizes portability but still has all the video resolutions and formats you could need, despite the small size.

Panasonic GH7

What We Think

The Lumix GH7 is a Micro Four Thirds camera designed for professional video production. It uses a 25.2-megapixel BSI CMOS sensor with Phase Hybrid AF, internal ProRes recording, and support for Apple ProRes RAW. The GH7 also introduces 32-bit float audio recording with the XLR adapter, 5-axis stabilization, and unlimited recording in 4K or 5.7K. It continues the GH series’ reputation for video-first functionality while improving autofocus and workflow speed.

Reasons to Buy

• Internal ProRes and ProRes RAW simplify post-production
• Phase-detect AF eliminates focus hunting from older GH bodies
• 32-bit float audio integration expands professional use
• Excellent thermal management for unlimited recording

Reasons to Avoid

• Smaller MFT sensor limits low-light performance
• Larger body than most MFT cameras
• High bitrate formats require expensive storage cards

Specifications

• Sensor: 25.2MP Micro Four Thirds Live MOS
• Processor: Venus‑variant engine
• Autofocus: 79 Points, Phase Hybrid Autofocus
• Video: 5.7K up to 60p; 4K 60p 4:2:2 10‑bit unlimited, ProRes RAW options

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This camera finally brought phase-detection autofocus to Panasonic’s popular GH series, and it’s a game-changer for video creators who previously had to rely on manual focus. In my studio tests, the ProRes recording capability gives the footage post-processing adjustment capabilities, so it’s great for studio work but also for weddings and other shoots with quickly changing lighting.

Panasonic’s flagship Micro Four Thirds camera delivers professional video features in the most compact form factor available, but with the tradeoff that the smaller sensor has worse low-light performance than APS-C or full-frame cameras.

Panasonic Lumix S5 II

What We Think

The Lumix S5 II is a full-frame hybrid camera combining 24.2-megapixel resolution with advanced Phase Hybrid autofocus and 6.5-stop image stabilization. It supports 6K 30p and 4K 60p 10-bit recording, with unlimited record times in most modes. The camera includes a built-in fan for thermal control, dual SD card slots, and an articulating touchscreen. It’s part of the L-Mount system and offers a strong balance of features for both stills and video work.

Reasons to Buy

• Fast and reliable phase-detect autofocus
• Excellent 6K 30p and 10-bit video options
•  IBIS for handheld shooting better than many compeitor cameras

Reasons to Avoid

• Shorter battery life for long video sessions
• Menus can be complex for beginners
• Lacks built-in cooling for extended 6K recording

Specifications

• Sensor: 24.2 MP full‑frame CMOS
• Processor: Panasonic video engine variant
• Autofocus : 779-Point Phase-Detection AF System
• Video: 6K up to 30p, 4K up to 120p depending on mode; 10‑bit recording internal

• Stabilization: 5-axis in-body image stabilization (up to 6.5 stops)
• Lens Mount: L-Mount

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This is my top recommendation for content creators who need unlimited recording and professional video features without breaking the bank. This was my studio camera before the S1 II was released. Having used it extensively for video production, I’ve never had it overheat. The new phase-detection autofocus finally brings Panasonic up to competitive levels for shooting.

Recording up to 6K/30 is on par with cinema cameras that cost much more than this camera. With a viewfinder and a hybrid-style body, it’s a great choice for both photo and video work.

The menu system can be confusing because there are so many features and options. I’ve had to Google how to set up the features several times.

Panasonic S5 IIX

Bottom Line

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The S5 IIX takes everything I liked about the S5 II and squeezes in even more video technology, if that’s possible. It’s essentially the same camera at its core—the same sensor, autofocus system, and stabilization—but it unlocks more advanced recording formats, like All-Intra and ProRes, and adds direct-to-SSD recording over USB-C. It also supports wired and wireless IP streaming, which makes it easier to use in YouTube and other social media studios. There’s no photography advantage over the S5 II, and if you don’t need the expanded codecs or connectivity, the standard model makes more sense. But if your workflow leans heavily toward video and you want fewer external recorders and adapters, the S5 IIX is the smarter long-term choice.

Panasonic G97

What We Think

The Lumix G97 is a Micro Four Thirds camera using a 25.2-megapixel sensor with Phase Hybrid autofocus and strong video capabilities. It records up to 5.8K 60p and 4K 120p, supports 10-bit recording, and includes 5-axis Dual I.S. 2 stabilization for up to 8 stops of correction. It features an articulating screen, dual card slots, and weather-sealed construction. This model continues Panasonic’s push for hybrid performance within the MFT format.

Reasons to Buy

• Excellent value that provides access to Panasonic’s video-focused features and extensive Micro Four Thirds lens ecosystem at budget-friendly pricing.
• Free-angle LCD screen allows for feedback during selfie-style shooting and content creation applications.
• Compact Micro Four Thirds design makes it highly portable for travel and documentary work where size constraints matter.

Reasons to Avoid

• Contrast-based autofocus system is slower than phase-detection alternatives and may struggle with fast-moving subjects and low-light conditions.
• Single SD card slot offers no backup option, which may concern photographers shooting important events or extended sessions.
• Limited weather sealing compared to higher-end models makes it more vulnerable to environmental challenges.

Specifications

• Sensor: 20.3MP Micro Four Thirds Live MOS
• Processor: Venus Engine
• Video Resolution: 4K 30p unlimited
• Continuous Shooting: 9 fps

• Stabilization: 5-stop 5-axis Dual IS 2
• Viewfinder: 2.36m-Dot OLED EVF
• LCD: 3″ 1.84m-Dot free-angle touchscreen
• Connectivity: Wi-Fi, Bluetooth

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This is a great entry-level point to Panasonic’s video-first camera systems. It’s based on the Micro Four Thirds sensor, which allows it to be compact without losing much performance. In our testing, it delivers reliable performance for both stills and video, though it is mostly video-centric. The compact lens ecosystem makes it a perfect choice for travel and documentary work where portability matters most.

Built around a 20.3MP sensor with comprehensive automatic modes, the G97 delivers excellent image quality for a Micro Four Thirds camera. Low light performance isn’t an issue in studios, so it’s a perfect entry-level YouTube or Twitch camera.

Comparison Chart

Frequently Asked Questions (FAQs)

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If you’d like to read the full and specifications for the Nikon Z5 II, you can find that in our news coverage of the launch.

I had a chance to meet with Nikon and shoot the Z5 II at the WPPI tradeshow in Las Vegas, and I was impressed with both the powerhouse camera and Nikon’s overall trajectory.

The Nikon Z5 II should prove to be a powerful hybrid camera, and I’m looking forward to spending a lot of time with it. We’ve been testing both the Z6 III and Z8, and in my time with the Z5 II it felt like a more compact version of both cameras.

Many of the internals of the Z5 II are borrowed from the Zf, a camera that has had a mixed reaction. The photo and video capabilities of the Zf have been lauded, but some of the design and operation feels out of place with the retro styling.

Like the Z5 before it, the Z5 II has a modern mirrorless design, with no anachronistic ties to the past. It is compact yet comfortable to hold. The controls are easily accessible, and operation is as smooth as the Z6 III and Z8/Z9.

Nikon’s first few mirrorless cameras were part of a transitional phase to transition photographers from its legendary SLRs to the new platform. The Nikon Z6 and Z7 were durable and capable but weren’t on par with what came before.

The company started hitting its stride with the flagship Z9 and the subsequent Z8, which put Nikon’s Z-system on par with its legacy cameras and competitors’ offerings.

Now, Nikon has entered an era of releasing updates to its key cameras that are so much improved over the previous model that it can seem like they share only the name and the body with their predecessors. The Z6 III performs so much better and has so many more features than the Z6 II that it might have been better to ditch the Z6 moniker.

First Impressions of the Nikon Z5 II

These are my initial impressions of the Z5 II. We will provide a full review once we have more time to work with the camera.

One note: During my brief time with the camera, I didn’t have the opportunity to test its video capture feature set. On paper, the Z5 II is a videographer’s dream. It can capture 4K 30 with no crop and 4K 60 with a 1.5x crop. Impressively, the Z5 II can capture N-Log and N-RAW and record both to the internal SD card slots.

Our Nikon First Look Hands-on Video

Low Light, No Problem for the Nikon Z5 II

The WWPI tradeshow primarily serves wedding and portrait photographers, and the bright, sunny skies are the backdrop to the workshops. Any cameras on display at WPPI can take an incredible portrait in bright light, but not all of them can produce stellar results when the lights go off.

With the new Backside Illuminated (BSI) sensor in the Z5 II and its claimed low-light capabilities, I decided to take the camera to a more secluded, darker location to test its capabilities. The Rio Hotel hosted the show, and it has a particularly odd, nearly empty shopping section near one of the towers.

In that section is a strange KISS museum and video game arcade. Or maybe it’s a video game arcade with a KISS museum? In any case, it’s a location free of the type of WPPI attendee that might be able to spot a not-yet-released camera.

I concentrated on the arcade’s low-light autofocus capabilities and the image quality the new BSI sensor yields. I also wanted to see how the color shifts caused by the combination of LED and neon lights would affect the arcade’s functionality.

Some frequencies of LEDs threw off early mirrorless cameras, resulting in improper metering, blown-out highlights, and problems with focus. The Z5 II excelled in the dark environment.

Since the camera was a prerelease model, I couldn’t open or share raw files but wouldn’t do much to these images. From a creative standpoint, I wanted the LED colors to be a component of the shots. I particularly liked the hues the pink and purple lights cast.

Autofocus was instantaneous, instantly locking onto subjects. With the statue of Gene Simmons, eye detection even picked the right spot despite being surrounded by the iconic black makeup. The AF locked on quickly despite a shallow aperture and low light for non-human” subjects, such as the edges of the motorcycle handlebars.

The only place I felt the color overwhelmed the sensor was in a portrait of me taken by my Nikon contact, with a heavy red cast on my face. This would be correctable in a raw file, but it is expected under these conditions.

Despite the color baked in by the JPEG output, I’m impressed with how well it locked onto my eyes. Being the only subject makes eye detection easier, but there’s a lot going on in that photo, and the lighting is awful.

Even though I only shot a hundred photos, I’m very happy with the outcome. When we get the camera for our extensive testing, more photos and thoughts will come.

I’ll also test the Z5 II’s video capabilities, including using it as a dedicated studio camera for budget-conscious creators.

Quick Overview of Nikon Z5 II Features

For complete specs for the Nikon Z5 II, check out our full news coverage.

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The Nikon Z5 II maintains the same compact size and weight as its predecessor but introduces a host of internal upgrades. It features a 24.5-megapixel full-frame BSI CMOS sensor and the powerful EXPEED 7 image processor, enabling continuous shooting speeds of up to 14 frames per second in RAW and 30 frames per second in JPEG.

Autofocus performance, inherited from the Z8 and Zf, shows significant improvement. It features advanced subject recognition, including bird detection, while pixel shift shooting enables ultra-high-resolution image capture-perfect for landscape and travel photography.

The Z5 II supports internal N-RAW video recording, offering uncropped 4K at 30p and 10-bit DX-cropped 4K at 60p. It can record up to 125 minutes in 10-bit H.265, with support for SDR, HLG, and N-Log tone modes. The camera comes with a fully articulating rear LCD screen that supports selfie mode, making it a great option for content creators. It also includes a dedicated Picture Control button on the top plate for quick access to image settings. Dual SD card slots offer accessible, consumer-friendly storage, prioritizing affordability over pro-tier formats like CFexpress.

Nikon Z5 II Purchase Thoughts

For newcomers to the Nikon mirrorless platform-whether from another camera brand or from Nikon’s DSLR lineup-the Z5 II is an excellent first camera. The $1700 price is only a tad above $1500, what I consider the sweet spot of enthusiast camera value.

Existing Nikon shooters could easily use the Z5 II as a high-performance backup for critical shoots like weddings and events. I would have no problem using a Z6 III or Z8 as my primary body, and a Z5 II as a secondary. Before the release of the Z5 II, I’d have gone for a Z8 as my primary body, and a Z6 III as the secondary shooter.

For video-centric creators, the Z5 II probably has everything you need whether for a YouTube studio or a gig. If it performs as well as I suspect for video, I could easily see using a Nikon Z5 II for A-roll and another for B-roll.

Where to Preorder the Nikon Z5 II

The Nikon Z5 II is available from major camera retailers like B&H and Adorama.

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Nikon has fully revealed a new ultra-wide angle zoom lens for APS-C (DX-format) Nikon Z mirrorless cameras. The Nikkor Z 12-28mm f/3.5-5.6 PZ VR lens is the widest DX-format lens in Nikon’s Z system, and the company’s first power-zoom (PZ) lens since the Nikon 1 Series PD lenses.

The Z 12-28mm f/3.5-5.6 lens was first revealed when Nikon added it to its lens roadmap last fall, although, at that time, only the focal length was known. Today, Nikon has unveiled all the details of its newest lens, including release and pricing information.

Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR lens on the Nikon Z30 camera

The 2.3x zoom lens is equivalent to an 18-42mm lens on a full-frame camera, making it well-suited to landscape photography, group selfies, vlogging, travel, and still life shots. A content creator could use the lens for selfie videos and product shots, for example.

The 12-28mm lens weighs just 205 grams (7.3 ounces), and is 63.5mm (2.5 inches) long. The compact, lightweight lens has a 67mm filter thread. The lens includes a power zoom ring and a customizable control ring. The power zoom function is delivered via a linear drive promising smooth optical zoom.

Users can also control the lens’s zoom using customized function buttons on their camera, a connected PC, or the Nikon SnapBridge mobile app. The zoom rate can be customized across 11 speed settings, ranging from 0.55 to 36 seconds.

The lens incorporates Nikon’s STM motor drive, promising quick and accurate autofocus performance. The lens can close-focus to 0.19 meters (0.62 feet), which results in a relatively good 0.21x magnification. The lens isn’t a macro lens, but it focuses closely enough for selfies.

Optically, the lens has a dozen elements in 11 groups, including an extra-low dispersion (ED) element and a single aspherical lens element.

“Nikon is committed to equipping content creators with the tools they need to make videos and photos that look great, and we are very excited about this latest addition to our growing system of creator-centric cameras and lenses. Whether you’re vlogging or just want a super-lightweight and affordable wide angle for landscapes or street photography, the Nikkor Z 12-28mm is the lens you have been waiting for,” says Jay Vannatter, Executive Vice President, Nikon Inc.

The Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR lens will be available next month for $359.99. For full details, visit Nikon USA.

Image credits: Nikon

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Samyang has announced the AF 35-150mm f/2-2.8 FE lens, a new fast, all-around zoom for full-frame Sony mirrorless cameras.

After viewing the lens’ features and specifications, it seems similar to the existing rebranded Tamron 35-150mm f/2-2.8 lens, Imaging Resource’s “Best Standard Lens, Runner-Up” in our 2022 Camera of the Year Awards.

The new Samyang lens includes 21 elements across 18 groups, including a hybrid aspherical lens, two aspherical optics, three high refractive, and six extra-low dispersion glass elements. The Tamron lens has 21 elements, too, although they’re arranged over 15 groups.

Samyang AF 35-150mm f/2-2.8 at its 150mm position

Unsurprisingly, the Samyang 35-150mm f/2-2.8 lens isn’t super lightweight. It features a fast aperture and a wide zoom range. The lens weighs 1,124 grams (43.2 ounces). For reference, the Tamron 35-150mm weighs 1,165g (41.1 oz.). Both lenses have an 82mm filter thread.

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The Samyang 35-150mm lens features weather sealing throughout its barrel and includes a few switches (AF/MF, “Custom,” and a zoom lock switch). As for autofocus, the lens uses a linear stepping motor autofocus system – like Tamron’s VXD linear autofocus system – and the Samyang can focus as close as 0.33m (1.08ft) at 35mm and 0.85m (2.8ft) at 150mm, resulting in a maximum magnification ratio of 1:5.5 at 150mm. Those are the same specs as the Tamron 35-150mm lens, by the way.

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“Samyang has moved a step forward with its second zoom lens to provide a more convenient user experience. The lens is remarkably versatile as an all-rounder with a fast maximum aperture and provides solutions for photographers seeking to avoid changing lenses,” explains Samyang. “Whilst primarily designed for portrait photographers, the wide zoom range is also useful for everyone shooting commercials, events, and travel imagery.”

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During our hands-on time with the Tamron 35-150mm, the focal length proved extremely useful for various photographic applications. While not as wide as some traditional “landscape” lenses, 35mm is plenty wide for many landscape and travel photography scenes. The wide zoom range and fast aperture combine a bunch of portrait prime lenses into a single zoom lens, which is incredibly useful.

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The Samyang lens is very similar to Tamron’s 35-150mm zoom, but a major difference is its price. The Tamron lens is $1,899, a fair price for its versatility and performance. However, the Samyang lens is even more affordable, listed at $1,399.

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The Samyang AF 35-150mm f/2-2.8 lens is available for preorder now, with shipping expected to begin soon. To view full specifications, visit Samyang.

Image credits: Samyang

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Sigma has announced three new lenses for mirrorless cameras, including a pair of full-frame “I series” primes and an APS-C prime lens. All three lenses promise high performance in a compact form factor.

Starting with the full-frame lenses, the Sigma 17mm f/4 DG DN Contemporary and the Sigma 50mm f/2 DG DN Contemporary. These “I series” lenses feature all-metal barrels and will be available in E-mount and L-mount versions.

The 17mm f/4 DG DN C is the widest “I series” lens and should be well-suited to landscape, interior, and architectural photography. The super-compact ultra-wide prime weighs just 225 grams and is only 48.8 millimeters long.

Sigma 17mm f/4 DG DN Contemporary

The metal lens includes a knurled focus ring, aperture ring, and lens hood, promising superior usability and “feel.” The lens ships with a metal magnetic lens cap alongside a traditional snap-on plastic cap.

With a minimum focus distance of 12cm, the 17mm f/4 can deliver good close-up images with a max magnification ratio of 1:3.6. The close focusing ability will also make the lens useful for vlogging, allowing photographers to capture wide-angle selfie video at arm’s length with ease.

The Sigma 17mm f/4 DG DN C will be available later this month for $599 through Sigma and its authorized retailers.

Joining four existing f/2 I series primes, the 50mm f/2 adds the “classic” standard focal length to the series. It joins 20mm, 24mm, 35mm, and 65mm f/2 lenses. All f/2 I series lenses include an arc-type AF/MF switch and a stylized ring on the barrel.

Sigma 50mm f/2 DG DN Contemporary

Like the 17mm lens, the new 50mm f/2 DG DN C lens includes knurled aperture and focus rings, plus a knurled metal lens hood.

Compared to Sigma’s 50mm f/1.4 DG DN Art lens, the 50mm f/2 DG DN C lens is 37 percent shorter and 48 percent lighter.

The lens promises swift, accurate, and quiet autofocus performance for photo and video applications.

The Sigma 50mm f/2 DG DN C lens will be available later this month for $639 in E-mount and L-mount. The f/2 I series lens is about $200 cheaper than Sigma’s 50mm f/1.4 DG DN A lens.

Rounding out today’s new lenses is the Sigma 23mm f/1.4 DC DN Contemporary lens for APS-C mirrorless cameras. The lens will launch first for E-mount and L-mount this month, with an X mount version arriving this summer.

The 23mm lens offers a 35mm equivalent focal length, which is a very popular wide standard focal length for portraits, street photography, and even landscapes.

Sigma 23mm f/1.4 DC DN Contemporary

The lens weighs just 340g and is 77mm long. Its filter diameter is 52mm.

Autofocus is driven by a quiet, high-speed stepping motor and its maximum magnification ratio is 1:7.3. Sigma promises high-end imaging performance, with excellent flare and ghosting resistance.

Sigma has also announced that Nikon Z mount versions of its existing Sigma 16mm f/1.4 DC DN C ($499), 30mm f/1.4 DC DN C ($399), and 56mm f/1.4 DC DN C ($499) prime lenses will be available this month.

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Zyong Yi Optics (ZY Optics), a prominent Chinese lens manufacturer, has announced a recreation of the iconic Leica Summaron M 28mm F5.6 lens for Leica M, Fujifilm X and GF, L, Canon RF, Nikon Z, and Sony E mount.

The Zhong Yi Creator 28mm F5.6 lens promises “faithful adherence” to Leica’s original lens while keeping the price point affordable. Priced at $299, the ZY Mitakon Creator 28mm F5.6 is certainly affordable.

The manual focus lens includes eight elements across seven groups. The lens has a minimum focus distance of 0.35m (1.38 ft.), resulting in a maximum reproduction ratio of 0.11x.

Weighing just 130g (0.29 lb), the Mitakon Creator 28mm F5.6 is a lightweight lens. It’s also compact, with dimensions (L x D) of 44mm (1.73 in.) x 51mm (2.01 in.). The lens has a 37mm filter thread. The lens is constructed using “durable metal” and comes in black and silver colorways.

Zhong Yi has incorporated a small knob onto the focus ring, making it easier for users to focus the lens. The focus assisting knob should help ensure more precision and accuracy. The focus ring is described as “smooth,” although without going hands-on with the lens, it’s impossible to say how it feels.

The lens includes rangefinder coupling support, enabling precise focus on Leica rangefinder cameras. Rangefinder coupling works by using a small mirror or prism to split the light entering the lens into two separate paths, which are then recombined within the viewfinder. When the two images are aligned, the lens is focused.

The ZY Optics Mitakon Creator 28mm F5.6 lens is available now for $299 via ZY Optics’ website and through authorized retailers.

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Venus Optics has announced the Laowa Argus 28mm F1.2 FF lens. The ultra-fast prime lens is designed for full-frame mirrorless cameras and will be available in four mounts: Canon RF, L, Nikon Z, and Sony E.

The “modern take” on the classic 28mm focal length is well-suited to a wide variety of photographic situations, including environmental portraiture, street, landscape, and night sky photography.

The lens includes 13 elements across seven groups, including a pair of ED elements and two UHR glass elements. The lens has a 13-bladed aperture diaphragm, and promises super-smooth bokeh. The manual focus lens can focus as close as 0.5m (19.7 in.), resulting in a 0.073x maximum magnification – far from macro territory.

Laowa Argus 28mm F1.2 FF

The Laowa Argus 28mm F1.2 FF weighs 562g (19.8 oz.). The lens is 106.3mm (4.2 in.) long and its max diameter is 68.5mm (2.7 in.). The lens has a 62mm filter thread. Further, the lens incorporates an aperture ring click switch mechanism for its manual aperture control, allowing users to have a “clicked” or silent and smooth aperture ring. Venus Optics intends the lens to be well-suited to photography and videography applications.

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If the Laowa Argus 28mm F1.2 FF lens seems like a good fit for your photography, especially low-light applications, you can purchase the lens now for $599 through Venus Optics and authorized resellers. As mentioned, the full-frame prime lens is available in Canon RF, L, Nikon Z, and Sony E mounts.

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In 2017, Zhongyi Optics announced a pair of fast, manual-focus Mitakon prime lenses for the medium-format Fujifilm GFX mirrorless camera system. One of the lenses, the Mitakon Speedmaster 65mm F1.4, has now been announced in a new version for the medium-format Hasselblad X system. Hasselblad’s X series cameras, like the new X2D 100C, feature the same image sensor size as Fuji’s GFX cameras.

The Mitakon Speedmaster 65mm F1.4 is now the fastest lens available for Hasselblad X cameras. Given the 0.79x crop factor of Hasselblad X cameras, the 65mm prime is practically equivalent to a 50mm prime lens. While it has F1.4 light-gathering capabilities, given the larger-than-full-frame image sensor, the F1.4 aperture produces a shallower depth of field than an F1.4 lens on a full-frame camera. The lens should be very well-suited for portrait photography.

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The lens promises a “prolonged focus throw” to allow for precise control over focus. The lens utilizes “high-quality ultra-low dispersion elements,” which ZY Optics promises results in sharp and detailed images. In total, the lens includes 11 elements organized across seven groups. The lens has a nine-bladed aperture diaphragm.

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From a design perspective, the lens is built using a metal housing and the lens’ aperture and focus rings include precise scaling markings. The lens weighs 1,050 grams (37 ounces) and it’s 96 millimeters (3.78 inches) long. The lens includes a 72mm filter thread.

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The ZY Optics Mitakon Speedmaster 65mm F1.4 lens is available now in Hasselblad XCD mount. The lens costs $599. For full specifications and purchase information, visit Zhongyi Optics.

Image credits: Zhongyi Optics

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Leica has announced its longest SL-System lens yet, the Vario-Elmar SL 100-400mm F5-6.3. The lens also sports the greatest zoom range of any SL-System lens at 4x, eclipsing the 3.75x zoom range of the Vario-Elmarit-SL 24-90mm F2.8-4 ASPH. The new zoom lens is the longest SL lens by 120mm, besting the APO-Vario-Elmarit-SL 90-280mm F2.8-4.

By Leica standards, the new full-frame L-mount lens is relatively affordable, priced at $2,195. It’s competitively priced relative to similar full-frame 100-400mm zoom lenses, including the Nikon Z 100-400mm F4.5-5.6 VR S ($2,696.95) and the Sony FE 100-400mm F4.5-5.6 GM OSS ($2,498). Granted, the new Leica lens is slightly slower with its F5-6.3 aperture range.

Leica’s new zoom lens includes 22 elements across 16 groups. The lens weighs about 1,530 grams (3.37 pounds), and its minimum length is 198mm (7.8 inches). The lens includes an 82mm filter thread. The lens includes AquaDura coating and is resistant to water and dust.

The lens includes a rotatable, detachable tripod foot. The foot is Arca-Swiss compatible, a nice convenience that frankly all tripod feet should include. The lens features optical image stabilization that promises up to four stops of shake correction.

The minimum focus distance is 1.1 meters (3.6 feet) at 100mm and 1.59m (5.2 ft.) at 400mm. The maximum magnification ratio is 1:9.3 at 100mm and 1:4.1 at 400mm.

Alongside the new SL 100-400mm lens, Leica has announced a new Extender L 1.4x. The new teleconverter extends the lens to 140-560mm in exchange for a stop less light-gathering capability. Leica tells PetaPixel that the teleconverter is compatible only with the new 100-400mm lens. The extender includes seven lens elements and adds just over 180 grams (0.4 pounds) of total weight. The 1.4x teleconverter costs $875.

Both the new Vario-Elmar SL 100-400mm F5-6.3 and teleconverter are available today. For full specifications, visit Leica.

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The Fujifilm X-T5 uses the same 40-megapixel backside-illuminated APS-C CMOS image sensor as the flagship X-H2. The cameras share more than their sensors. They also include identical imaging pipelines altogether. The cameras differ most dramatically regarding continuous shooting performance, video features, and design. The X-T5 looks much like its predecessor, the X-T4, including dedicated shutter speed, ISO, and exposure compensation dials. It’s a more traditional X Series camera than the X-H2 and will likely appeal to many existing Fuji shooters.

As I work on my full Fujifilm X-T5 Hands-on Review, we wanted to update our X-T5 Gallery. Within the gallery are many new real-world shots captured with the XF 16-80mm and XF 150-600mm zoom lenses. The new sample images were shot at a wide range of ISO settings, but if you want to check out our standardized lab test shots for even better pixel-peeping, click here.

Fujifilm X-T5 with XF 150-600mm F5.6-8 R LM WR OIS lens at 579mm (868mm equiv.), F10, 1/105s, ISO 125. This image has been edited.

So far, the X-T5 has been extremely impressive. While I enjoy the design of the X-H2S – and thus the identical body of the X-H2 – I have long been a fan of the physical dials on the X-T series cameras. It’s an enjoyable camera to use. Helping make the X-T5 especially fun is the superb 40-megapixel APS-C image sensor – the highest-resolution APS-C sensor on the market. The X-T5 delivers great image quality, with impressive sharpness and surprisingly good dynamic range. As always, Fujifilm’s excellent Film Simulations are on full display. It’s effortless to get excellent JPEG images straight from the camera, largely thanks to the Film Simulations.

Despite packing many pixels onto the sub-full-frame sensor, the X-T5 also performs admirably at higher ISO settings. Even at ISO 6,400 and above, the camera does a good job capturing detail without presenting excessive visual noise.

Fujifilm X-T5 with XF 16-80mm R WR OIS lens at 16mm (24mm equiv.), F4.5, 10s, ISO 8000. This image has been edited.

Image quality doesn’t mean much if a camera’s autofocus system can’t keep pace. Fortunately, the X-T5 performs well here, too. Even though the camera isn’t quite as swift overall as the pricier X-H2, the X-T5’s autofocus system is practically as good. The AI-powered subject detection features perform well, too.

Fujifilm X-T5 with XF 16-80mm R WR OIS lens at 65mm (98mm equiv.), F13, 1.8s, ISO 125. Acros Film Simulation.

So far, so good with the Fujifilm X-T5. It’s a stylish camera that’s much more than a pretty face. It’s the best and most sizable upgrade ever in the X-T series, thanks primarily to the excellent, higher-resolution image sensor and improved autofocus system. Stay tuned to Imaging Resource for our Fujifilm X-T5 Hands-on Review. In the meantime, head over to our updated Fujifilm X-T5 Image Gallery.

– Fujifilm X-T5 Overview – Gallery – Lab Samples –Â Â

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