Canon EOS R3 at a glance:

• New $6,975 / £5,499 body only
• Canon RF mount
• 24.1MP CMOS stacked back-illuminated sensor
• DIGIC X processing engine
• ISO 100-102,400 (expandable to ISO 100-204,800)
• 5-axis in-body image stabilisation
• 30fps continuous shooting with AE/AF tracking (12fps with mechanical shutter)
• 195fps with fixed AE/AF
• Top 1/64,000sec with electronic shutter, 1/8000sec with mechanical shutter
• 6K 60p raw, UHD 4K 120fps, FullHD 240fps
• Dual card slots (CFexpress type B and UHS-II SD slots)
• Weather-sealed body
• Canon LP-E19 battery

The Canon EOS R3 was first revealed as being ‘under development’ in April 2021. Five months later in September 2021 it was finally introduced into Canon’s ever-evolving EOS R lineup. Take up of the camera was initially so good, many photographers found it extremely difficult to get their hands on one. Today, the EOS R3 is readily available in most reputable camera stores and online, with excellent condition used examples fetching around $4,844 / £3,819. Hire prices, such as those offered by Hireacamera, typically start from around $150 / £180 per day or for a weekend, inclusive of VAT.

Canon’s high-speed full-frame mirrorless EOS R3 is designed for professional use

Eye-control focus is back

Arguably, the EOS R3’s most exciting feature is a new twist on an old Canon technology, eye-control focus. This means the camera can detect what the user is looking at in the viewfinder, and then autofocus on it. This futuristic-sounding feature was found on several of the firm’s film SLRs in the 1990s, but the big difference lies in the way it now works in concert with subject recognition technology.

The EOS R3’s pro-spec body is completely covered in controls

With a body-only price of $6,975 / £5,499, the EOS R3 clearly isn’t aimed at the average enthusiast. If this is well out of your budget, but you still fancy a full-frame camera, have a look at some of the other best full-frame cameras available.

As its price suggests, the EOS R3 is designed for professional sports and news photographers who demand speed and reliability along with rugged build and intuitive operation. At this price, it exists in the same rarefied space in the pro market as the Sony Alpha 1 and Nikon Z 9. It’s perhaps less of an all-rounder than these other two big-hitters, but its remarkable speed and autofocus system make it an extremely impressive offering, nonetheless.

Canon EOS R3: Features

Canon has built the EOS R3 around an all-new 24.1MP full-frame stacked CMOS sensor, which offers a standard sensitivity range of ISO 100-102,400 that’s expandable to ISO 50-204,800. The stacked architecture brings remarkable speed, including a world-record top shutter speed of 1/64,000sec, and the ability to combine flash with the silent electronic shutter at a sync speed of 1/180sec. The shutter lag is just 20ms, which is so short that Canon offers a menu option to lengthen it to match its DSLRs.

The EOS R3 is based around a 24MP full-frame stacked CMOS sensor

That headline top shooting speed of 30fps with AE/AF tracking and full resolution files is achieved using the electronic shutter, with a buffer of 150 14-bit raw files. The top shooting speed has increased up to 195fps with fixed AE/AF up to 50 frames with firmware update v1.21. Switch to the mechanical shutter and the speed drops to a still-impressive 12fps, but now with a vast 1000-shot raw buffer. Canon also claims that image distortion due to rolling shutter effects is almost completely eliminated, while flicker suppression is able to combat colour banding effects under LED lighting.

Resolution

Canon’s choice of 24MP resolution stands in contrast to the Sony Alpha 1 and Nikon Z 9, which employ 50MP and 45MP sensors respectively. But the firm believes this provides the ideal balance between image quality and file size for pro shooters who need to be able to transmit files back to their news desks as quickly as possible. Let’s not forget that the EOS R5 already offers 45MP at 20fps for those who want both speed and resolution.

Microphone and headphone ports are placed forward on the side, out of the way of the screen, with a PC flash sync socket below

Autofocus is based on Canon’s Dual Pixel CMOS AF II technology, where every sensor pixel is split in two to enable phase detection anywhere in the frame. No fewer than 4779 focus points are available, and the system is specified to operate in incredibly low light levels equating to -7.5EV with an f/1.2 lens. Canon has also updated its subject recognition system, so it’s now capable of recognising vehicles such as cars and motorbikes for motorsports photography, in addition to humans and animals. A detailed AF settings menu includes an array of Servo AF presets to deal with different scenarios, much like on the EOS-1D X Mark III pro sports DSLR.

Eye Control AF

The really big news, though, is Canon’s re-introduction of Eye Control AF. This employs an array of infrared LEDs to determine where you’re looking in the viewfinder, which is indicated by a circular blue cursor. The camera then uses this information to select a subject for tracking when the shutter button is held half-pressed. The system must be calibrated to each individual photographer’s eye, but thankfully, this is a straightforward process.

Firmware update v1.21 enhanced the EOS R3’s focus skills further with focus bracketing and in-camera merging of the multi-shot sequence now possible. The feature gives an accurate on-location preview of what can be achieved with the sequence later when back in front of the computer.

Canon has equipped the EOS R3 with CFexpress Type B and UHS-II SD card slots

In-body image stabilisation

As is becoming increasingly standard, 5-axis in-body image stabilisation (IBIS) is built in. This works together with optically stabilised lenses to provide up to 8 stops of stabilisation, according to CIPA standard ratings. There’s no IBIS-based high-resolution multi-shot mode, but given the camera’s target audience, that’s no great surprise (or loss).

Two card slots are provided for recording files: one accepts super-fast CFexpress type B media, while the other takes more affordable UHS-II SD cards. You can use them at the same time in backup mode, sequentially, or record different file types to each. It’s good that Canon doesn’t force you into only using expensive CFexpress cards, but the flipside is that if you want to use the two slots in backup mode, you’ll be limited by the speed of the SD.

Power is provided by the LP-E19 battery, which slots into the vertical grip

Battery stamina

Power is provided by the same chunky LP-E19 battery as used by the EOS-1D X Mark III DSLR. It slots into the vertical grip and is rated for 860 shots using the LCD, or 620 with the EVF. This may sound low compared to a pro DSLR, but in reality, you can get many times more when shooting high-speed bursts using the electronic shutter.

Pro-level connectivity is included for rapid file transfer, including 5GHz Wi-Fi, Bluetooth 5.0, and a built-in Gigabit Ethernet port. The EOS R3 is compatible with both Canon’s Camera Connect app, and a new Mobile File Transfer app for sending files to an FTP server via mobile networks, which could be an invaluable tool for news shooters. For this purpose, the camera is MFI certified to support wired connection to an iPhone.

Canon EOS R3: Video features

Video recording capabilities are just as impressive as for stills. The EOS R3 can record 6K raw at up to 60fps; DCI 4K at up to 60fps; and 4K UHD at up to 120fps. Firmware update v1.21 has added the ability to shoot FullHD at 240fps. Canon promises up to 6 hours of video capture, raw video can be recorded internally, and both Canon Log 3 and PDR HQ are available for extended dynamic range. Conventional 3.5mm stereo microphone and headphone sockets are built in, but slightly disappointingly, the HDMI port isn’t full-size.

Here you can see the USB-C, micro HDMI and ethernet connectors

Canon has also included a new multi-function hot shoe that allows wireless connection of a microphone, with the ability both to accept a digital audio input and to supply power to the connected device. This works with Canon’s DM-E1D directional stereo microphone ($299 / £37-0) and the Tascam CA-XLR2d-C adapter ($475 //£520) that enables connection of two XLR microphones. There’s also a remarkably small ST-E10 off-camera radio flash controller which costs $119 / £159, and an AD-E1 hot shoe adapter ($40 / £59) that’s required to maintain weather sealing with Canon’s existing Speedlites.

Canon EOS R3: Key features

When the camera is powered off, the sensor is protected against dust

• Sensor shield: The shutter closes when the camera is switched off, protecting the sensor from dust during lens changes. Canon also runs a sensor-cleaning cycle every time you change lenses
• Storage: Canon has included a conventional UHS-II SD card slot alongside a high-speed CFexpress B slot. You can use them simultaneously or sequentially, or record different file types to each. For the fastest burst sequences you’ll need to use CFexpress B cards.
• Power: Canon has used the same LP-E19 battery as in the EOS-1D X Mark III DSLR, which is rated for 860 shots using the LCD and 620 with the EVF. In practice, it’ll often deliver many times more than that
• Connectors: On the side you’ll find headphone, microphone, micro HDMI, USB-C and ethernet sockets. There’s a connector for Canon’s RS-80N3 cable release on the front
• Top-plate display: A small LCD panel on the top displays essential shooting information at a glance, including exposure mode, shutter speed, aperture, ISO and exposure compensation
• Connectivity: Pro-level connectivity is included for rapid file transfer, including 5GHz Wi-Fi, Bluetooth 5.0, and a built-in Gigabit Ethernet port. A new Mobile File Transfer app allows files to be sent to an FTP server via mobile networks

Canon EOS R3: Build and Handling

One area where the EOS R3 stands out is with regards to its handling. It has a similar design to the EOS-1D X Mark III pro DSLR, with an integrated vertical grip for portrait-format shooting. Being mirrorless, it’s rather smaller and lighter, although it still weighs in at over a kilogram. As usual with a pro camera, its body is covered with buttons and dials that give fingertip access to the most important settings, with the key shooting controls replicated across the two grips.

A small status screen on top shows the key exposure settings

In your hand, the weather-sealed magnesium alloy body provides the same kind of robust, bomb-proof feel as its DSLR cousin, while the distinctively textured rubberised coating offers excellent grip. However, Canon says it’s not quite built to 1D standards, which is why it gets the ‘R3’ moniker. Given that Nikon’s Z 9 offers top-spec build for less money, this feels like a slight let-down, but the EOS R3 is noticeably less heavy in return.

Control layout

In terms of control layout, the EOS R3 closely resembles the EOS-1D X Mark III. So you get Canon’s familiar electronic dials behind the shutter button and on the back for changing exposure settings, along with a joystick for setting the focus point, and a large AF-ON button beneath your thumb. But the R3 also benefits from Canon’s latest design thinking, including an extra control dial under your thumb that’s used to change the ISO. Like on the EOS R5 and EOS R6 II, this dial can be used to shift the ISO setting temporarily when Auto ISO is engaged, which can be really useful.

The back is covered in buttons and dials, including replicate controls for portrait-format shooting

With the EOS R3’s raison d’etre being its sophisticated autofocus system, unsurprisingly many of the buttons are given over to controlling it, eliminating any need to dive into menus. Press the AF area selection button on the shoulder, and you can cycle through AF area modes via the small M-Fn button beside the shutter release. A button on the front turns subject tracking on and off, while the Set button in the centre of the rear dial toggles eye control focus.

Smart controllers

As on the EOS-1D X Mark III, the AF-ON buttons double up as ‘smart controllers’, allowing you to move the focus area by dragging your thumb across their surface. It’s all extremely well thought-out and impressively quick to use, especially when compared to the Sony Alpha 1.

Pairs of buttons on the front beneath your second and third fingertips engage subject tracking and DOF control

Pretty much every physical control is customisable to suit your preferences, and you can also save up to three custom exposure modes for different shooting scenarios. Inexplicably, though, if you save camera settings to the C2 or C3 slots and then attempt to recall them, you’ll find they’re greyed out and inaccessible. It turns out you have to enable them separately in the menu, which makes no sense.

Intuitive interface

As usual for Canon, the entire user interface, including the main menus, can also be operated quickly and easily using the touchscreen. Here the onscreen Q menu provides an alternative means of changing many of the major settings, without lots of button-pressing. Notably, this is the easiest way of switching the subject recognition system between people, animals and vehicles, or turning it off completely.

Have a look inside the Canon EOS R3:

On display at The Photography Show 2021, Canon showed the internal construction of the Canon EOS R3, and the tough looking magnesium alloy shell:

Canon EOS R3 Magnesium Alloy Body (Internals) – Front

Canon EOS R3 Magnesium Alloy Body (Internals) – Top

Canon EOS R3 Magnesium Alloy Body (Internals) – Side

Canon EOS R3: Viewfinder and screen

The EOS R3 is equipped with a 5.76m-dot viewfinder that offers 0.76x magnification and a choice of 60fps or 120fps refresh rate. It also provides a blackout-free view in burst mode, with a flickering frame around the edge providing visual feedback during continuous shooting.

Canon has used a similar viewfinder to the EOS R5 and R6, but now with a huge eyecup

The eyepiece is surrounded by a vast eye cup whose primary function is clearly to maximise the effectiveness of the eye control function. But it also does a great job of blocking out most peripheral light, making the viewfinder particularly easy to see in bright conditions.  

Display modes

You can overlay lots of useful additional information in the viewfinder display, including gridlines, levels, and an RGB histogram. Pressing the Info button cycles through display modes, allowing you to switch easily to a clean, uncluttered view.

The fully articulated rear screen can be set to face almost any angle

By default, Canon previews colour and exposure, but not depth-of-field; instead, this is done the old-fashioned way, by pressing a button on the front of the body. However, a full-time depth-of-field preview option is available in the menu if you prefer. There’s also an opaquely named ‘OVF sim. view assist’ option that aims to mimic the experience of using an optical viewfinder, which can be handy in high contrast conditions. Unfortunately, it can’t be toggled on and off using a function button.

One advantage of this screen design is that it enables waist-level shooting in portrait format

On the back you get a stunning 3.2in, 4.2m-dot fully articulated touchscreen, which can be set to face in almost any direction for shooting at awkward or unusual angles. It can also be turned inwards against the body for protection against splashes or scratches. It’s perhaps not as quick and easy to reposition as the Nikon Z 9’s 3-way tilting screen, but it’s vastly better than the Sony Alpha 1’s unit, which only tilts up and down.

Canon EOS R3: Autofocus

Once you’ve got the hang of how the EOS R3’s AF system works, it’s phenomenally capable. Naturally, it’ll focus on static subjects in an instant and with unerring accuracy. But the real magic happens when you start shooting moving subjects, where the combination of subject recognition and eye control gives an experience unlike any other camera. I got an impressively high proportion of in-focus ‘keepers’, and not just with high-end telezooms such as the RF 70-200mm f/2.8L IS USM, but also with the relatively small and affordable RF 600mm f/11 IS STM and RF 800mm f/11 IS STM primes. For more options have a look at the Best Canon RF lenses for wildlife photography.

You can switch the AF system between different subject types using the onscreen Q menu

Selecting AF area size

You can choose practically any AF area size from a small spot to the entire frame, including three flexible zone settings where you can define the AF frame’s height and width. This is particularly useful if you know your subject will only appear within a defined area, such as a cars or runners on a racetrack. When there are multiple possible subjects, the ability to choose between them just by looking at one on the viewfinder is incredible. After a while, it becomes such an intuitive way of shooting that you almost forget it’s even happening.

Eye control AF is a brilliantly effective way of choosing between two possible subjects, but it needs to be correctly calibrated first. Canon EOS R3, Canon RF 800mm f/11 IS STM, 1/2000sec at f/11, ISO 1250. Shot with a pre-production EOS R3.

Canon’s subject recognition is likewise extremely impressive. It’s uncanny how the AF system can recognise the requisite type of subject instantly, and then track it as it moves around the frame. Even if you’re looking at an animal that’s distant and small in the frame, chances are the camera will pick out and focus specifically on its head or even eye.

Subject recognition is invaluable in situations like this, where foliage was blowing in the wind and intermittently obscuring the subject. Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/500sec at f/11, ISO 1600. Processed using DxO PureRAW

AF in low light

I was also impressed by how staggeringly well the AF system works in low light. In fact, it continues to recognise and track subjects in conditions where it’s almost too dark to even see, let alone take pictures. I watched mandarin ducks and a heron foraging in a shaded pond well after dusk, in light so low that it required ISO 51,200 at least, and the camera was still reliably tracking and focusing on their eyes.

Autofocus tracking works reliably in extremely low light. Canon EOS R3, Canon RF 70-200mm f/2.8L IS USM at 200mm, 1/250sec at f/2.8, ISO 80,000. Processed using DxO PureRAW

Naturally, the autofocus system isn’t perfect, either with regards to subject recognition or eye control. For example, it’ll pick up planes when set to detect animals, as they look quite like birds. And while eye control works brilliantly in many situations, I found it’s not so great with subjects such as birds in flight that move quickly and erratically, so you don’t know where to look in the viewfinder. In such cases, the conventional wide AF area settings tend to be a better choice. But this is where I really appreciated how easy Canon makes it to change settings quickly to suit different situations.

Canon EOS R3: Performance

With the EOS R3 essentially expected to take on the same kind of jobs as pro DSLRs, it’s got to perform to the same standard. In almost every respect, it achieves this; it starts up pretty much instantly when you flick the power switch, and then responds instantly to all the controls. It’s just as snappy when you’re using the touchscreen as the physical controls. However it does take a moment to wake up from its standby mode, so it’s worth getting into the habit of half-pressing the shutter button as you raise it to your eye.

The EOS R3 is in its element photographing events like this political demonstration on a rainy afternoon in Whitehall. Canon EOS R3, Canon RF 70-200mm f/2.8L IS USM at 142mm, 1/500sec at f/4, ISO 320

While the mechanical shutter is quiet and unobtrusive, the electronic shutter is completely silent, although you can add a sound. I couldn’t find any significant disadvantage with using the electronic shutter, either; there’s neither rolling shutter distortion, nor banding under artificial lighting. It seems Canon could have left out the mechanical shutter completely, like Nikon did with the Z 9.

The 24MP sensor provides some scope for cropping, but not as much as the EOS R3’s rivals. Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/2000sec at f/11, ISO 8000. 6MP crop (1200mm equivalent), processed using DxO PureRAW

Buffer performance

As the specs suggest, the EOS R3’s continuous shooting capability is impressive. In my tests, it matches Canon’s specified 30 frames per second for 150 frames in raw. However, if you switch to the cRAW format, which gives smaller files, the buffer practically doubles to about 300 frames. Drop the shooting speed to 15fps, and it’ll keep on going indefinitely (or at least, until your memory cards fill up).

Canon has improved the EOS R3’s continuous shooting speed further in firmware v1.21. This update makes it possible to shoot up to 50 full resolution Raws, HEIFs and JPEGs at the remarkable continuous shooting rate of up to 195fps.

The EOS R3’s pacey shooting is ideal for capturing fleeting moments. Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/800sec at f/11, ISO 1250

Battery life

When it comes to battery life, everything comes down to how you use it. If you shoot the occasional single frame using the mechanical shutter, chances are you’ll get something close to the 620-shot CIPA rating. But if instead you fire off lots of high-speed bursts using the electronic shutter, you’ll get many times more than that. In my experience, getting 10,000 shots from a single charge isn’t out of the question.

You can shoot long bursts of images without having to worry about battery life. Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/2000sec at f/11, ISO 1250

Just as with the EOS R5 and R6, Canon’s in-body image stabilisation works very well, especially in tandem with IS lenses. Using the RF 24-70mm f/2.8L IS USM, I found it’s possible to get sharp shots hand-held with shutter speeds as slow as 1 second, and even longer if you’re prepared to tolerate a little pixel-level blur.

Canon’s hybrid in-lens / in body stabilisation system is very effective. Canon EOS R3, Canon RF 24-70mm f/2.8L IS USM at 33mm, 1sec at f/2.8, ISO 640, hand-held

Handholding telephoto lenses

At the other end of the scale, you can also hand-hold long telephotos confidently at slower shutter speeds than you might expect; I got perfectly usable images from the lightweight RF 600mm f/11 IS STM at 1/50sec. Of course, with this camera you’ll often be trying to keep shutter speeds high to avoid unwanted motion blur.

Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/50sec at f/11, ISO 100. 6MP crop (1200mm equivalent)

The EOS R3 is fully compatible with EF-mount SLR lenses via Canon’s Mount Adapter EF-EOS R. However, to get the most out of the camera, you’ll need to use Canon’s matched RF lenses. For more options have a look at the Best Canon RF mount lenses. In contrast, Sony E-mount users have access to a much wider range of lenses.

The EOS R3 works well with adapted EF-mount lenses. I shot this using a 1990s-vintage 100mm f/2.8 Macro. Canon EOS R3, Canon EF 100mm f/2.8 Macro, 1/400sec at f/5.6, ISO 100

Colour rendition

When it comes to image quality, the EOS R3 barely puts a foot wrong. In typical Canon fashion, exposure and auto white balance are close to perfection, while the camera’s JPEG colour rendition is really attractive, too. This is important from a pro camera, as it means JPEG files can be sent to a news desk and used directly, with little need for any adjustments. Canon’s noise reduction is pretty effective as well, and I’d be quite happy shooting JPEGs at sensitivities as high as ISO 25,600.

Canon’s JPEG colour rendition is generally very attractive. Canon EOS R3, Canon RF 70-200mm f/2.8L IS USM at 115mm, 1/250sec at f/4, ISO 100

Dynamic range

Shooting raw brings more flexibility of course, particularly in terms of dynamic range. Not so long ago, high-speed cameras often lagged behind in this respect, but the EOS R3’s low-ISO raw files are extremely malleable. At ISO 100 you can push shadows by at least four stops before noise becomes at all problematic (of course, there’s not a lot you can do about highlights that are clipped to pure white). This doesn’t necessarily persist at higher ISOs, though; instead you can run into blotchy low-frequency colour noise in dark tones that’s difficult to suppress.

At low ISO, the sensor’s dynamic range facilitates ‘one-shot HDR’ processing without ugly noise. Canon EOS R3, Canon RF 24-70mm f/2.8L IS USM at 37mm, 1/40sec at f/16, ISO 100

Adobe Camera Raw doesn’t do as good a job at suppressing high-ISO noise as Canon’s in-camera processing, although it is better at retaining detail. But you can get the best of both worlds using AI noise reduction software such as DxO PureRAW, which gives much better files in the ISO 6400-25,600 range, and perfectly passable results at ISO 51,200, maybe even a little higher.

The EOS R3 give very usable shots at ISO 25,600, especially if you use AI noise reduction in ediitng. Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/2000sec at f/11, ISO 25,600

Manageable file handling

This just leaves the thorny topic of resolution. At 24MP, the EOS R3 lags behind the its similarly priced peers pro-focused, the Nikon Z 9 and Sony Alpha 1. With this type of camera, in practice this generally translates into a reduced ability to crop into files while retaining good levels detail, for example when photographing distant animals. On the other hand, it does make file handling much more manageable. Some users may well prefer Canon’s approach.

Canon EOS R3: ISO and Noise

While the EOS R3 may not offer as high a pixel count as some of its peers, it still delivers crisp, highly detailed files. There’s barely any visible noise or loss of detail at ISO 3200, and it’s only when you hike the sensitivity to ISO 12,800 that fine detail obviously starts to blur away. But I’d still be entirely happy shooting at ISO 25,600, while even ISO 51,200 isn’t out of the question when it’s necessary to get the shot. However, ISO 102,400 is decidedly ropey, and I’d avoid the extended ISO 204,800 setting, if at all possible.

Canon EOS R3, ISO 100, raw + Adobe Camera Raw

Canon EOS R3, ISO 1600, raw + Adobe Camera Raw

Canon EOS R3, ISO 12,800, raw + Adobe Camera Raw

Canon EOS R3, ISO 25,600, raw + Adobe Camera Raw

Canon EOS R3, ISO 51,200, raw + Adobe Camera Raw

Canon EOS R3, ISO 102,400, raw + Adobe Camera Raw

Canon EOS R3, ISO 204,800, raw + Adobe Camera Raw

Canon EOS R3: Our Verdict

It’s tempting to compare the Canon EOS R3 to the Nikon Z 9 and Sony Alpha 1, and then dismiss it on the basis of its resolution. Why spend the best part of $6,975 / £5,500 on a 24MP camera, when you could get double the pixel count elsewhere? But judging a camera, and particularly a specialist one, by its resolution alone is like judging a car purely by its top speed. What you really need is enough to get the job done, at which point other attributes become equally, if not more important.

With to its sophisitcated autofocus, including eye control, the EOS R3 delivers a great shooting experience

Which is a roundabout way of saying that, if 24MP is enough to get the job done, the Canon EOS R3 is an intoxicatingly brilliant camera to shoot with. It boasts one of the most sophisticated autofocus systems around, but makes it remarkably easy to use, allowing you to change settings quickly to suit the situation. There’s no doubting the value of eye control focus, especially now that it works together with subject detection. It’s a technology that I could never quite get to work properly on the 35mm film EOS 3, but with the EOS R3 it’s much more reliable, which makes it immeasurably more useful.

It’s quite something to be able to shoot easily hand-held at 600mm on full-frame. Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/500sec at f/11, ISO 25,600, processed using DxO PureRAW

Final thoughts

It’s not just the autofocus system that’s impressive, either. This is a ludicrously fast camera that handles brilliantly and delivers excellent image quality, not only in raw, but also JPEG files direct from the camera. It’s something of a low-light demon too, giving perfectly usable results at very high ISO settings, while including excellent in-body stabilisation. As a result, it’ll nail the shot in conditions where other cameras would struggle.

You can use the EOS R3 just to take pretty sunset pictures, but that’s not really what it’s designed for. Canon EOS R3, Canon RF 600mm f/11 IS STM, 1/200sec at f/11, ISO 200. Hand-held, camera JPEG

Of course, even for most enthusiast users the EOS R3 is overkill. You can buy the brilliant EOS R6 II for considerably less ($3,526 / £2779), and spend the money saved on some very nice Canon RF mount lenses. But for Canon users who demand the ultimate speed and autofocus performance, the EOS R3 is the camera to get.

Find more great full-frame cameras in our guide to the best full-frame mirrorless cameras.

Canon EOS R3: Full Specifications

The post Canon EOS R3 review appeared first on Amateur Photographer.

Canon EOS R6 Mark II at a glance:

• $3,526 / £2,779 body only
• $3,970 / £3,129 with RF 24-105mm STM lens
• 24.2MP full-frame sensor
• ISO 100-102,400 (standard)
• Up to 40fps shooting
• 4K 60p video recording
• 3.69m-dot, 0.76x OLED EVF
• 3in, 1.62m-dot vari-angle screen

Canon has given the EOS R6 Mark II a major update, with gaining a brand-new 24MP sensor in place of the previous 20MP chip. There’s also an array of feature updates, plus a few small but significant design and and interface tweaks.

The main design changes compared to the EOS R6 are on top, with a stills/video mode switch on the left, new power/lock switch on the right, and Canon’s multi-interface hot shoe. Image credit: Andy Westlake

At $2500 / £2,779 body-only, the EOS R6 Mark II comes to market for a moderate premium over its now-discontinued predecessor, which cost £2500 at launch (now available on the secondhand market for approx. £1,429 / $1700 in excellent condition). This places it up against some strong competitors that cost rather less, perhaps most notably the excellent 33MP Sony Alpha A7 IV ($3051 / £2,399) and the Panasonic Lumix S5 II ($2288 / £1799). Canon will no doubt be hoping that its impressive headline specs, including 40fps shooting and a sophisticated subject recognition autofocus system, will be sufficient to keep its existing DSLR users loyal and buy into the R system. But does the EOS R6 Mark II really offer enough to justify its price tag?

Canon EOS R6 Mark II: Features

Firstly, let’s consider the 24.2MP Dual Pixel CMOS AF II sensor. While it has the same resolution as the one in the high-end EOS R3, it doesn’t employ the same stacked architecture for ultra-fast readout. However, Canon claims that it delivers low-light performance to match the EOS R6’s 20MP chip, with a standard sensitivity range that runs all the way from ISO 100 up to ISO 102,400 and is extendable to ISO 204,800.

Canon has built the EOS R6 Mark II with an all-new 24MP full-frame sensor. Image credit: Andy Westlake

On the subject of autofocus, the EOS R6 Mark II builds on the subject detection AF system previously seen in the EOS R3. The camera can now recognise aircraft, trains and horses (including, rather wonderfully, zebras), as well as humans, cars, animals and birds. AF tracking is available in all focus modes, and Canon says autofocus continues to function in light levels as low as -6.5EV.

40fps shooting with electronic shutter

 This is also the quickest-shooting camera in its class, being capable of 12 frames per second in full-resolution raw using its mechanical shutter, and a remarkable 40fps with the electronic shutter (20fps and 5fps settings are also available if you don’t need to shoot quite so fast). Select raw burst mode, and the camera can shoot at 30fps with up to 15 frames buffered before the shutter button is fully depressed. This can allow you to capture fleeting moments when you wouldn’t otherwise have time to react.

Files are recorded to dual UHS-II SD card slots. Image credit: Andy Westlake

The buffer is impressively deep too, at 190 JPEG or 140 CRAW files in a single burst. On this note, Canon’s CRAW format produces unusually small raw files without any apparent loss of quality, which means you can fit more onto a card. It’s a seemingly minor feature but is of real practical benefit.

IBIS

Another boon for low-light shooting is the camera’s in-body image stabilisation, which is now rated for up to 8 stops shake correction. Many of Canon’s RF lenses are optically stabilised, too, with the in-lens and in-body systems working together to deliver the best possible effect. In principle the system also works with adapted manual-focus lenses, such as Canon’s old FD-mount optics. But as with the original EOS R6, the process of entering the lens’s focal length to make the system work properly is unnecessarily long-winded and clunky.

Canon’s familiar LP-E6N battery promises 450 shots per charge using the viewfinder. Image credit: Andy Westlake

Video specs

Another area where the specs impress is with regards to video. The EOS R6 Mark II offers 4K recording at 60 fps from the full sensor width, with 6K oversampling for increased detail. It can also output 6K 60p ProRes raw to an external recorder over HDMI, while Full HD slow motion recording is available at 180fps. Canon has also included its new multi-function shoe, which accepts various digital audio accessories, along with the firm’s EL-5 flash.

Interesting new video features include focus breathing compensation to correct for any change in the angle of view when pulling focus between different distances – and ‘face only AF’ where the camera won’t attempt to refocus when a human subject walks out of shot. There’s even a movie pre-recording option, where either 3 or 5 seconds of footage can be continuously buffered before you start filming, so you don’t miss a key moment of action.

Microphone, headphone and remote release connectors are placed not to block the articulated screen, with USB-C and Micro HDMI also onboard. Image credit: Andy Westlake

Connectivity

Updated connectivity includes Bluetooth 5 and 5GHz Wi-Fi, which can be used to connect the camera wirelessly to a smartphone, tablet or computer. Canon’s free Camera Remote app for Android and iOS offers all the usual features, including the ability to operate the camera remotely over Wi-Fi, with a live view feed and extensive control over settings. You can also copy photos across to your phone for sharing, even when the camera is powered off and packed away in your bag. Other useful options that you don’t always get elsewhere include a quick and easy Bluetooth remote control, and the ability to update the camera’s firmware via your phone.

It’s possible to connect the camera to a mobile device via its USB-C port for a more stable connection and use Camera Remote that way, which in effect allows a phone or tablet to be used as an external monitor. It’s a mystery why more cameras don’t allow this. Like most other recent models, the EOS R6 Mark II can be used as a 4K webcam for video calls, without any need to install additional software on your computer.

Canon EOS R6 Mark II: Key features

Canon has taken the excellent EOS R6 and added a number of welcome improvements.

The shutter closes when the camera is switched off, to help keep dust off the sensor. Image credit: Andy Westlake

• Lenses: Canon’s RF lens range now includes 29 full-frame optics, covering everything from budget-friendly zooms to pro ultra-telephoto primes. EF lenses can also be used via an adapter.
• Connectors: Canon has included 3.5mm stereo microphone and headphone sockets and a 2.5mm E3-type remote release connector, all placed so as not to block the articulating screen. There are also Micro HDMI and USB-C ports. However, infrared remote release is no longer supported.
• Power: Canon’s standard LP-E6N battery is rated for 450 shots when using the viewfinder, or 760 with the LCD. It can be charged in-camera, and an external mains charger comes in the box.
• Storage: Files are recorded to two SD UHS-II card slots. It’s possible to use them either simultaneously or sequentially, or to record different file types to each.
• Multi-function shoe: Canon’s new multi-function shoe is compatible with a range of digital audio accessories and the firm’s latest flash units including the Speedlite EL-5.
• Vertical grip: The Mark II is compatible with the same BG-R10 battery grip as the EOS R5 and the original R6, which costs $299 / £379.

Canon EOS R6 Mark II: Build and handling

Externally, the EOS R6 Mark III is very much like its predecessor. This is a good thing, as the R6 handled exceptionally well. In terms of build, we get the same magnesium alloy chassis and glass fibre-reinforced polycarbonate shell. This may not have quite the same bullet-proof feel as Canon EOS 5D-series DSLRs used to, but it makes the camera considerably lighter. Thanks to the tall, deep grip, the camera gives a secure hold and feels well balanced in the hand, even with relatively large lenses such as the Canon RF 100-500mm f/4.5-7.1L IS USM. As we’d expect, the body is weather-sealed.

The EOS R6 Mark II feels secure in your hand thanks to its tall, deep grip. Image credit: Andy Westlake

The control layout is derived from Canon’s EOS DSLRs, but with various significant updates. Along with the familiar front and rear control dials for changing exposure settings, there’s an additional thumb dial on the top plate dedicated to ISO. Uniquely to Canon – and extremely usefully – this can be used to shift the ISO setting temporarily in Auto ISO mode.

Control dials on RF lenses

There’s also a conventional exposure mode dial (complete with three custom positions), and an AF multi-controller joystick, which at long last is enabled by default. Canon’s higher-end RF lenses also all have separate lens control dials that can be configured to change exposure settings. However on the cheaper RF lenses, this function is provided by the manual focus ring, which doesn’t work as well.

Canon has added this Still/Movie selector switch. Here you can also see the electrical contacts on the multi-interface shoe. Image credit: Andy Westlake

Compared to the original EOS R6, there are a couple of updates. Most notably, what was previously the on/off switch on the top left is now a stills/video mode selector. This has the advantage of giving easy access to all the exposure modes for video recording, including the C positions. It also brings up a video-optimised interface with a 16:9 preview and separately saved settings. However, I found this switch was a bit too easy to knock accidentally when removing the camera from my bag, and wish it were either firmer or had an interlock button.

Power switch lock – is it really needed?

The power switch has moved onto the right side of the top plate, where it’s easier to reach, although still not quite as convenient as one around the shutter button like on most other brands. It now has a central lock position similar to many older Canon DSLRs, replacing the R6’s separate lock button. This can be used to disable any combination of the camera’s control dials, joystick, and touchscreen, or the lens control ring. Personally, I don’t really understand why you’d have a setting whose sole function is to stop the camera from working properly – other manufacturers don’t feel the need to inflict this on us – but thankfully you can disable it altogether.

The power switch is easier to reach than before, and now has a Lock position. Image credit: Andy Westlake

Canon has updated its useful Dial Function option, so that pressing the tiny M-Fn button beside the shutter release now allows you to change pairs of settings at a time using the front and rear dials. Meanwhile, rotating the top dial chooses between the available pairs of functions.

By default, this gives quick access to white balance and metering; drive and focus modes; flash exposure compensation and ISO; and picture style and AF area. You can reconfigure this to suit your preferences, but the only other option you can add is exposure compensation. It’s a real shame you can’t use it to scroll through the subject detection modes.

Rear controls are identical to the original EOS R6. Image credit: Andy Westlake

Quick menu

Other key settings can be changed using the onscreen quick menu, activated by pressing the Q button on the back. This button sits in the middle of a dense cluster of ten controls, all of which are operated by one’s right thumb. In practice, this isn’t as bad as it might sound, as you’re unlikely to be using many of them at any given time. However, I found it almost impossible to distinguish the trio of Magnify, Q and Info buttons with the camera up to your eye.

Most of the controls can be customised, but I saw little need to do so, as all the buttons do useful things, and the default control layout works very well. One option, though, is to re-purpose the video record button to another function for stills shooting. Or depending on how you shoot, you may prefer to customise the depth of field preview button on the front.

This button on the front stops down the lens to preview depth of field. Unlike on DSLRs, you can see the effect clearly at any aperture. Image credit: Andy Westlake

As usual, Canon provides a touchscreen interface that covers every aspect of the camera’s operation, complementing rather than replacing physical controls. Canon’s menus are clearly labelled and relatively logically laid out, and there’s a user-configurable My Menu where you can group your most-used settings. This is handy, as certain useful options, such as the mechanical/electronic shutter selection and raw burst mode, are otherwise only selectable from the main menu. Aside from this, the EOS R6 Mark II offers one of the finest shooting experiences of any camera around.

Canon EOS R6 Mark II: Viewfinder and screen

When it comes to composing and viewing your images, Canon has used the same 3.69m-dot EVF and 3in, 1.62m-dot fully articulated touchscreen as on the original R6. With 0.76x magnification and a 120fps refresh rate, the viewfinder is very good indeed, although it can be a little difficult to see in very bright light.

Canon has used the same viewfinder as in the original EOS R6. Image credit: Andy Westlake

Canon previews colour, white balance and exposure compensation by default, making it easy to visualise how your images will come out. You can also overlay grid lines, neatly designed electronic levels and an RGB live histogram for judging exposure. Pressing the info button allows you to switch to a clean, uncluttered view for easier composition. 

Eye sensor

Move your eye away from the viewfinder and the camera will automatically switch to the LCD below. Again, this gives an accurate preview, while its side-hinged, fully articulated design aids shooting from a tripod, or at unusual angles in either portrait or landscape formats. It can also be set facing forwards for selfies or vlogging.

Canon’s useful OVF View Assist function is available, but by default has to be engaged using the menu. Image credit: Andy Westlake

Compared to the original R6, there are a couple of small but useful updates. Firstly, the EOS R6 Mark II gains the OVF View Assist mode that debuted on the EOS R3, which brightens shadows and reproduces colours neutrally to give a more SLR-like viewing experience. This can be particularly useful in high contrast conditions, or when you need to apply negative exposure compensation to retain highlight detail. This can be assigned to a function button to toggle easily between the two viewing modes; I used the video record button.

Full-time DOF preview

Depth-of-field preview is preset, via a button on the camera’s front, much like a traditional DSLR. However, Canon has added a menu setting to enable full-time DOF preview, with the lens always stopped down to the selected aperture. I’d be tempted to use this mode in daylight, but when light levels fall, it can reduce the viewfinder’s refresh rate excessively, giving a disconcertingly choppy view.

The side-hinged screen can be set to face almost any angle. Image credit: Andy Westlake

Another useful update comes in video mode. When the camera is recording, a flashing red outline appears around the display, both in the viewfinder and on the LCD. This partially makes up for the fact that there’s no tally light on the camera’s front to indicate that it’s recording.

Canon EOS R6 Mark II: Autofocus

Like Canon’s other cameras, autofocus is provided by the firm’s Dual Pixel CMOS AF technology, which allows every sensor pixel to be used for phase detection autofocus. There are 4897 user-selectable points arranged across practically the entire frame, and you can choose between multiple sizes of focus area. This includes three custom options that allow you to specify the height and width of the focus zone, which is especially handy if you know your subjects will appear in a particular region of the image, for example cars on a racetrack. It’s particularly easy to cycle through area modes, by pressing the AF Area button followed by M-Fn.

Multiple AF area sizes are available, including three user-customisable options. Image credit: Andy Westlake

Single-shot AF

As we’d expect, for single-shot AF on static subjects, the EOS R6 Mark II is essentially flawless, focusing quickly, silently and reliably. Its conventional tracking mode also works well, and is especially easy to activate just by pressing the SET button on the back. Sony could learn a thing or two from Canon in this regard.

AI-based subject recognition

However, the latest AF systems are all about AI-based subject recognition and tracking, particularly with continuous AF. On the EOS R6 Mark II, Canon has deployed what is, on paper, its most advanced system to date, going beyond even the flagship EOS R3. So while the R6 offered eye detection and tracking for humans and animals, the Mark II gains the ability to recognise a wider range of animals, along with vehicles such as cars, trains and planes. There’s even a spot recognition setting, in which the camera will home in on the most important part of the subject – for example the front windscreen of a vehicle. What you don’t get, though, is the EOS R3’s brilliant eye control focus, or the readout speed of its stacked sensor (which generally translates to better AF tracking accuracy).

The EOS R6 Mark II copes impressively well with tracking focus on erratically moving subjects such as birds in flight. Canon EOS R6 Mark II, Canon RF 100-500mm f/4.5-7.1 L IS USM at 500mm, 1/2000sec at f/7.1, ISO 1250, 1.3x crop. Image credit: Andy Westlake

Click on any sample image to see a full resolution version

Quick and easy setup

You can pre-select the subject type you’re expecting to shoot via the Q Menu, with the available options of humans, animals, and vehicles being refreshingly straightforward compared to the over-complicated setup menus used by some other brands (looking at you again, Sony). But you can also leave the camera to detect automatically what it’s looking at, which is useful in situations of switching rapidly between different kinds of subjects. It’s also possible to set a function button to cycle through the various options (again, using the movie record button could be an option here).

Canon EOS R6 Mark II, Canon RF 100-500mm f/4.5-7.1 L IS USM, 1/2000sec at f/7.1, ISO 20,000. Image credit: Andy Westlake

Real-world use

In my experience, the subject detection system works extraordinarily well, allowing for concentration on composition and timing while the camera follows the subject and keeps it sharp. With large, predictably moving subjects such as vehicles, it’ll get things right pretty much all the time. However, when shooting small, erratic subjects such as birds with high-speed bursts, I found that it occasionally lost track, drifting onto foreground or background detail instead. It’s possible that spending a bit of time tweaking and fine-tuning the AF system would give more reliable results.

Here’s an example where the camera successfully kept a distant subject in focus against a complex background. Canon EOS R6 Mark II, Canon RF 100-500mm f/4.5-7.1 L IS USM at 500mm, 1/1000sec at f/7.1, ISO 5000, 1.4x crop. Image credit: Andy Westlake

Auto subject selection isn’t foolproof, either. For example, when I was photographing birds perched in trees, it decided more than once to outline and concentrate on branches instead (it’s not obvious what kind of subject the camera thought it was focusing on). But despite these occasional flaws, the autofocus is still far beyond that offered by any DSLR, making it easier than ever to get sharp images of moving subjects. However, the EOS R6 Mark II is, understandably, not quite a mini EOS R3.

Canon EOS R6 Mark II: Performance

As befits a camera aimed at serious enthusiasts, the EOS R6 Mark II is extremely quick and responsive. It’s worth knowing, though, that having Bluetooth enabled can slow down its otherwise instantaneous start-up. It’s important to update to the latest firmware and, if you continue to have problems, consider disabling Bluetooth. Operationally, the camera is very quiet and discreet, with the shutter firing with just a quiet snick. Switch to electronic shutter mode and it’s completely silent, but this does come with a risk of rolling shutter distortion.

Canon’s in-camera processing gives reliably attractive results. This is an unedited JPEG straight from the camera. Canon EOS R6 Mark II, Canon RF 24-105mm f/4 L IS USM at 43mm, 1/2000sec at f/8, ISO 100. Image credit: Andy Westlake

Metering

Metering, auto white balance and colour are all very typically Canon – in other words, predictably reliable. The standard evaluative metering mode is closely linked to the focus point, which means that if you focus on a dark area of the scene, you’ll risk clipping highlight detail irrecoverably. But this is easy to see in the viewfinder, so you can apply the requisite exposure compensation when necessary (note though that it’s not visible in OVF View Assist mode).

Canon EOS R6 Mark II, Canon RF 24-105mm f/4 L IS USM, 1/200sec at f/8, ISO 100. Image credit: Andy Westlake

White Balance

Auto white balance is generally well judged, meaning that out-of-camera JPEGs are usually good for sharing directly from the camera, with just a little tweaking. You will, however, get best results shooting raw, especially when you want to make significant tonal adjustments after shooting.

Here, the sensor’s dynamic range allowed me to expose to retain highlights in the sky, then pull out foreground shadow detail in raw processing. Canon EOS R6 Mark II, RF 24-104mm f/4 L IS USM at 37mm, 1/80sec at f/11, ISO 100. Image credit: Andy Westlake

Dynamic Range

In this regard, the EOS R6 Mark II’s 24MP sensor offers a good degree of dynamic range, allowing you to pull up shadow detail by at least three stops with no problem. Go much further, though, and you’ll run into visible artefacts, where Canon appears to be applying noise reduction to the darkest tones in the raw file. This means that you don’t get quite the malleability of the very best full-frame sensors; but it’s still plenty enough for most real-world situations.

The EOS R6 Mark II works perfectly with EF DSLR lenses via a mount adapter. Canon EOS R6 Mark II, EF 70-300mm f/4-5.6 IS USM via Viltrox EF-EOS R adapter, 1/320sec at f/8, ISO 100. Image credit: Andy Westlake

Burst Shooting

Continuous shooting performance is impressive, but as usual, the devil is in the detail. Using the mechanical shutter at its highest 12fps frame rate, you don’t get live view between frames (just a quick review of your recorded images), which makes it difficult to track moving subjects. If you want live view between frames, you’re reduced to shooting at 7fps, although with a vast 230-shot buffer.

Burst shooting allows you to capture fleeting moments, such as this seagull momentarily tottering from its perch. Canon EOS R6 Mark II, Canon RF 100-500mm f/4.5-7.1 L IS USM at 400mm, 1/2000sec at f/6.3, ISO 1000, 1.5x crop. Image credit: Andy Westlake

The camera’s headline 40fps top speed requires switching to the electronic shutter, which means a trip into the menus – annoyingly you can’t just access it as a drive mode setting. As the sensor isn’t stacked, there’s an appreciable rolling shutter effect. While this isn’t bad enough to make your subject obviously distorted, it can make vertical lines in the background appear slanted when you’re panning, which could be problematic with subjects such as motorsport.

The vari-angle screen makes getting low-angle shots like this easy. Canon EOS R6 Mark II, Canon RF 100-500mm f/4.5-7.1 L IS USM at 324mm, 1/2000sec at f/5.6, ISO 16,000. Image credit: Andy Westlake

There are also 20fps and 5fps electronic shutter modes, but while the two faster options display a flickering outline around the image to indicate when the camera is shooting, at 5fps the entire display flashes on and off – an effect that I found disconcerting to the point of being unusable.

The sensor gives very good results at moderately high ISO settings. Canon EOS R6 Mark II, Canon RF 85mm f/2 Macro IS STM, 1/125sec at f/2.8, ISO 2500. Image credit: Andy Westlake

Raw Burst Mode

Raw burst mode is also accessed via the menu. Here the camera shoots at 30fps, with up to 15 frames buffered before you fully depress the shutter button. Bursts are captured as a single file, from which you can then extract individual frames in playback, as either raw or JPEG files. It works, but it’s very clunky compared to OM System’s Pro Capture mode.

I captured this precise moment of splashdown using Canon’s raw burst mode. Canon EOS R6 Mark II, Canon RF 100-500mm f/4.5-7/1 L IS USM at 500mm, 1/1000sec at f/7.1, ISO 2500, 1.3x crop

IBIS

The in-body image stabilisation is, as it was on the EOS R6, very effective. Using the Canon RF 24-105mm f/4L IS USM towards its wide and, I found I could get consistently sharp shots at shutter speeds close to a second, and I even got the occasional usable frame at longer speeds. This can be really useful for shooting hand-held in low light, or for experimenting with long shutter speeds for creative effect. However, it’s no help with moving subjects.

Canon’s in-body image stablisation system allows hand-held shooting at slow shutter speeds. Canon EOS R6 Mark II, RF 24-105mm f/4 L IS USM at 40mm, 1.6sec at f/11, ISO 100, hand-held. Image credit: Andy Westlake

Use with EF lenses

Current Canon DSLR users will find that the EOS R6 Mark II works seamlessly with their existing EF-mount lenses via the EF-EOS R mount adapter (or indeed cheaper clones from the likes of Viltrox). I tested it with my EF 70-300mm f/4-5.6 IS USM and EF 100mm f/2 USM with good results. Both image stabilisation and autofocus continue to operate perfectly; indeed with fast primes, chances are it’ll deliver a rather higher percentage of properly focused shots. This means you can use your exisitng EF mount lenses and you don’t have to buy a whole new set of RF lenses straight away.

EF-mount DSLR lenses work seamlessly using a mount adapter. Image credit: Andy Westlake

Canon’s full-frame RF lens line-up now covers most bases, with a good range of affordable options alongside premium L-series lenses including some unique and clever designs. But on the other hand, Canon is the only company that’s still blocking third-party lens makers from using its full-frame mirrorless mount. This means there’s a vastly better choice of native lenses available for Sony E-mount in particular.

Canon EOS R6 Mark II: ISO and noise

With its 24MP sensor, the EOS R6 gains a 10% increase in linear resolution over its predecessor. While this isn’t in any way unwelcome, it’s not a massive upgrade. The sensor delivers very clean images at low ISOs, and extremely usable results a moderately high settings, too: I’d have absolutely no hesitation in using ISO 3200.

High ISO performance is very good indeed. This was shot at ISO 51,200, and could be cleaned up further using AI noise reduction software. Canon EOS R6 Mark II, Canon RF 100-500mm f/4.5-7.1 L IS USM at 500mm, 1/2000sec at f/8, ISO 51,200. Image credit: Andy Westlake

Beyond this, noise starts to have a more obvious impact on fine detail and colour, and each photographer will have their own cut-off point of unacceptability. Personally, I was happy with the images I shot at ISO 25,600 and would consider ISO 51,200 usable at a pinch. But I’d steer clear of the higher settings.

Below are 100% crops at each ISO setting from our standard studio scene, shot in raw and processed using Adobe Camera Raw. Click on any to see the full resolution version.

Canon EOS R6 Mark II, ISO 100, raw + Adobe Camera Raw, 100% crop

Canon EOS R6 Mark II, ISO 400, raw + Adobe Camera Raw, 100% crop

Canon EOS R6 Mark II, ISO 3200, raw + Adobe Camera Raw, 100% crop

Canon EOS R6 Mark II, ISO 25,600, raw + Adobe Camera Raw, 100% crop

Canon EOS R6 Mark II, ISO 51,200, raw + Adobe Camera Raw, 100% crop

Canon EOS R6 Mark II, ISO 102,400, raw + Adobe Camera Raw, 100% crop

Canon EOS R6 Mark II, ISO 204,800, raw + Adobe Camera Raw, 100% crop

Canon EOS R6 Mark II: Our Verdict

After a couple of weeks shooting with the Canon EOS R6 Mark II, my overriding impression is of a camera that’ll do pretty much anything you ask of it. It takes the already excellent EOS R6 and makes it even better, with faster shooting and impressive subject detection AF. It’s difficult to appreciate just how useful this type of autofocus system can be for tracking moving subjects. Once you’ve tried it, you may be reluctant to go back to a conventional setup again.

Canon’s EOS R6 Mark II is a supremely accomplished all-rounder that handle almost any subject with ease. Image credit: Andy Westlake

An impressive all-rounder

Like its predecessor, the Mark II also handles extremely well. It’s not quite as small as its rivals from Nikon, Panasonic or Sony, but this provides space for a large, deep handgrip and extensive external controls. Add to this its excellent image quality, and you have a seriously impressive all-rounder. You’d have to pay much more to get much higher performance in any given area, without compromising elsewhere.

The EOS R6 Mark II’s 24MP sensor provides easily enough resolution to make a highly detailed A3 print. Canon EOS R6 Mark II, Canon RF 24-105mm f/4L IS USM at 70mm, 1/1000sec at f/11, ISO 160. Image credit: Andy Westlake

For current Canon DSLR users, the EOS R6 Mark II represents an extremely tempting option for switching to mirrorless while maintaining use of their existing EF lenses. Those using the original EOS R will find it a considerable upgrade, too, despite its slightly lower resolution. There’s rather less incentive for EOS R6 users to update, though, unless they need a specific feature it offers. For brand-agnostic buyers it’s an extremely strong alternative to the likes of the Sony Alpha 7 IV, with the main gripe being the lack of third-party RF lenses. But this is the only real blot on the copy book of a superb camera that’s an excellent update to its illustrious predecessor.

To read more about the camera and how it fares in real-world use, don’t miss our Canon EOS R6 long-term review.

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Canon EOS R6 Mark II: Full Specifications

The post Canon EOS R6 Mark II review appeared first on Amateur Photographer.

Leica M11 Monochrom at a glance:

• $9195 / £8300 body-only
• Black-and-white only digital camera
• 60MP full-frame back-illuminated CMOS sensor
• ISO 125-200,000 range
• Rangefinder manual focusing
• 256GB of internal storage
• Leica-camera.com

Leica’s M11 Monochrom looks like an old film camera – and can only shoot in black and white. Image credit: Andy Westlake

Crazy or not, Leica holds something of a monopoly in this area, as no other brand has applied itself to this artistic niche. Ricoh has recently released the Pentax K-3 Mark III Monochrome. There is a very healthy level of activity in digital black & white photography, but only these two firms devote camera design exclusively to the black and white form.

While most black and white fans choose to shoot in colour and convert later, the Leica Monochrom series offers far better image quality to those really dedicated to an existence without colour, in return for their commitment. With no coloured filters over the pixels, they gather more light, and without the need to aggregate their findings to produce a coloured image, each pixel acts on its own to provide much greater resolution of detail than would be possible from the same number of pixels under a Bayer pattern filter array.

The camera is finished in matte black, with barely any visible branding: just some discreet lettering on the top and back. Image credit: Damien Demolder

Previous models such as the Leica M10 Monochrom and the fixed-lens Leica Q2 Monochrom have demonstrated the principle is sound and effective, and that image quality benefits a great deal. This new Leica M11 Monochrom though advances the idea in two new directions – with a higher-resolution, more modern sensor, and with all the up-to-date features and functions of the company’s excellent M11 camera platform.

Leica M11 Monochrom: Features

The Leica M11 Monochrom is a 60.4MP rangefinder camera that exclusively records monochromatic images. Of course, all digital cameras can be used to create black and white images from their colour captures, simply by removing the colour in software. But the way the Monochrom is designed delivers superior resolution. In a normal digital camera, the readings from the sensor’s red, green and blue-sensitive pixels have to be demosaiced to determine the final colour output for each pixel in the final image. But with a monochrome sensor, each pixel reports individually. As a result, Leica claims we should expect detail resolution 100% greater from the Monochrom than from a standard colour sensor.

The camera is built around Leica’s M mount, which dates back to 1954. Image credit: Damien Demolder

This camera gives users a choice of DNG raw files and/or JPEGs, and gives us a choice of three pixel-counts for our full-frame RAW/JPEG images, in case the maximum 9528×6328-pixel, 60MB-110MB files prove larger than necessary. When smaller images will do, we can switch to 36.6MP or 18.5MP options, to tailor the resolution to the task in hand.

With the potential for such large file sizes, the issue of file storage inevitably comes to mind. Like the Leica M11, the M11 Monochrom offers built-in storage as well as a card slot for SD media of up to 2TB of SDXC UHS-ll. While the colour version of the M11 can hold up to 64GB, Leica has been generous enough to supply 256GB of internal storage in this new Monochrom – enough for about 4000 full-resolution DNG files.

The M11 Monochrom offers a remarkable ISO 200,000 setting. Image credit: Damien Demolder

The CMOS sensor used in this model has the same design as that in the full-colour M11. Its back-illuminated structure allows more light to be recorded, so higher ISO settings can be achieved, while noise will be lower at all settings. As the Monochrom has no coloured filters to inhibit light from reaching its pixels, the base ISO level is lifted somewhat to ISO 125, from the ISO 64 base of the colour camera. At the other end of the scale this translates to quite incredible ISO 200,000 maximum. Leica doesn’t have ‘extended’ ISO positions, so all settings are considered in the ‘normal’ range.

The camera offers both mechanical and electronic shutter modes, with openings of 60 minutes to 1/16,000sec. The mechanical shutter deals with 60min to 1/4000sec, while the electronic shutter gives us 60 seconds to 1/16,000sec. The older M10 Monochrom provides a shutter speed range of 16 minutes to 1/4000sec, so this is quite a step up.

Shutter speeds are primarily controlled using a traditional dial on the top plate. Image credit: Damien Demolder

The flash sync is the same 1/180sec that we got in the M10 Monochrom, and practically all Leica M cameras for decades. But the introduction of an electronic shutter is completely new for the M Monochrom series camera.

A nice new feature comes in the metering mode line-up, as the M11 Monochrom inherits the multi-field, centre-weighted and spot configurations of the colour M11 while also adding a highlight-weighted mode. This new mode is designed to ensure detail in the brightest areas is retained, as the camera detects the lightest tones in the scene and protects them from burn-out. This is particularly important with the Monochrom, as unlike with colour sensors, there’s no ability to reconstruct clipped highlight detail in raw processing.

Compared to the M10, the M11 design uses a much larger battery that clips directly into the base. Image credit: Damien Demolder

Other notable new features over the M10 Monochrom include a 2.3-million-dot LCD touchscreen, the adoption of the new 1800mAh BP-SCL7 battery with its considerably increased life, and an aluminium body similar to the black M11, that means the camera weighs 540g instead of 660g.

In all, the Leica M11 Monochrom is as much a completely different camera to the M10 Monochrom, as the colour M11 is different to the colour M10. The additional resolution the newer models bring will probably get most of the air-time, but it is the additional metering, wider shutter speed range and the internal storage that are the elements that make the new camera more exciting to work with.

Leica M11 Monochrom: Key features

• Sensor: The 60MP sensor in the M11 Monochrom is the same back-lit CMOS unit as that used in the M11. However with no coloured filters on the pixels, the base ISO lifts from 64 to 125
• Storage: The camera comes with an SD card slot, but also 256GB of internal storage. Users access the internally stored images via the USC-C port or by copying the files to an SD card
• Power: The M11 Monochrom uses the more powerful BP-SCL7 1800mAh battery that Leica says powers the camera for over 700 frames. The USB-C port can be used be used to charge the battery or to power the camera while in use
• LCD Screen: The camera’s rear screen gets an upgrade to 2.3-million-dot resolution and can be used for touch controls when selecting items from the quick menu, for magnification and positioning the spot meter. Touch function doesn’t extend to the main menu, though
• Metering: The metering set-up offers users a new highlight-weighted system in addition to centre-weighted, spot and multi-field. This additional mode aims to protect highlights in high contrast conditions
• Focusing: Focusing is achieved manually using either the excellent rangefinder system in the viewfinder or via the rear screen in live view mode. The rangefinder is quick to use, but focuses only in the centre of the view. Live View allows focusing almost anywhere in the frame and is more accurate when using wide apertures and off-centre subjects

Leica M11 Monochrom: Build and handling

Anyone who has come into contact with a Leica M camera before will know exactly what to expect. This M11 Monochrom is a solid beast designed to withstand almost anything the professional photojournalist might throw at it. While some users keep their camera in its original box and swaddled in bubble wrap, others hang theirs from their neck while jumping into shell holes with bullets whizzing around their ears. This camera will cope well in either situation.

In classic Leica fashion, the camera’s controls are stripped back to the bare minimum. Image credit: Damien Demolder

Holding a Leica M is quite a different experience to working with most other types of camera, but with time and practice it becomes comfortable and natural. The M11 Monochrom has a relatively smooth and featureless body, so it might feel at first that there’s little to cling to. But the extended thumb grip on the top right of the rear of the body offers a remarkably secure hold.

In standard Leica style there are few controls on the body, with just three buttons on the left of the rear screen for activating screen-related functions, and a four-way ring of buttons to the right with a ‘set’ button in the centre for navigating and changing settings.

This d-pad is used for navigating and changing settings. Image credit: Damien Demolder

Leica has given us an extra function button on the top plate beside the shutter release that first appeared with the colour M11. This function button joins the rear FN button and the thumb wheel to give three customisable controls in all. The function assigned to the buttons can be determined via the menu system, or via a long press of the button itself. For each of these buttons there are 28 feature options to choose from.

I found using the thumb dial to activate exposure compensation, the FN button to deal with manual ISO settings and the top plate button to magnify the focus point most useful. You can also magnify the focus point by rotating the focus ring on the lens, but that requires moving the focus. Having ‘magnify’ on a function button allowed me to confirm focus without moving it.

Three square buttons are arranged down the left of the screen. Image credit: Damien Demolder

Leica cameras of the past don’t always have the most straightforward navigation systems, but in these latest models life has become very much easier. It takes a little while to become familiar with the system of course, but once acquainted the logic and processes become clear.

The first point of contact when looking to alter settings, other than shutter speeds and ISO, is the quick menu. One press of the menu button brings up a screen that displays icons and readings for the majority of features we’ll need most often. From this screen we can not only monitor the state of our settings but also change them by touching the appropriate icon on the rear screen. There are 12 selectable icons on this screen that can be touched or navigated to via the 4-way button array to the right of the screen.

The onscreen quick menu lets you view and change settings. Image credit: Damien Demolder

A key operational difference between settings selection via the quick menu screen and the main menu is that in the quick menu we just select the setting value we want, and can then press the shutter to carry on shooting. In the main menu any selection requires that we press the ‘set’ button to confirm that we really do want to change things. If you forget to press ‘set’ your changes won’t be registered.

Should you need to access anything that isn’t on the quick screen, another press of the menu button takes us into the main menu. This unfortunately does not offer touch controls, so we need to use the 4-way buttons to travel around it. The up/down buttons will scroll us through the whole menu, but pressing the menu button repeatedly allows us to jump from page to page so we can find what we are looking for very quickly.

This rectangular window on the front is used by the rangefinder. The small circular window is an external lightmeter that the camera uses to estimate the aperture being used. Image credit: Damien Demolder

For the most part, menu items are positioned and labelled as we might expect, though getting to the part where you can customise the live view screen takes quite a lot of presses. I suppose we don’t need to go there often.

When viewing the rear screen in live view mode, we can also scroll through a number of display options that introduces and hides different information panels. There isn’t a way to have the full image unobscured and information showing at the same time, as the live view window always fills the whole screen and there’s no option to make it smaller. So we need to cycle through to check our composition. While using the live view shooting mode we can use the touch screen to double-tap the area we want to magnify for focusing and we can direct the spot metering circle to the area from which we’d like to meter. It’s all rather quick and easy.

ISO is set using this small dial: pull upwards to change the setting, push down again to lock. Image credit: Damien Demolder

Leica has continued its use of the pop-up manual ISO control dial in this camera, and we can use this to choose settings between ISO 125 and 6400. The dial offers an ‘A’ position for Auto ISO, and when we want to step beyond ISO 6400 we can use the M setting, which activates the Manual ISO selection right the way up to ISO 200,000. The manual mode also gives us access to all ISO settings in increments of 1/3EV, while the dial only allows full stops. Oddly we can assign Auto ISO to the M position too, so we’d have two Auto ISO settings.

It’s a shame that the base of the camera doesn’t come off any more, but the feeling of disappointment that Leica’s jovial nod to the past has gone is short lived once users discover switching out the battery and/or memory card is now a much more efficient process. Leica has employed a pop-out system for the battery that requires no cover, and with the flick of a switch the battery pings out from the base. A further partial press-in fully releases the battery, saving it from firing out into your coffee.

The SD card is housed in the battery compartment, with the USB-C port alongside. Image credit: Damien Demolder

The battery compartment also houses the memory card slot, so removing the battery is necessary when changing the card as well. This really is a drag if you find your card is full while the camera is on a tripod, as the release switch is right next to the tripod thread so the camera will almost inevitably have to come off the tripod and/or quick-release plate, for the task to be completed. Fortunately the camera provides extremely generous internal storage, so the occasions storage will run short during a shoot may be few and far between.

Images captured on the 256GB internal storage provision can be accessed directly via the USB port and downloaded very quickly, or they can be copied/backed-up to a removable memory card. It is worth noting that you will need to ensure the USB Mode is set to Apple MFI if you are using an iPhone or iPad, and to PTP if you are a Windows person, to ensure your computer can see the internal disk. Leica’s excellent Fotos app will allow wired or wireless downloading to a phone or tablet. the app also gives full remote control over the camera and allows both images and videos to be copied to your phone for sharing.

Leica M11 Monochrom: Viewfinder and screen

As this is a rangefinder camera, the viewfinder doesn’t offer a direct view of what the camera is about to record. Instead, we look straight through the eyepiece and out of the window on the front of the camera. Inside the viewfinder, though, are a series of guide marks (or framelines) that show us how much of the view our lens is covering, and this changes automatically when you switch lenses – so long as your lens is recognised by the camera.

As this is a rangefinder camera, it employs a direct-vision optical viewfinder. Image credit: Damien Demolder

Third party lenses may not automatically get their focal length detected, so we can use a switch on the front of the camera to move the guides temporarily to show what will and won’t be in shot.

Focusing is achieved using two images created via a pair of windows on the front of the camera, and we aim to adjust the lens focus to bring the images together in the viewfinder. Once mastered this is a remarkably quick way to focus manually, but it takes a little getting used to.

This lever below the viewfinder allows the framelines to be selected manually when required. Image credit: Damien Demolder

The viewfinder is a standard 0.73x Leica unit with the same base length as the M11, and guides are shown in pairs for lenses from 35mm to 135mm. There is no built-in dioptre adjustment, but separate correction lenses for the eye piece can be purchased for about £140.

The information shown in the viewfinder is pretty limited, and we only get to see an arrow-and-dot exposure meter with no indication how far out the exposure is – which seems somewhat primitive. Other information includes the shutter speed (only in aperture priority) and exposure compensation as it is altered. Even though the camera can estimate what aperture we are using, the viewfinder doesn’t display it.

Images can be composed using a live view feed on the rear screen. Image credit: Damien Demolder

The rear LCD screen is an updated model that offers a 2.3-million-dot resolution view of what we are shooting, or have shot. Live view shooting is enabled either by the Fn button (at its default setting), or by tapping an onscreen button in the quick menu. The viewing angle of the screen is really very good, and a half-press of the shutter release allows us a preview of the exposure we are about to commit.

Leica M11 Monochrom: Performance

It was quite a treat to have such a choice of metering modes, and during the review period I made the most of them. While the multi-field and centre-weighted modes worked well and delivered the goods in most situations, I rather fell in love with Highlight-Weighted mode and found that I was setting this and leaving it on when shooting in high contrast situations – which is what I’m attracted to.

The M11 Monochrom gains this useful new Highlight-weighted metering option. Image credit: Damien Demolder

The spot mode is also very good, but harder to manage when using the camera hand-held, as really you need to move the spot to wherever the subject is. A press and hold of the shutter release locks the exposure of course, so we can meter, lock and recompose.

The M11 Monochrom is in its element with street photography. Leica M11 Monochrom, Summilux-M 50mm F1.4 ASPH, 1/2000sec at f/2.4, ISO 6400. Image credit: Damien Demolder

The drive modes seem to work slightly better than advertised in some situations. In scenes short on detail the camera can manage about 22 DNG shots before the 4.5fps rate begins to drop off, but when there is more information to record, I found burst depths dropped to around 15 frames. High ISO settings reduce the depth of the burst too it seems, probably because the higher ISO files are larger on average.

Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/3200sec at f/1.7, ISO 125. Image credit: Damien Demolder

A neat feature I enjoyed rather more than I expected is the perspective correction function that measures the angle the camera is being held at and automatically corrects converging verticals live on the screen. Raw files are not corrected of course, but JPEGs are and on the whole are really quite well worked. Nowadays it’s pretty easy to fix geometric distortions automatically in software, but it’s fun, and useful, to have the option in-camera too.

Leica M11 Monochrom: Image quality

The Leica M11 Monochrom produces an image that is quite unique. Not only are the files full of detailed tones and subjects, they have a very particular look to them. Straight from the camera, images have a preponderance of middle tones, with few at the really bright end of the histogram.

Direct from the camera, files have a preponderance of mid-tones. Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/350sec at f/5.6, ISO 125. Image credit: Damien Demolder

Images can be brought to life with some processing to enhance the contrast and tonality. Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/350sec at f/5.6, ISO 125. Image credit: Damien Demolder

Whites are very well protected and the brightest tones in any scene usually very well recorded. There are few deep blacks too, so it is very often necessary to inject a degree of contrast to bring the images to life. The look is of Ilford FP4 rated at ISO 64 and processed in Perceptol to a low contrast index, or that 1950s feel we get from a green-channel conversion. Yellow, orange and red screw-on lens filters work well to add some tonal sparkle in the same way they do with film.

Thanks to its remarkable high-ISO performance, the M11 Monochrom enables night-time street photography with small apertures and fast shutter speeds. Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/160sec at f/11, ISO 32,000. Image credit: Damien Demolder

I noted something else when inspecting my images that led me to experiment with an infrared filter. Leica tells me the sensor’s own filter cuts infrared at 750nm, but I was easily able to record some very IR-looking images with a Hoya R72 filter that allows only wavelengths beyond 720nm.

With a 720nm infrared filter fitted, the M11 Monochrom gives attractive infrared images. Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 8sec at f/16, ISO 125, R72 filter. Image credit: Damien Demolder

While my other camera (a Lumix GX9) struggled to get enough light to register an exposure, the Leica M11 Monochrom dished out shutter speeds of 8sec at f/16 and ISO 125 in bright sunshine. The results deliver that spectacular display of snow-like grass and deep toned blue skies we expect from IR-converted cameras.

Image files are extremely clean and free of noise at lower ISO settings. Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/320sec at f/2.8, ISO 400. Image credit: Damien Demolder

Noise performance is very good, and at ISO 125 we get an exceptionally clean image. A lack of any form of noise or texture is a feature of images right the way up to ISO 800. Beyond this point noise can be experienced by enthusiasts when images are blown up to 100%, but as it emerges from the mid tones it comes in a really rather pleasant granular film-grain type pattern.

A charatceristic of monochrome sensors is fine-grained high-ISO noise that’s aesthetically pleasing. Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/750sec at f/1.4, ISO 6400. Image credit: Damien Demolder

For those making accurate exposures that need no further lifting, ISO 50,000 is still very pleasing indeed, with heavy noise only becoming a little over-powering from ISO 100,000 to 200,000. At these top sensitivity settings, and indeed settings from 6400, some caution is required when lightening shadow areas as without care a distinctive, tartan-like grid pattern can appear. It pays then to get exposures as right in-camera as possible, and perhaps a little bright, and as JPEG noise reduction is a little destructive at these higher ISO settings they are best served RAW.

Leica M11 Monochrom: Our Verdict

There can be no doubt that the Leica M11 Monochrom is a specialist camera that will not appeal to, and is not aimed at, everyone. It’s obvious limitation – that it only records in black and white – will delight many but will make no sense to even more. While I would not like to give up shooting in colour entirely, the idea of a mono-only camera is pretty exciting. That this camera shoots better mono than any camera I’ve ever used – and by a long way – makes it all the more attractive. Of course the main barrier is the cost, but for those with the budget this will prove a machine that will bring years of enjoyment.

The M11 Monochrom can be used with a wide range of M-mount lenses, including third-party optics from the likes of Voigtlander. Image credit: Damien Demolder

For those who already own an older Leica M Monochrom, this M11 version really is good enough to justify an upgrade. It isn’t just the resolution – not everyone needs 60MP – but the changes to the handling, the improved image quality and additions such as the electronic shutter and highlight metering that make it a significantly better camera than the M10 Monochrom. The files aren’t simple to deal with at first, but with time and experience users will learn to get the best from them. The extended sensitivity that makes infrared shooting easy will also be a real attraction to some – me included.

The new electronic shutter allows shooting with fast lenses wide open in bright light. Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/12000sec at f/1.4, ISO 125. Image credit: Damien Demolder

Leica’s desire to produce a camera boiled down to the basics once again means we have no video recording option. I fully understand this move and know that some of those are interested solely in shooting black and white might think video the work of the Devil. But it’s also a shame we can’t take advantage of this unique look for moving as well as still images.

Leica M11 Monochrom, Summilux-M 50mm F1.4 Asph, 1/5000sec at f/2, ISO 125. Image credit: Damien Demolder

It’s safe to say there nothing else on the market quite like the Leica M11 Monochrom. If you have the money and the enthusiasm for black and white photography you’ll find no better tool.

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Further reading:

• Complete guide to black and white photography
• How to capture moody monochrome landscapes
• Black and white street photography: Tips and techniques from the experts

Leica M11 Monochrom: Full Specifications

Leica M11 Monochrom with Voigtlander Nokton 35mm F1.2. Image credit: Damien Demolder

The post Leica M11 Monochrom review appeared first on Amateur Photographer.

Canon EOS R7: at a glance:

• New $1,757 / £1,379 body-only
• New $2,229 / £1,749 with RF-S 18-150mm f/3.5-6.3 IS STM zoom
• Used $1,477 / £1,159 (like new used condition)
• 32.5MP APS-C sensor
• ISO 100-51,200 (extended)
• 30fps shooting
• 4K 60p video
• 2.36m-dot EVF
• 3in, 1.62m-dot vari-angle LCD

Of the four APS-C EOS R models, the EOS R7 is the most advanced, boasting a higher resolution 32.5MP sensor, faster shooting, a larger viewfinder and in-body image stabilisation. As the numbering suggests, Canon sees it as a successor to the EOS 7D Mark II APS-C DSLR, which means it’s one of the most ambitious APS-C mirrorless cameras yet made, going head-to-head with the likes of the Fujifilm X-T4 and Sony A6600.

The launch of the Fujifilm X-T5, however, has raised the bar for APS-C sensor resolution with 40 megapixels, so the EOS R7 is no longer the highest resolution camera in this class. But still, it is one of the best Canon mirrorless cameras and, provided the RF-S lens range continues to grow, perhaps one of the best mirrorless cameras all round, at least for enthusiasts. With more lenses (or via adaptors) the R7 could also be one of the best cameras for action and sports photography.

The EOS R7 packs plenty of advanced features in a small body that feels good in the hand. Photo credit: Joshua Waller/Amateur Photographer

The EOS R7 is available for $1,757 / £1,379 body-only or $2,229 / £1,749 with RF-S 18-150mm f/3.5-6.3 IS STM zoom, its usual ‘kit’ lens.

Canon EOS R7: Features

Canon has built the EOS R7 around an updated version of the 32.5MP sensor from the EOS 90D DSLR and mirrorless EOS M6 Mark II. In concert with the Digic X processor, this offers a standard ISO range of 100-32,000 that’s extendable to ISO 51,200. The R7 can shoot at 15 frames per second using the mechanical shutter – half as fast again as the EOS 90D – or 30fps using the silent electronic shutter.

The EOS R7 uses and updated version of Canon’s 32.5MP APS-C sensor, and includes in-body stabilisation. Photo credit: Joshua Waller/Amateur Photographer

Autofocus employs Canon’s Dual Pixel CMOS AF II, with each pixel split into two to enable on-sensor phase detection. There are 651/5915 selectable focus points covering the entire image area, which are claimed to work in extremely low light equating to -5EV. The EOS R7 also inherits the intelligent subject detection and tracking system from the flagship EOS R3, which is capable of recognising humans, animals or vehicles.

High-speed shooting:

• 30fps with the electronic shutter, up to 126 JPG, 42 raw images
• 15fps with mechanical shutter, up to 224 JPEG or 51 raw images

Shutter speeds go as fast as 1/8000s using the mechanical shutter, and up to 1/16,000s using the electronic shutter.

The back of the camera features a control dial that’s unusually positioned around the joystick. Photo credit: Joshua Waller/Amateur Photographer

Video recording

4K 30p recording is available for video that’s oversampled from 7K, in 4:2:0 8-bit or 4:2:2 10-bit colour (HDR PQ or C-LOG3), and with no 30-minute time limit. There’s also a 1.8x 4K crop mode that can go up to 60fps, Full HD recording at up to 120fps, and a 4K time-lapse option. Vertical recording is supported, for social media use. 4K Fine (IPB) is recorded at 120Mbps, or 170Mbps with C-Log or HDR PQ on, going up to 340Mbps (4K crop, 60p). People, animals and vehicle detection and tracking auto-focus is available while recording video.

The mic socket is placed at the top front, well out of the way of the screen. Photo credit: Joshua Waller/Amateur Photographer

Microphone and headphone sockets are built-in, with Canon Log 3 also onboard for easier post-processing. A switch on top selects between stills and video modes, with separate settings retained for each. Canon has also used the same new hot shoe as on the EOS R3, which includes a digital audio interface and can supply power to connected devices.

Canon has equipped the EOS R7 with dual UHS-II SD card slots. Photo credit: Joshua Waller/Amateur Photographer

Canon EOS R7: key features

• Handling: The compact body boasts a large, comfortable handgrip and a good array of physical controls
• In-body Stabilisation: 5-axis in-body stabilisation promises up to 8 stops of shake suppression, along with automatic horizon correction (which has been only previously been available on Pentax cameras)
• Dual card slots: Canon has included dual UHS-II SD card slots, allowing you to back up files to both while shooting
• Lenses: You can fit RF and RF-S lenses directly, and EF and EF-S DSLR lenses via the Canon Mount Adapter EF-EOS R. However, EF-M lenses can’t be used
• Battery: The R7 uses the same LP-E6N battery as many other Canon cameras, and gives up to 770 shots (using the LCD)
• Custom modes: The mode dial offers 3 custom modes, where you can save photo and video settings

Canon EOS R7: Build and Handling

A rich feature set has been squeezed into a body that’s smaller and lighter than the EOS 850D DSLR, yet still boasts a large, comfortable handgrip and a good array of external controls. It employs two electronic dials for changing exposure settings, with the rear dial unusually placed around the focus area selection joystick. My initial impression is that this arrangement works well enough, although it’s not obviously better than the horizontal rear dial on other EOS R bodies.

The top plate is relatively clean, with movie and ISO buttons placed behind the shutter release button. Photo credit: Joshua Waller/Amateur Photographer

Canon has kept the top plate uncluttered, with the mode dial and power switch joined by movie, IS and Fn buttons; the latter gives quick access to a range of secondary settings. On the front, a switch around the depth-of-field preview button selects between auto and manual focus, which is handy given that many of Canon’s more affordable RF lenses lack AF/MF switches, including RF-S optics.

The EOS R7 uses the same LP-E6N as many other Canon cameras. Photo credit: Joshua Waller/Amateur Photographer

Weather sealing

For viewing, you get a 2.36m-dot electronic viewfinder and a 3in, 1.62m-dot vari-angle touchscreen. Power is provided by Canon’s familiar LP-E6N battery, which promises 500 shots per charge using the viewfinder, and 770 with the LCD. Canon is promising a similar level of weather sealing to the EOS 90D, but disappointingly, neither of the RF-S lenses are similarly protected.

Canon EOS R7 menus which match Canon’s other cameras. Photo credit: Joshua Waller/Amateur Photographer

The menus and controls follow the same layout and design as Canon’s other cameras, and the menus and buttons will be immediately recognisable to anyone who’s used a recent Canon EOS camera – apart from the rear command dial / scroll wheel. This surrounds a joystick controller, and seems an unnecessary design flare that adds little to the user experience. It can take a while to get used to this rear command wheel / dial, and we’d have much preferred a standard rear dial, and perhaps a third wheel.

Canon EOS R7: Viewfinder and screen

The rear screen gives a clear and bright view of the scene and menus, although at slightly under 3inches, it isn’t the largest around. The resolution of 1.62m dots helps make up for this. And you can turn and tilt the screen to your heart’s desire, which aids viewing of the screen even outdoors in bright sunlight. Naturally, it’s ideal for vlogging and selfies.

Canon EOS R7 – rear screen with Quick access to settings. Photo credit: Joshua Waller/Amateur Photographer

What about the EVF?

The electronic viewfinder is acceptable, in that it does a good job of showing you what’s going on, but with a resolution of 2.36m dots and an average size (1.15x / 0.72x), is nothing special: disappointing when compared to higher resolution EVFs found on other cameras such as the Fujifilm X-T4/X-T5. Dioptre adjustment can be found on the left, and there’s an eye-detection sensor so that the camera will automatically switch between the rear screen and EVF when needed.

Canon EOS R7 – in the video mode you get a range of useful on-screen information. Photo credit: Joshua Waller/Amateur Photographer

You can toggle the view, and a dual-axis electronic level and histogram can be viewed on the screen (and EVF). You can customise what’s shown on screen in the menus, and the Info button will toggle through the displays. A variety of grids can be selected, with all the usual options such as the “rule of thirds”. There’s an optical viewfinder simulation mode designed to give you a natural view of the scene, without additional processing; the opposite of “what you see is what you get” which has become the norm on mirrorless cameras.

You also get the choice of a power saving mode, or a smoother display, with a faster refresh rate of 120fps. I found the standard, 60fps power saving mode, perfectly adequate.

Native RF-S lenses

Alongside the EOS R7 (and R10) Canon introduced two RF-mount lenses designed for the APS-C format. Firstly, the RF-S 18-45mm f/4.5-6.3 IS STM is a compact, collapsible design that offers a 29-72mm equivalent zoom range. It is sold in a kit with the EOS R10 or on its own for $299 / £320. Meanwhile the RF-S 18-150mm f/3.5-6.3 IS STM costs around $499 / £500 and offers a 29-240mm equivalent range – this is the usual ‘kit’ lens for the EOS R7. Both lenses include optical stabilisation and stepper motors for autofocus.

The Canon EOS R10 fitted with the compact, collapsible RF 18-45mm f/4.5-6.3 IS STM (left), alongside the Canon EOS R7 with the RF-S 18-150mm f/3.5-6.3 IS STM. Joshua Waller/Amateur Photographer

It has to be said that these lenses are the most disappointing part of Canon’s APS-C RF system so far. The 18-45mm may be small and light, but its focal-length range and aperture is uninspiring to say the least, especially as the firm offers an equally compact 15-45mm f/3.5-6.3 in EF-M mount. The 18-150mm looks like it should be a nice travel lens, and could make a fine match with the EOS R10. But like the 18-45mm, its 29mm equivalent wide end looks out of touch in a world where competing cameras come equipped with 24mm equivalent zooms, especially as there’s no RF-S ultrawide zoom.

Use full-frame lenses

Since the EOS R7/ EOS R10 were launched, only one more native RF-S lens has arrived – the $349 / £429 Canon RF-S 55-210mm f/5-7.1 IS STM telephoto zoom. It’s a shame that buying a high-speed, high-performance compact camera, one is immediately faced with having to use full-frame lenses in order to get a good choice of lenses.

The $349 / £429 RF-S 55-210mm f/5-7.1 IS STM is a welcome addition to the RF-S system, but there are still only three native RF-S lenses. Image credit: Canon

None of these lenses really comes close to matching the ambition of the EOS R7, so let’s hope Canon comes up with some more interesting RF-S offerings soon. For EOS R7 owners to really get the most from the camera, I’d like to see something along the lines of 15-50mm f/2.8 and 15-80mm f/4 zooms, with weather sealing and premium optics. It would also make sense for Canon to make RF-mount versions of its EF-M lenses, which could give it a shortcut to a nice APS-C line-up.

The EOS R7 will be available in a kit with the 18-150mm, but it’s not a lens that really matches the body’s aspirations. Photo credit: Joshua Waller/Amateur Photographer

Mount adapters for the EOS R7

If you’re coming from a Canon EOS DSLR, then you’ll find there’s a range of EF-RF mount adapters available, and EF lenses perform well on the camera, albeit without the size advantage of native RF mount lenses.

Canon EOS R7 with EF-RF adapter and 50mm f/1.8 STM lens. Photo credit: Joshua Waller/Amateur Photographer

Canon EOS R7: Autofocus

The EOS R7 offers an impressive 5,915 AF points (manually selectable), with 100% coverage both vertically and horizontally, and 651 AF areas when on automatic selection. The camera has human, animal or vehicle tracking, and recognises dogs, cats and birds for itself. Vehicles will detect cars or motorbikes, but doesn’t mention trains or planes. Human detection will automatically detect eyes, face, heads and bodies.

Cat detection AF has focused on the cat’s left eye. Canon EOS R7, 1/160s, f/6.3, ISO 640, 84mm. Photo credit: Joshua Waller/Amateur Photographer

Focus works in low-light down to -5EV, and an AF assist beam can be switched on/off if needed. The camera has a dedicated section for the auto-focus options, with multiple cases (4) as well as auto. The cases can be customised to preference. You can use the touch-screen to touch and drag the AF point if needed, but this can be switched off in the menus. Manual focus peaking options can be customised letting you set the peaking colour.

Continuous AF tracking has tracked the subject, keeping focus on the face. Canon EOS R7, 1/400s, f/9, ISO 100, 100mm, -0.3EV. Photo credit: Joshua Waller/Amateur Photographer

You can also shoot at up to 15fps with continuous AF using the mechanical shutter, or up to 30fps with the electronic shutter.

Focus performance was particularly impressive when set to tracking, with the camera successfully tracking and focusing on subjects, including humans. Fast moving subjects rarely seemed to phase the camera with shot after shot correctly focused on the subject’s face.

Canon EOS R7: Performance and Image Quality

Gipsy Hill Station, JPEG, 1/320s, f/7.1, ISO 100, 18mm, R7. Photo credit: Joshua Waller/Amateur Photographer

Dynamic range on default settings gives acceptable results, in most situations, but there are times when the camera can produce images with blown highlights in JPEGs, and it can be difficult to recover these even from the raw files.

Gipsy Hill Station, HDR (multi-shot crops the image), 1/800s, f/4.5, ISO 100, 18mm, R7. Photo credit: Joshua Waller/Amateur Photographer

Once you switch to the HDR (multi-shot mode) or HEIF images, you suddenly realise how much dynamic range is missing from the image. If you’re used to shooting with a smartphone where every image is taken in HDR you’ll quickly wish for more dynamic range. You can of course shoot in raw for additional dynamic range, or use the previously mentioned HDR or HEIF modes.

Olympus OM10 taken with the Canon EOS R7, 1/250s, f/6.3, ISO 6400, 150mm – This image looks good, even though it was taken at ISO6400. Photo credit: Joshua Waller/Amateur Photographer

The HEIF file format

The camera supports HEIF images, and to shoot these, you need to switch on the HDR PQ mode, which lets you shoot a HEIF file (and raw file if raw is switched on). In-camera you can then convert this to a JPEG image, with increased dynamic range over a standard JPEG image. However, there is very little support for HEIF (.HIF) files even with the latest version of Adobe Photoshop (v23.4.1).

Canon EOS R7, with the 18-150mm lens, 1/60s, f/3.5, ISO 100, 18mm, 28.8mm equivalent. A wider lens would have helped here. Photo credit: Joshua Waller/Amateur Photographer

The shutter sound is relatively quiet, similar to other mirrorless systems I had to hand, and quieter than a full-frame Sony A7 III. Using the electronic shutter and silent option you can shoot completely silently, and this can be switched on/off in the menus.

Canon EOS R7, Husky, at 150mm there’s reasonable background blur in this image, but it’s not particularly noteworthy, 1/250s, f/6.3, ISO 125, 150mm. Photo credit: Joshua Waller/Amateur Photographer

Metering

Metering generally performs very well, with the camera giving well exposed images, which tend to give a brighter image than other brands, as is the normal case when using Canon cameras. If you’re used to Canon cameras this will be perfectly normal, but if you’re used to other camera, you can easily alter this with a turn of exposure compensation, or by using Highlight Tone Priority settings.

Canon EOS R7, St Pancras Station, London, 1/80s, f/3.5, ISO 100, 18mm, -0.7EV. Photo credit: Joshua Waller/Amateur Photographer

Auto white balance (AWB) is exceptional, with the camera producing extremely pleasing colours in a wide variety of shooting scenarios. If you wanted to be a little fussy, then you might find colours a little too neutral (rather than warm that many find pleasing) but again this is entirely subjective, and can easily be adjusted by tweaking the “Picture Style” settings. Auto White Balance also gives the option of ‘Ambience’ priority or ‘White priority’ which will be useful for white background product shots.

St Pancras Station Clock, 1/200s, f/6.3, ISO 5000, 118mm, Handheld. Photo credit: Joshua Waller/Amateur Photographer

In-body image stabilisation performed admirably, with the camera producing sharp photos time after time. On default settings the camera would increase the ISO speed rather than let the shutter speed drop too low, helping keep images sharp.

Canon EOS R7: ISO and Noise

Noise performance is particularly well controlled considering the sensor is both smaller than most other APS-C cameras (with a 1.6x crop rather than 1.5x crop), as well as a higher resolution than most other APS-C sensors, meaning the Canon EOS R7 has some of the smallest pixels of any APS-C camera currently available, barring the Fujifilm X-T5.

The camera gives good JPEG results up to ISO 12,800, with few concerns about noise until going above this; ISO 25,600 and above are particularly noise filled. As you’d expect, using ISO 32,000 and ISO 51,200 is to be avoided.

Canon EOS R7, Raw, ISO 100

Canon EOS R7, Raw, ISO 400

Canon EOS R7, Raw, ISO 1600

Canon EOS R7, Raw, ISO 6400

Canon EOS R7, Raw, ISO 12800

Canon EOS R7, Raw, ISO 25600

Canon EOS R7, Raw, ISO 32000

Canon EOS R7: Video

The amount of scene included in the video (the crop factor) depends on what resolution and frame rate options you go for. This also has a knock-on effect on the quality of the image, as only 4K 30fps uses a 7K image downsampled to 4K, and switching to a higher frame rate results in a cropped image. Focus performance during video recording is good, with the camera quickly and accurately focusing on the subject.

Editing the video files is a pain-free process with video recorded at roughly 120mbps (4K Fine, 25p, IPB). You can also save custom video modes to three different custom modes found on the mode dial.

4K Fine (IPB) is recorded at 120Mbps, or 170Mbps with C-Log or HDR PQ on, going up to 340Mbps (4K crop, 60p). People, animals and vehicle detection and tracking auto-focus is available while recording video. FullHD high-speed video can be recorded at speeds up to 120fps, so for those looking for 240fps video, you’ll need to look elsewhere.

Canon EOS R7: Value for money

The Canon EOS R7 offers good value for money if you consider it on it’s own, without comparing it to other brands. For example, if you compare it to the cheaper Fujifilm X-T3, you’ll find that the X-T3 offers a higher resolution electronic viewfinder, CINE video recording, although lacks IBIS (in-body image stabilisation). Another alternative is the Fujifilm X-T4, which does offer IBIS. The Fujifilm X-S10 is also another very competitively priced option, but while it does have IBIS, it has no weather-sealing.

The other benefit the Fujifilm X-System, Sony E-Mount, and Micro Four Thirds systems have going for them is the vast array of lenses available, in comparison to Canon’s three RF-S lenses. Of course, you can use RF (full-frame) lenses on the EOS R7, however, this defeats the purpose of using a smaller camera system. In comparison, with the Fujifilm X-system and Micro Four Thirds system all lenses have been designed to be the optimal size for the system.

Compared to the Canon EOS 90D, the EOS R7 offers quicker continuous shooting 15/30fps vs 10fps, is smaller and lighter, with significantly more focus points, as well as more advanced focus, but can not match the 1300-shot battery life of the EOS 90D, with 770 shot battery life (LCD), or 500 shot battery life (EVF).

In comparison to the Canon EOS 7D Mark II – which Canon sees the EOS R7 as a replacement for – the R7 again offers faster continuous shooting (15/30fps vs 10fps), a higher-resolution sensor, 4K video, built-in Wi-Fi, a touchscreen and tilting screen, as well as more advanced focus (5915 AF points vs 65). It’s clear that we’ve come a long way since the 7D Mark II was released in 2014!

Canon EOS R7: Verdict

The Canon EOS R7 out-specs all of Canon’s APS-C DSLRs, plus its older EOS M-series mirrorless models. It does this in a lightweight body that handles very nicely, despite its small size. With high-speed shooting, advanced AF tracking, and good battery life, it would make for a great all-round camera, as long as you don’t mind the lack of lens choices, or are happy with using full-frame lenses on the camera.

The Canon EOS R7 gives pleasing colour, Toyota Land Cruiser, 1/125s, f/3.5, ISO 100, 50mm STM lens. Photo credit: Joshua Waller/Amateur Photographer

The Canon EOS R7 does a great job of giving high-speed performance and generally high image quality. However, with the EOS R7, you’re left with the choice of just three APS-C lenses, in comparison to over 40 X-Mount lenses for the Fujifilm X system, over 22 E-Mount (APS-C) lenses for the Sony system, and over 100 Micro Four Thirds lenses for Micro Four Thirds cameras.

Green leaves in the sun, 1/160s, f/6.3, ISO 160, 100mm, -1.7EV. Photo credit: Joshua Waller/Amateur Photographer

Limited lens choice

If you’re a Canon EOS RF system user, who wants a slightly smaller camera body, high-speed shooting, and want to use full-frame lenses with a 1.6x crop, then the Canon EOS R7 could make for an excellent second camera body. If you’re coming to the system with no existing lenses, then make sure you’re happy with the lenses on offer from Canon, as the choice really is limited, unless you use full-frame lenses.

Mushroom on a tree, Canon EOS R7, 1/250s, f/6.3, ISO 2000, 150mm, -2EV, Minimal noise reduction, raw converted to JPEG (ACR). Photo credit: Joshua Waller/Amateur Photographer

The rear command wheel is another interesting decision, where a standard, normal command wheel would have done the job and been much less awkward to use.

It didn’t take us too long to get used to the command wheel, but with a standard rear dial, we could have picked up the camera and used it straight away, with nothing new to get the hang of. The joystick being in the centre of this dial is also another design annoyance that was avoidable.

The screen looks great, but the electronic viewfinder (EVF) feels a little bit like an afterthought compared to the resolution and magnification on offer in other cameras such as the Fujifilm X-T3/X-T4/X-T5. It’s not a massive issue as the EVF still looks good, and gives accurate colour and exposure information. Image quality is very good, but the best results will need the use a full-frame RF lens or EF lenses with an adapter. It’s a real shame that the only RF-S lenses are zoom lenses designed to be compact, rather than designed for optimum image quality.

Canon EOS R7 with 18-150mm IS STM lens. Photo credit: Joshua Waller/Amateur Photographer

In summary

Overall, in our time with the Canon EOS R7, the camera performed almost flawlessly, with great results possible; the only issue being the lack of lens choice.

Whether you’re looking for a camera for stills or video, the high-speed and high-quality output of the R7 certainly makes for an appealing camera. However, without additional dedicated lenses it could easily feel limiting.

Find more great Canon cameras in our guide to the best Canon mirrorless cameras.

The Canon EOS R7 in hand with 18-150mm lens. Photo credit: Joshua Waller/Amateur Photographer

The post Canon EOS R7 Full Review appeared first on Amateur Photographer.

Buy now

Sony Alpha 6000 at a glance:

• Used $330-400 / £350-400 body only
• 24.3-million-pixel Exmor APS HD CMOS sensor
• ISO 100-12,800 (expandable to ISO 25,600)
• Three times faster Bionz X image-processing engine
• 179-point hybrid AF system
• Fast 0.06sec autofocus time
• FullHD video at 60/50/25/24p
• Wi-Fi, NFC and Bluetooth built-in

Sony Alpha 6000 review – Introduction

Recent E-mount lenses include the Sony E 10-20mm ultra-wide-angle zoom lens. Image Andy Westlake

When Sony launched the A6000 back in 2014, it marked a turning point for the company as it shifted focus away from its popular NEX range of – as they were then called – compact system cameras and began seriously developing its Alpha series cameras.

The Sony A6000 is an entry-level APS-C format mirrorless camera which can still be purchased today. It has been superseded several times by the Sony A6100, Sony A6300, Sony A6400, Sony A6500, Sony A6600, and most recently by the Sony A6700, showing just how popular this model has been. And while its siblings offer better AF performance and 4K video, nevertheless the Sony A6000 remains one of the best cameras for beginners.

The Sony A6000 marked the marriage of the portable NEX cameras into the Alpha family. The Sony Alpha 6000 was an update to the NEX-6 which, at the time was one of the most popular compact system cameras on the market. The Sony A6000 retained the distinctive NEX body shape, but that is pretty much where the similarities end. Inside the E-mount-compatible Alpha 6000, Sony included some of its best technology at the time.

With the Sony A6000, the company was trying to blur the lines between the DSLR and compact system camera markets. To help the Sony Alpha 6000 compete with DSLRs, Sony included its  Bionz X processor, which featured in the then-flagship Sony Alpha 7R, plus an improved version of the APS-C-sized, 24.3-million-pixel Exmor APS HD CMOS sensor that featured in its previous SLT flagship, the Alpha 77.

In short, the Sony Alpha 6000 represented a change in direction for Sony and helped kick-start its drive to become the leader in the mirrorless market.

The 10-20mm lens is strikingly compact and lightweight, making it a good match for Sony’s small APS-C cameras. Image credit: Andy Westlake / Amateur Photographer

Sony Alpha A6000 firmware updates

Sony has updated the Alpha 6000 numerous times in the years since its launch. Its most recent firmware update, version 3.21, came in 2019 and provided improved stability of the camera’s AF operation.

Previous updates in 2016 optimised the camera’s performance with the latest Sony lenses, while firmware updates in 2015 and 2014 shortened the start-up time, enabled shooting movies in 60p/30p/24p in the XAVC S format and added support for Sony’s Smart Remote Control app.

You can download all of the Sony A6000 firmware updates from Sony’s website.

Sony Alpha 6000 review: Features

The 24.3-million-pixel, APS-C-sized image sensor in the Sony Alpha 6000 features a gapless on-chip design, increasing the camera’s light-collecting efficiency for improved low-light shooting and reduced noise throughout its ISO 100-25,600 sensitivity range. It is also worth noting that there is no anti-aliasing filter in this model.

In the past few years, the high-end interchangeable-lens camera landscape has become increasingly competitive, with Olympus’s OM-D range, Fujifilm’s X-series and Panasonic’s GX and GH cameras all continually pushing the boundaries of what is possible in a mirrorless camera.

Sony continues to release new products for their cameras, including the Sony ECM-G1. Credit: Andy Westlake

However, the Sony Alpha 6000 enters the market with one of the most impressive feature lists in its class, greatly benefiting from the improved processing power of the Bionz X engine, which is three times as fast as the original Bionz processor used in the NEX cameras. The increased speed is particularly notable in terms of start-up time. From switching the camera on, I can begin shooting in about a second, even in hi-speed burst mode, which is fantastic for sharp shooters wanting to capture shots at a moment’s notice.

Improvements to areas such as autofocus speed have been enabled by this extra power, with the Alpha 6000 recording a rapid focusing time of 0.06sec according to the CIPA standard. Under ideal conditions, the Alpha 6000 has one of the fastest focusing systems on the market, even faster than that of the impressive Fujifilm X-T1. It also helps that the shutter lag is imperceptible, with the Alpha 6000 achieving focus almost instantaneously.

Burst-mode shooting at up to 11fps, continuous for 21 raw + JPEG frames or 49 fine JPEGs, is also possible before buffering becomes an issue. This will appeal to anyone considering using the camera for sports, action or fast-moving family members.

The Sony A6000 can use a range of E-mount lenses, here it’s shown with a Sigma 18-50mm lens. Credit: Andy Westlake

The Sony Alpha 6000 has 25 precision contrast-detection AF points, as did the NEX-6. But there’s a more significant improvement to the number of phase-detection points, up from 99 previously to 179 points, covering almost 100% of the frame. The new hybrid autofocus system not only makes it easier for the camera to recognise scenes, but it also boosts the ability of the Alpha 6000 to lock onto the correct subjects and track them tenaciously.

AF-A (a combination of continuous and single-shot AF) is featured in the Alpha 6000, which is a first for the Sony E-mount family. When in this mode, and faced with situations where subjects aren’t predominantly stationary or moving, the camera will select the appropriate focusing mode for the scene. I’m also pleased to see that Sony has enabled active AF point visibility, making it easier to check whether focusing is accurate or not, particularly while shooting burst frames and tracking.

Sony Alpha 6000 review: Sony PlayMemories apps

Image: A screenshot of the creative Light Shaft app available in the PlayMemories store. It can be used to create striking effects in-camera

The Alpha 6000 comes with some fantastic features straight out of the box, including Sony’s PlayMemories app library, which is accessible through the camera’s menu when connected to Wi-Fi.

This provides you with additional features that you can download for free to expand the camera’s functionality.

Some of the available free add-ons for Sony A6000 include a Sync to Smartphone feature, which automatically transfers photos to a pre-registered smartphone or tablet when your camera is turned off. Even better it lets you transfer original or reduced-size photos.

Another handy feature is the Remote Control as the name suggests it lets you control the exposure settings with a smartphone. The Best Portrait feature includes skin softening and brightening effects, and with the Touchless shutter, even though still a Beta version, you can use the viewfinder’s eye sensor to release the shutter.

As of September 2023 Sony ended the sale of the paid features, if you have already purchased these features you can continue to use them, however, new users won’t be able to download them.

A couple of the paid applications (now discontinued) I really liked were Liveview Grading and Light Shaft.

Liveview Grading enables you to add colour effects to your videos in real-time, adjusting various aspects such as colour-depth saturation or applying preset effects.

Light Shaft does pretty much what you’d expect, you can use it to craft the light in your images using one of four light shapes: flare, ray of light, star and light beam. It’s a really interesting effect that can add atmosphere and drama to an otherwise flat image. Light intensity, width, direction and position are all adjustable, and the app makes a copy of your image so that the original is untouched. I also enjoyed using Cinematic Photo, Smart Remote Control and Catch Light.

I did experience some stability issues with certain apps, but the camera’s firmware has since been updated so hopefully these will have been addressed, and for the most part I found them straightforward to use. Sony PlayMemories apps are a fun and affordable way to expand the Alpha 6000’s capabilities and create effects in-camera, saving you time in front of a computer.

• See our guide on how to connect your Sony camera to a smartphone.

Sony Alpha 6000 review: Build and handling

Designed to operate like a DSLR, the Alpha 6000 has dual shutter and aperture control via a shoulder dial behind the shutter and the selection wheel on the rear of the camera.

The ergonomically moulded, rubberised grip provides a firm hold, and Sony has smartly placed the dedicated movie record button just on the outer side of where your thumb naturally rests, making it easy to access while avoiding accidental pressing. The first of the two custom buttons, C1, sits beside the shutter button, while C2 can be used to delete images during playback mode, as well as be set to access a number of functions and quick menus.

The Fn button above the rear control wheel opens the shortcut menu and can also be used to connect to a smart device for image transfer. Auto-exposure lock (AEL), main menu and manual flash buttons sit along the top of the LCD screen, although given the numerous ways in which the Alpha 6000 can be customised, there’s little reason to delve into the main menu once you’ve got the camera set up how you like.

The Sony E PZ 10-20mm F4 G is attractive for both stills and video. Image credit: Andy Westlake / Amateur Photographer

I found the Alpha 6000’s controls easy to access and operate during use. Within a short time of using the camera, I could adapt controls swiftly without even looking at the LCD or averting my attention away from compositions.

In terms of portability, most of the camera’s weight sits in the grip, which houses the battery and memory card, but this is countered by the weight of the lens, making the Alpha 6000 well balanced. It’s comfortable to operate one-handed, but for optimum comfort I preferred to use two hands and shoot through the EVF in the majority of instances.

Sony Alpha 6000 review: Metering

Image: Shooting a subject with the sun directly behind is a challenging metering scenario, but the Alpha 6000’s 1,200-zone evaluative metering system exposed well unassisted.Credit: Andy Westlake

The 1,200-zone evaluative multi-segment metering does a superb job of rendering true-to-life levels of exposure in most instances. The Alpha 6000’s ability to take a reading from a large portion of the frame makes for reliable meter readings that produce consistent results. Shooting a foreground subject with bright sunlight behind is one of the most challenging scenarios a metering system can face, but when left to its own devices the Alpha 6000 still captured pleasing results, only naturally losing highlight detail in the out-of-focus background.

Taking advantage of the camera’s spot and centre weighted metering does help, though, and the camera’s extensive ±5EV exposure compensation in 1⁄3 steps gives great additional control over exposures.

Sony Alpha 6000 review: Dynamic Range

Shadow areas in high-contrast scenes retain a good amount of detail, particularly the raw files, but I found compressed JPEGs also contained recoverable shadow and highlight detail. In our dynamic range tests, the Alpha 6000 scored 12.26EV at ISO 100, which is on a par with Canon’s EOS 1200D and keeping up with the recently released DSLR throughout its sensitivity range.

In most conditions, I found colours from the Alpha 6000 to be rich and vibrant, and the reproduction of highlight and shadow detail is instantly pleasing, without the need to apply curves or adjustments in post-production.

Image: The Alpha 6000 captures great natural tones and depth in this image, shot at 1/500sec at f/4 and ISO 400. Credit: Andy Westlake

Sony Alpha 6000 review: Autofocus

The response time of the Alpha 6000’s 179-point hybrid AF system is exceedingly fast, with no discernible shutter lag. When the shutter button is half-pressed to lock onto a subject or scene, focus is attained almost instantly, even in relatively low ambient light.

The combination of improved phase and precision contrast detection, powered by the new Bionz X processor, gives the camera the ability to create a 3D map of the subject so that it can read the distance of each element in the focus area.

Benefits from the improved system also carry over into AF performance, as the Alpha 6000 can drive its lenses 35% faster than Sony’s previous system. In use, the Alpha 6000 switches focus points rapidly when tracking subjects using its 11fps hi-speed continuous burst mode, demonstrated by small red AF points lighting up in the display as your subjects move across, towards or away in the frame. It’s the closest thing many users will get to shooting fast-moving subjects with a Nikon D4S or a Canon EOS-1D X, for a fraction of the price.

I did experience dropped focus in a few frames, but I was able to capture so many frames either side of the failures that it wasn’t a significant issue. Overall, I was very impressed with the Alpha 6000’s AF performance: it’s one of the fastest cameras in its class and snappier than any comparable DSLR.

Sony Alpha 6000 review: Noise, resolution and sensitivity

Image: Lighting in DJ booths is scant at best. I shot this image of Jey Flash at 1/30sec handheld, but I was limited to an f/4 lens. Thankfully, noise at ISO 3200 wasn’t an issue for the Alpha 6000, Credit: Andy Westlake

Considering the resolution of the Alpha 6000’s 24.3-million-pixel, APS-C-sized sensor, we expected the Alpha 6000 to perform well – and it did. It scored 32 on our resolution chart, which is comparable to the 31 scored by the Nikon D5300.

Multi-frame noise reduction (MFNR) is now included in ISO settings in-camera rather than via a downloadable app, as was the case with the NEX-5R and NEX-6. This is deployed in low-light situations, firing off six frames in quick succession and then stacking them into a single image to combat noise. At lower ISO levels, there’s no distinct advantage to using MFNR, but at higher sensitivity settings the improvement in noise reduction and detail retention is impressive, particularly beyond ISO 1600.

There’s almost no visible colour noise in any images until about ISO 6400, and looking at the raw files it’s possible to balance the noise reduction enough to remove any damaging noise while still retaining a good level of edge sharpness and texture. The camera is capable of applying area-specific noise reduction that is intelligent enough to avoid being too aggressive, until you push it to its extremes. Beyond ISO 8000, photographs begin to look more artistic than accurate when viewed any larger than they automatically appear on the Alpha 6000’s 3in screen.

I’d happily print JPEG images straight out of the Alpha 6000, but for scenarios where light is very limited and you need a fast-enough shutter speed to shoot handheld, the Alpha 6000’s capable sensitivity performance is a great support.

These images show 72ppi (100% on a computer screen) sections of images of a resolution chart, captured using the 16-70mm lens set to 36mm and f/5.6 . We show the section of the resolution chart where the camera starts to fail to reproduce the lines separately. The higher the number visible in these images, the better the camera’s detail resolution is at the specified sensitivity setting.

Sony Alpha 6000 review: White balance and colour

Image: Images captured by the Alpha 6000 are crisp with vivid colours, as shown in this image. Detail is visible in all highlight and shadow areas, Credit: Andy Westlake

I was happy with the white balance and colours captured by the Alpha 6000. Regardless of which colours dominated the frame, the camera was able to intelligently read and apply the appropriate settings.

However, there are 11 white balance presets as well as the option to assign one custom option if you want more precise settings, plus 12 creative style modes to add some in-camera colour options. The only one I wasn’t particularly impressed with was portrait mode, as its default effect made people look either unwell or hot.

That said, the best thing about the colour styles is the ability to adjust their contrast, saturation and sharpness to achieve a look that suits your tastes.

I prefer to make colour adjustments myself in post-processing and leave the camera in its default mode. Standard colour captured by the Alpha 6000 is rich, and saturated enough to be vibrant without being unrealistic.

Sony Alpha 6000 review: Viewfinder, LCD

On paper, the Alpha 6000’s Tru-Finder-branded, 0.39in, 1.44-million-dot OLED EVF appears to be a downgrade from the 0.5in, 2.3-million-dot XGA OLED viewfinder that featured on the NEX-6. Even the magnification has been slightly reduced, from 1.09x in the NEX-6 to 1.07x, equivalent to 70x in 35mm terms.

However, in use, the smaller, lower-resolution EVF on the Alpha 6000 appears to render a 100% field of view with greater vibrancy and clarity than its predecessor. The refresh rate is impressive, meaning that lag is barely noticeable when moving the camera, so while it may not be as good as an optical viewfinder, it’s certainly not poor.

At 921,600 dots, the Alpha 6000’s 3in TFT LCD screen is a match for the NEX-6 that it replaces, but it’s not quite as impressive as the LCD on the pricier Fujifilm X-T1, or even the cheaper touchscreen-operable Olympus OM-D E-M10, both of which sport 1.04-million-dot screens.

Video recording

The 16:9 aspect ratio of the Alpha 6000’s tilting LCD screen works great for video but leaves two black bars on either side when in photo mode, cropping the screen. It didn’t bother me too much because I prefer to shoot stills using the EVF, but it does make the screen appear quite small when using it during live view.

People keen to shoot video will be pleased to learn that the Alpha 6000 includes some useful functions, including zebra patterning, and that it can record 1920×1080-pixel full HD, AVCHD Ver2.0/MP4 video at 60p and 24p. It also has a Type D Micro HDMI connection, providing a clean HDMI output for video recording. It’s a little disappointing that there’s no headphone jack to monitor audio, but the multi-interface hotshoe at least allows you to connect an external microphone.

Sony Alpha 6000 review: The competition

With the Alpha 6000, Sony is aiming to attract those considering buying their first DSLR or looking for a compact mirrorless camera. While there are many cameras that will be suitable for both audiences, from the likes of Olympus, Panasonic, and Canon, it’s the wide range of Sony E-Mount lenses that make the Sony a particularly appealing option, as well as the low price on the second-hand market.

Sony Alpha 6000 review: Verdict

Image: Improved image detail and natural colour reproduction are visible in this image, shown cropped at 100%, Credit: Andy Westlake

Striking a strong balance between aesthetics and performance, the Sony Alpha 6000 is a desirable camera with no standout flaws. Of course, improvements can – and will – always be made, but Sony largely hit the nail on the head with the NEX-6 and NEX-7 cameras, so rather than drastically overhauling those designs for their replacement, it has simply advanced the imaging technology and processing power of this updated model.

The improvements, particularly in low-light performance and speed, are significant enough to justify an existing NEX user upgrading, and I also believe the Alpha 6000 will challenge the entry-level DSLR market and appeal to advanced enthusiasts, just as Sony is hoping it will.

Top-spec technology and a host of cutting-edge features may just see the Alpha 6000 mirror the longevity and success of its predecessor and keep it competitive in years to come.

Is the Sony A6000 still worth buying in 2024?

Though it is pushing on 10 years old, the Sony A6000 remains an excellent camera, particularly for those looking for a budget camera they can learn and grow with. It may lack the 4K video and AF capabilities of some of Sony’s more modern cameras, but it still delivers beautiful images. It has been discontinued but there are plenty of options in the used market with excellent condition models at around $350-400 / £350-400.

6 Key features

• Pop-up flash – The Alpha 6000’s flash pops up via a manual button on the rear of the camera. Its guide number of 6m @ ISO 100 is a good enough distance to use the flash for small group photos in low light.
• AF points – The combination of fast 179-point hybrid autofocus and impressive 11fps continuous shooting means you should easily be able to home in on the action and get a winning shot.
• Tutorials – Shooting tips in the Alpha 6000’s home menu provide photographic guidance on more than 100 subjects, from camera basics to scenario-specific advice, such as how to shoot star trails.
• Titlable LCD – The ability to tilt the 3-inch LCD screen gives greater control over compositions, making it possible to capture images with unique perspectives that stand out.
• Ergonomics – One of the issues I often have with cameras that have a compact design is controls that are too small and difficult to use. The Alpha 6000’s dials, wheel and buttons are big enough to operate with ease, even while wearing gloves.
• Dual control – Being able to adjust both the shutter speed and aperture independently is a great strength of the Alpha 6000, and will appeal to anyone keen to have DSLR-like control over settings.

Hands-on review

Replacing the NEX-6 and NEX-7, the A6000 borrows some of the best technology from Sony’s latest models and squeezes them into a compact body, which will no doubt attract a lot of attention from discerning enthusiasts and prosumers looking for a highly portable solution that packs a premium punch.

AP Technical Writer, Jon Devo gets his hands on the Sony Alpha 6000

Physically there are very few differences between the A6000 and the NEX-7, which will be a good thing for many people who have become loyal followers of the NEX brand. It’s a popular form factor amongst the mirrorless camera class and it instantly looks like a high-end piece of kit.

Despite sharing many similarities with its predecessors, the A6000 is unmistakably modern and will likely peak the interests of many enthusiasts and pros following its announcement at this year’s CP+ expo in Yokohama, Japan.

Key Features

The 24.3-million-pixel APS-C Exmor APS HD CMOS gapless design sensor that is featured in the Sony SLT-A77 and the Alpha a7 is utilised in the A6000. However, operation and focusing are noticeably snappier following the development of a new focusing algorithm and the Bionz-X processor, three times more powerful than the original processor used in the Sony SLT-A99.

Engineers from Sony also revealed to AP that they have begun using a new undisclosed material in their colour filter array, which they say has increased the signal response by 20%, the accuracy of the A6000’s colour reproduction appears to be improved as a result.

Sony has managed to record a 0.06 seconds autofocus speed by the CIPA standard, which is faster than the much-celebrated Fujifilm X-100S. In the limited time I had with the pre-production model, AF did appear to work well, with the selection of the correct subjects being seemingly instantaneous. I do look forward to seeing how well focusing performs in low light, but the inclusion of a built-in flash with AF-beam assist, and a multifunction hotshoe will provide additional lighting options.

Image credit: John Devo / Amateur Photographer

The A6000 is also capable of shooting 11fps of RAW+JPEG for 21 frames or 49fps of fine JPEG before it begins buffering, I was still able to continue shooting but at a much slower 1-2fps. Fast burst shooting and performance of the A6000 will certainly appeal to anyone planning on shooting action sports.

During the hands-on preview we were shown various image and video comparisons between the Sony A6000 and some comparable mid-level CSCs and DSLRs, the results were impressive. Looking at 100% crops of a garden scene containing a mix of stone and plant detail, the A6000, utilizing diffraction reduction technology, managed to resolve sharper edge detail and reduced haloing compared to the 24.2-million-pixel Nikon D5300, particularly at f/11. Colour and contrast also appeared slightly more accurate on the images printed from the camera.

Viewfinder and Display

In contrary to the fears of rumour site readers, the A6000 does indeed have an EVF, positioned to the left on the back of the camera. The 1.44-million dot resolution OLED “Tru-finder” EVF provides 100% frame coverage, and it works very well in practice, although it’s not quite as clear as an OVF, the additional shooting information displayed on it is very clear indeed, reducing the need to take the camera away from your face whilst shooting. The EVF protrudes slightly from the back of the camera, and the buffering around it is rubberised for extra comfort.

Image credit: John Devo / Amateur Photographer

The A6000 also has a 3.0-type 921K-dot tiltable LCD, which is bright enough to be used in daylight, and even fairs well in direct sunlight thanks to anti-reflective coating.

Other Features

Collaborating with their camcorder division, Sony appear to have delivered HD video recording performance as good as I’ve seen on any camera in this class, thanks to the inclusion of a highly effective SteadyShot feature and continuous hybrid autofocus during movie mode, combining contrast and phase detection AF capable of recognising and focusing on subjects in motion. The 179-point hybrid AF can cover 90% of the field of view and also uses defocus mapping to calculate the distance of each element in the frame.

Capable of ISO sensitivity from 100 to 25,600 (multi-shot mode only), the images I saw show promising lowlight potential well beyond ISO 800. The camera’s area specific noise reduction appears to work well to preserve highlight detail, demonstrated best in a night video scene of a waterfront. Whilst the buildings were clear in the other camera’s examples, their NR had all but completely lost the ripples of light on the water, these were clear in the A6000 example. However, on darker surface the NR smoothes the details a little too heavily as very little luminance noise is visible. The resulting effect is slightly unrealistic dark surfaces that lack in texture.

Build and Handling

Judging the A6000 by its size, you could make the mistake of not taking it seriously, at only 120 x 66.9 x 45.1mm, it’s only slightly larger than the pocket-sized but highly capable Panasonic Lumix DMC-TZ60, but it’s a different class of camera entirely. Dual dial and wheel control, plus six customisable buttons make it possible to tailor your shooting experience to your needs, this will appeal particularly to the advanced enthusiast photographer.

Image credit: John Devo / Amateur Photographer

When you pick it up, the 285g A6000 is a good weight for its size with the 16-50mm kit lens mounted. Made from a mix of brushed metal and polycarbonate tough plastic, it’s a camera that has been made for photographers with a discerning appreciation for modern design and quality build.

Sony has also redesigned and simplified their menus to be uniform across all of their current cameras, the new look is very straightforward and makes the system user-friendly and slick.

Initial Thoughts

The Bionz-X processor is helping Sony’s latest range of cameras squeeze some excellent performance from technologies that have already proven solid and popular in its NEX range. As a result the familiar feeling Sony A6000 feels like a souped-up NEX-6 with improved handling. But with the addition of extra processing power and impressive video features, many people will find themselves considering this new camera, even previous NEX owners will now have a good reason to consider upgrading.

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The post Sony Alpha A6000 review – still a bargain in 2024? appeared first on Amateur Photographer.

So if Sony didn’t update the sensor, what exactly was new about the A7R V? The answer, really, was just about everything else.

Sony Alpha A7R V at a glance:

• $3,890 / £3,840 body-only
• 61MP full-frame sensor
• 693-point AF with subject recognition
• ISO 100-32,000 (standard)
• Up to 10fps shooting
• 8K 24fps video
• 9.44m-dot, 0.9x OLED viewfinder
• 3.2in, 2.1m-dot 4-way-articulated LCD

Buy now

The A7R V builds on the A7R IV (right), but adds a host of new features. Image credit: Andy Westlake.

Probably the most significant update was the addition of 2022’s must-have feature for new cameras – subject-detection autofocus. Powered by a brand-new AI processing unit, this system is capable of recognising and locking onto more specific subjects than ever before, including humans, animals, vehicles and more. This makes the A7R V a much more versatile beast than any of the previous cameras in the R line-up, capable of holding its own with challenging, fast-moving subjects.

The physical interface of the camera got an overhaul too, with Sony taking plenty of cues from some of its previous success stories. A welcome addition to the A7R V was a large, highly detailed electronic viewfinder, one we had previously seen on the Alpha 7S III and Alpha 1. With 9.44m dots of resolution and 0.9x magnification, this gorgeous unit is one of the most compelling arguments ever made for electronic viewfinders.

The LCD screen wasn’t forgotten, receiving a new design with an up/down tilting mechanism and a fully articulating side hinge, making it much more versatile for shooting at different angles. The in-body image stabilisation received a bump, and is now rated for up to 8 stops of effective compensation in CIPA testing. It’s a frankly intimidating spec list, and you could forgiven for wondering exactly what the catch is.

One key update is the new multi-angle screen – essentially a side-hinged varia-angle screen attached to an A7R IV-like tilt mechanism. Image credit: Andy Westlake

We kid, of course. You know what the catch is. With a body-only price of $3,890 / £3840, the A7R V is significantly more expensive than its predecessor. It costs a lot more than the 45.7MP Nikon Z 7II, and £300 less than the 45MP Canon EOS R5, slotting firmly into the premium end of the camera market.

Does the Sony A7R V make sense as a camera to buy in 2023? Or has Sony created an overloaded, over-priced camera that simply tries to do too much? Find out as we dive into our full Sony A7R V review. For more options, take a look at our guide to the best Sony cameras and the best Sony E-mount lenses.

Sony A7R V: Firmware

Since the mirrorless camera’s original release, Sony has put out one major firmware update for the A7R V, which arrived at the tail end of March 2023. The most enthusiastically touted feature of the update was the addition of support for the Creators’ app, Sony’s updated version of its old Sony Imaging Edge Mobile app, used to facilitate wireless transfer of images between the camera and a smartphone. It also enables remote settings control and shutter triggering.

Probably of more interest to most photographers though was the update to Face Detection autofocus, allowing the user to select particular faces for the camera to prioritise tracking. Of particular use to wedding photographers and photojournalists, this feature means you can input the faces of priority individuals in advance, and rely on the camera to pick them out of a crowd.

You can download the latest firmware for the A7R V here.

Sony A7R V: Features

On the A7R V, Sony has included one of its most sophisticated iterations of subject-detection autofocus, adding cars, trains, airplanes, and insects to the existing list of humans, animals, and birds. It also claims that the camera can understand these subjects in much more detail than before. For example, it can recognise animal heads and bodies as well as eyes, and boasts human ‘pose estimation’, which is used to help ensure the camera holds focus on the most important part of the subject. This is all backed up by an autofocus system that boasts a larger number of focus points than its predecessor, at 693 compared to 567, and which also covers more of the frame (79% vs 74%).

Sony has built the A7R V using the same 60MP full-frame sensor as its predecessor. Image: Andy Westlake

The camera’s new AI processing unit isn’t just used for autofocusing, however. Sony claims it should also help deliver more reliable autoexposure and auto white balance, for example in shaded scenes which can be prone to blue colour casts. Colour rendition is said to be improved, too, and particularly skin tones.

Another striking update lies with the in-body image stabilisation (IBIS), which is now rated for up to 8 stops of shake reduction in CIPA standard tests, compared to 5.5 stops previously. As before, the A7R V can also use its IBIS mechanism to create pixel-shift multi-shot images. Two options are available: a 4-shot mode which produces 60MP files with full-colour sampling at each pixel location, or a 16-shot mode that outputs massive 240MP images. The camera has to be mounted on a tripod – there’s no hand-held mode – but in a welcome move, Sony’s Imaging Edge Desktop software can now detect and compensate for image elements which move between frames.

The A7R V is powered by Sony’s familiar NP-FZ100 battery. Image: Andy Westlake

Elsewhere, though, it’s a broadly familiar tale. The 61MP full-frame sensor employs a backside-illuminated design to maximise light-gathering efficiency and provides a standard sensitivity range of ISO 100-32,000. There are also extended low settings down to ISO 50, with an increased risk of irretrievably clipping highlight detail, and high settings up to ISO 102,400.

As before, the maximum drive speed is 10 frames per second. But the A7R V should now shoot more frames in a burst: up to 88 uncompressed raw + JPEG, or 184 compressed raw + JPEG. However, this is contingent on the storage media used, with both card slots now accepting high-speed but expensive CFexpress Type A cards, as well as UHS-II SD.

Both card slots now accept both UHS-II SD cards and the faster, but more expensive CFexpress Type A media. Image: Andy Westlake

One disadvantage of the A7R IV’s 61MP resolution has always been the associated storage and processing overheads. To address this, Sony has provided a wider range of image recording options, including lossless raw compression which reduces file sizes by 20%-50% with no drop in image quality. You also get the option to record lossless-compressed raw at two lower resolutions, 26MP and 15MP, makes the A7R V much better suited to more casual photography.

Various other new features are found squirrelled away in the menus. An “Anti-flicker TV scan” function can automatically fine-tune the shutter speed to suppress colour banding effects when shooting under fluorescent or LED lighting. There’s also an option to close the shutter when the camera is switched off, to help keep dust off the sensor. Sony has included a bulb timer option in the menu for shooting long exposures with ND filters, although simply adding longer timed shutter speeds would have been a much more practical solution.

It’s now possible to set the A7R V to close its shutter when turned off, to help prevent dust getting on the sensor when you change lenses. Image: Andy Westlake

There’s also a significant boost to the A7R V’s video credentials. It’s now capable of 8K recording at 24/25fps and 4K at 50/60fps, although both come with a 1.2x crop. Using the full sensor width, it can shoot in 4K at up to 30fps. The camera outputs 10-bit 4:2:2 colour, includes Sony’s S-Cinetone profile, and boasts focus breathing compensation, which maintains a constant angle of view as focus is pulled from one subject to another (as long as you’re using a Sony lens).

Like almost all current models, built-in Bluetooth and Wi-Fi allow the camera to be connected to your phone via Sony’s free Imaging Edge Mobile app. This offers a pretty typical feature set, allowing you to copy images across to your phone for sharing on social media. Unfortunately, Sony has yet again stubbornly refused to include in-camera raw conversion, so you can’t tweak your shots before showing them off.

Ports include HDMI, PC flash sync, micriphone, headphone, USB-C and micro USB/multi-terminal. Image: Andy Westlake

You can also operate the camera remotely over Wi-Fi, with extensive control over exposure settings and a live view display. You can tap the phone’s screen to set the focus point, too, a simple enough feature that was bizarrely missing from older Sony models. One useful option that is missing from the app, though, is a simple Bluetooth remote release mode.

Additional pro connectivity options include tethered shooting to a PC using the firm’s Imaging Edge Desktop software, either via a 5 GHz Wi-Fi or 10Gbps USB-C connection. Files can be transferred to an FTP server through Wi-Fi, USB, or a USB-tethered smartphone. You can even wire the camera to your computer and use it as a 4K webcam without installing any additional software, should you wish.

Sony Alpha A7R V: Key features

Sony has built upon the A7R V’s excellent predecessor, improving it in many significant ways

• Ports: On the side there’s now a full-size HDMI output, along with microphone, headphone, PC flash sync, USB-C and micro USB sockets. None clash with the articulating screen
• Remote: You can trigger the camera remotely using Wi-Fi, a Bluetooth remote release, or a micro USB (Multi-Terminal) cable release. But there’s no longer an infrared remote receiver.
• Accessories: The A7R IV can use all the same accessories as the previous model, including vertical grips and L-brackets. The clever screen design doesn’t clash with the latter.
• Storage: Dual media slots can accept either UHS-II SD cards or the faster CFexpress Type A cards. Cards can be used simultaneously or sequentially, or different file types recorded to each.
• Power: Sony’s familiar NP-FZ100 battery is rated for 440 shots per charge using the EVF, or 530 with the LCD. It can be topped up via either micro USB or USB-C, and an external charger comes in the box.
• E-mount: This is easily the best supported full-frame mirrorless mount, with a vast array of lenses available from Sony, Samyang, Sigma, Tamron, Voigtlander and Zeiss.

Sony A7R V: Build and handling

Unsurprisingly, the A7R V looks very much like its recent Alpha 7 siblings, with the same blocky, angular design that wastes no time on such fripperies as mere styling. Anyone who’s used a full-frame Sony since the A7R III of late 2017 onwards will already know pretty much how it works. However, compared to its predecessor, it gains an array of body design and interface updates, most of which are inherited from last year’s A7 IV. In your hand it feels solid and robust, and the extensive weather sealing means you should be able to use it with confidence on a rainy day.

The A7R V’s exposure compensation dial is now unmarked and user-customisable, while the video button is easier to reach. Image: Andy Westlake

You still get an SLR-shaped body that’s relatively compact compared to most of its full-frame peers, with a chunky handgrip and no fewer than four electronic control dials. But in place of the dedicated exposure compensation dial, there’s now an unmarked dial that still does the same job, but whose function can be re-assigned by the user.

A switch beneath the exposure mode dial selects between photo, movie, and slow/quick motion shooting, while the video record button moves to the top plate, making it easier to reach. I preferred to re-assign it back to focus magnification for stills shooting, mind you, like on the A7R IV.

A switch beneath the mode dial selected between stills, movie and S&Q (slow and quick motion) shooting. Image: Andy Westlake

Given how the Alpha 7 design has been continually refined, it should come as no surprise to hear that the A7R V generally handles very well. The various controls are all well-placed for use with the camera up to your eye, and I found them to be sufficiently large and positive in action to be perfectly usable while wearing winter gloves. Every single control can be customised to suit the user, but I found that there’s not that much need to change things, as the most important settings are already easy to access. About my only criticism is that the two top-plate thumb dials are now quite easily confused with the camera up to your eye, as they have a very similar feel. In contrast, the exposure compensation dial on the A7R IV has firmer, more defined clicks.

While other cameras have more sculpted and comfortable handgrips, the A7R V’s still gives a very secure hold, and works well with heavier lenses. However, the narrow body does mean that it’s quite tightly cramped to the lens, which some users find uncomfortable. Whether this will affect you depends both on the size of your hands, and the size of the lenses you use, so if in doubt it’s worth checking before you buy.

The A7R V includes Sony’s latest menu system, which includes a handy user-customisable My Menu. Image: Andy Westlake

On the A7R V, you also get Sony’s latest menu system and comprehensive touch interface. The latter is a very welcome addition, as it allows you to navigate the onscreen Fn menu and change settings much more quickly. As for the menus, they’re both prettier and more logical than before, but they’re still overwhelmingly vast, with no fewer than 55 tabs. Sony also has a bad habit of abbreviating words by missing out the vowels, leaving you guessing what some settings are supposed to mean. You certainly don’t want to be searching for functions while you’re shooting, so it makes a lot of sense to configure your most-used items into the My Menu tab.

Sony A7R V: Viewfinder and screen

One significant practical update comes with respect to composing and viewing your images. You now get the same 9.44m-dot electronic viewfinder that first appeared on the A7S III, with a huge 0.9x magnification. The A7R IV’s 5.76m-dot, 0.8x EVF was excellent, but the A7R V’s is sensational.

Sony has fitted the A7R V with a stunning 9.44m-dot, 0.9x viewfinder. Image: Andy Westlake

Sony previews colour, white balance, exposure, and depth-of-field, which means you get a very accurate idea of how your shots are going to turn out. What you can’t do, though, is turn off all the processing to get more a neutral view resembling a DSLR’s optical viewfinder, unlike most other brands. And you still can’t display both an electronic level and live histogram at the same time, but instead have to cycle through multiple screens to see them, which is annoying.

The A7R V’s screen tilts up and down in a similar fashion to the A7R IV. Image: Andy Westlake

One totally new feature, for Sony at least, is the design of the rear screen. This takes the up/down tilting design used on the A7R IV and adds a side-hinged fully articulating mechanism, much like Panasonic’s design on the Lumix GH6 and Lumix S1H. As a result, it combines the discreet shooting offered by a tilting screen with the increased compositional flexibility of the articulated type, including the ability to shoot at high or low angles in portrait format. The screen itself is also larger and more detailed than before, at 3.2in and 2.1m-dot.

Alternatively, the screen can work like a side-hinged vari-angle type. Image: Andy Westlake

Together, this makes for a dramatic improvement in the usability of the LCD for composing your photos, and as a result, I used it rather more than I tend to with the A7R IV. Unlike conventional vari-angle screens, this design also works perfectly well when you have an L-bracket attached to the camera, which means it’s great for landscape photography. It doesn’t add much extra bulk to the body, either.

Sony Alpha A7R V: Autofocus

One of the A7R V’s headline updates is its new subject-recognition autofocus system, which covers cars, trains, airplanes, humans, animals, insects, and birds. When enabled, in principle it will focus only on the specified type of subject, outlining it in the viewfinder and ignoring anything else. As the subject gets closer and larger in the frame, it’s also smart enough to home in and focus on the most important part. It’s all very clever, and it works ridiculously well.

Click on any of the sample images below to see the full-size file.

AI Subject detection allows you to delegate autofocus area selection to the camera and concentrate on composition instead. Sony Alpha A7R V, Sigma 100-400mm F5-6.3 DG DN OS C at 400mm, 1/1000sec at f/6.3, ISO 800, APS-C crop mode (26MP). Credit: Andy Westlake

Indeed, if you’re prepared to put a little effort into mastering how the settings work – and this being Sony, they’re not necessarily very clear – this might be the most capable autofocus system around. It doesn’t matter whether your subject is static or moving erratically around the frame, the camera simply nails focus almost all the time. Whether it be shooting informal portraits at the pub, or birds in flight at the local park, I found the subject recognition worked consistently well with minimal effort on my part. This might sound lazy, but the reality is that it allows you to concentrate your efforts on composition, rather than setting up your AF system.

The A7R V’s autofocus was up to tracking small, first birds with a decent hit-rate, even using a third-party lens. Sony Alpha A7R V, Sigma 100-400mm F5-6.3 DG DN OS C at 400mm, 1/2000sec at f/6.3, ISO 240, 9.4MP crop. Credit: Andy Westlake

Sony is always keen to point out that you’ll get the best C-AF performance with the firm’s own GM lenses, so naturally, I was keen to try it out with some less expensive optics. I tested it using the Sigma 100-400mm F5-6.3 DG DN OS, which at $900 / £900, is less than half the price of its Sony FE 100-400mm F4.5-5.6 GM OSS counterpart. Even with small, fast-moving subjects such as gulls, the autofocus still gave me plenty of tack-sharp shots, if perhaps not same percentage of keepers as you’d get with the Sony GM optic.

The main irritations come with configuring the AF system to do what you want. In a long-running Sony quirk, you can’t just turn AF tracking on and off with a simple button press – instead it’s inexplicably grouped with the AF area mode settings. However, you can set the AF-ON button to also activate tracking, which makes a lot of sense. If you’re prepared to delve deeper into the camera’s workings, you can go further and register a ‘Custom Shoot Set’ in the Shooting menu to combine tracking with AF-C and continuous shooting, and then assign this setup to AF-ON in the Setup Menu, which is my preferred solution.

Sony Alpha 7R V, Sigma 45mm F2.8 DG DN C, 1/100sec at f/2.8, ISO 3200. Credit: Andy Westlake

You also have to select in advance what kind of subject you’re intending to shoot, using either the Fn menu or by assigning selection to a custom button. While most cameras work like this, it’s disappointing on a brand-new £4000 body, given that Canon and Nikon’s recent high-end models can now auto select between subject types. Wildlife photographers do, at least, get an option to photograph animals and birds at the same time, although not insects. But you’re not allowed to shoot humans and animals together – maybe Sony engineers don’t have pets? Thankfully, if the camera can’t find a subject of the correct type, it’ll revert to its conventional tracking instead, which is still very reliable.

Subject detection recognises subjects reliable even when they are small and distant in the frame. This is a 6MP crop from an APS-C frame. Sony A7R V, Sigma 100-400mm F5-6.3 DN DN OS C at 380mm, 1/20000sec at f/6.3, ISO 800. Credit: Andy Westlake

Sony has also included an extraordinary Subject Recognition sub-menu, in which you can fine-tune many aspects of how the system works. But not only is it massively over-complicated, the menu settings are all obtusely named. You can press the Delete key for an onscreen help page that attempts to explain each setting, but this will probably just leave you even more confused. Personally, I decided to leave it all well alone.

Sony Alpha A7R V: Performance

We’ve become used to Sony cameras being incredibly slick performers, and the A7R V follows suit. It’s extremely quick and responsive, and unlike previous generations, this extends just as much to the touchscreen interface as the physical controls. The result is a reliable tool that gets out of your way and does its job with the minimum of fuss.

The Sony Alpha 7R V’s 61MP sensor delivers excellent image quality across a wide range of situations. Sony A7R V, Sony FE 24-105mm F4 G OSS at 63mm, 1/80sec at f/8, ISO 1600. Credit: Andy Westlake

It’s pretty discreet too, with the shutter operating with a relatively quiet, unobtrusive snick. You can engage the silent electronic shutter in especially sensitive situations, but be aware that it’s rather prone to rolling shutter effects with moving subjects, along with banding under artificial light. This is one of the camera’s few real weaknesses, and I’d only use it as a last resort.

Image quality is maintained well at higher ISO settings. Sony Alpha 7R V, Sigma 45mm F2.8 DG DN C, 1/80sec at f/8, ISO 5000. Credit: Andy Westlake

While the headline burst rate is 10fps, this doesn’t quite tell the whole story. You’ll only get this speed when shooting JPEGs or compressed raw files; switch to uncompressed raw, or lossless compression, and the speed immediately drops below 7fps. At 10fps you don’t get live view between frames, either, but playback of a previous image instead, which makes tracking a moving subject almost impossible. Usually, you’re better off selecting the Hi mode, which tops out at 8fps. If shooting sports and action is your thing, you’ll still be better served by the Alpha 1.

The sensor delivers stunning detail, especially when paired with a sharp prime lens or GM zoom. Sony A7R V, Sony FE 90mm F2.8 Macro G OSS, 1/1000sec at f/8, ISO 800. Credit: Andy Westlake

You also need to use CFexpress Type A cards to achieve Sony’s specified buffer depths. When using UHS-II SD cards instead, I found you can expect to be able to shoot about half as many frames before the camera stutters or slows down. But this still equates to about 90 compressed raw, or 50 uncompressed raw files in a burst, which is still very impressive given the resolution.

The combination of resokution and dynamic range is a godsend for landscape photographers. Sony A7R V, Sony FE 24-70mm F2.8 GM II at 36mm, 1/80sec at f/8, ISO 100. Credit: Andy Westlake

Sony’s metering is generally biased towards preserving highlight detail, which is a good strategy for users who are predominantly using raw. Indeed it’s fair to say that the A7R V really is a raw shooter’s camera. Sony’s JPEG colour processing is decidedly neutral in its intent, and while you can pep things up by switching to the Vivid (VV1) colour mode, this goes a little over the top for my tastes.

You’ll generally get the most attractive colours from processing raw files. Sony A7R V, Sigma 45mm F2.8 DG DN C, 1/50sec at f/2.8, ISO 200. Credit: Andy Westlake

The firm claims to improve its auto white balance with every release, but I found it was still overly prone to giving odd colour casts, or over-neutralising strongly-coloured scenes. Sony isn’t unique in giving the occasional AWB fail, but the difference is that you can’t fix this by re-processing the raw file in-camera. Overall, the A7R V doesn’t come close to troubling the likes of Fujifilm or Olympus/OM System cameras in terms of consistently attractive JPEG output.

Sony’s AWB over-neutralised this image, and re-processing from raw gave a mucc more attractive result. Sony A7R V, Sony FE 90mm F2,8 Macro G OSS, 1/320sec at f/2.8, ISO 1600. Credit: Andy Westlake

However, once you pull the raw files into your preferred editor, you’ll find they are superb. While the image quality is pretty much unchanged from the A7R IV, the 61MP sensor is class-leading, being capable of delivering ridiculous levels of detail at low ISOs. To get the very best results you’ll need to use high-end lenses, with Sony’s excellent FE 24-70mm F2.8 GM II being a natural companion to the camera. Likewise, I was blown away by the detail recorded in files shot using the FE 90mm F2.8 Macro G OSS. But there’s no law against trading off a bit of sharpness for convenience, and I was also very happy with images taken with my Sony FE 24-105mm F4 G OSS, even if they weren’t as bitingly sharp.

Sony Alpha A7R V, Sony FE 24-105mm F4 G OSS at 54mm, 1/60sec at f/8, ISO 500, camera JPEG. Credit: Andy Westlake

You also get massive dynamic range at low ISO settings, with the ability to push shadows up by at least four stops before noise becomes problematic. Meanwhile in the highlights, you can often pull back another stop very convincingly, if not perfectly accurately. This extraordinary malleability allows you capture extreme brightness ranges in one raw file and then render it during raw processing, for example during sunrise or sunset.

The sensor’s massive dynamic range allowed me to balance a bright post-sunset sky with an almost completely dark foreground. Sony A7R V, Sony FE 24-70mm F2.8 GM II at 27mm, 0.8sec at f/8, ISO 100. Image: Andy Westlake

Sony’s updated image stabilisation is a clear improvement over previous models, too. I was able to shoot consistently sharp images hand-held towards the wide and of the FE 24-70mm F2.8 GM II zoom at shutter speeds as slow as one second, and even longer if I could find somewhere to rest my elbows. This allows you to use low ISOs in low light, and/or exploit motion blur for creative effect, without having to set up a tripod. Personally, I find it invaluable.

Sony’s up-rated IBIS gives reliably sharp hand-held images at longer exposures than before. Sony A7R V, Sigma 45mm F2.8 DG DN C, 0.5sec at f/5.6, ISO 100. Credit: Andy Westlake

When it comes to video, the A7R V is something of a mixed bag. One the plus side, you get that ridiculously effective autofocus system that’s capable of keeping subjects in focus as they move relative to the camera, and the option of 8K recording if you need it. However, one disadvantage of the 61MP sensor is that the 4K quality isn’t quite as detailed as cameras with resolutions around the 24MP mark, that downsample their footage from a full-sensor readout. I also found the IBIS less effective at smoothing hand-held video, and especially panning motion, compared to the best on the market. It’s by no means bad, but if you’re after a hybrid camera for both stills and video, it might not be the ideal choice.

Sony Alpha A7R V: variable resolution raw and pixel-shift multi-shot

As an A7R IV owner, one feature I definitely appreciated was the variable resolution raw, which allows you to record 15MP or 26MP compressed raw files when you don’t need the sensor’s full resolution. This isn’t the first time we’ve seen this feature, with the Leica M11 providing something similar. On the A7R V it works seamlessly, and I couldn’t see any disadvantage to using it – you still get all the usual benefits of shooting raw, but with considerably smaller file sizes. You just need to remember to switch back to full resolution when needed.

60MP file from uncompressed raw. Sony A7R V, Sony FE 24-70mm F2.8 GM II at 41mm, 1/60sec at f/8, ISO 100. Credit: Andy Westlake

Here’s a set of comparison shots of an image shot in raw at the various available resolutions, then processed with extensive tonal adjustments (probably more than I’d normally use). These are presented as 100% crops from each resolution – click on each to open the full-size image.

60MP lossless-compressed raw, 100% crop

26MP lossless-compressed raw, 100% crop

15MP lossless-compressed raw, 100% crop

Pixel shift multi-shot mode works very well in its 4-shot, 60MP incarnation, giving a visible improvement in fine detail over regular single-shot files. Sony’s new motion suppression algorithm avoids ugly ghosting effects due to subject movement by painting-in affected areas with single-shot data, which is an effective approach.

60MP 4-shot pixel-shift multi-shot image, 100% crop. Look carefully and you’ll see finer pixel-level detail.

The main drawback lies, as usual, with practicality, as the camera always has to be mounted on a tripod. You then have to copy your raw files to your computer, identify each sequence manually in Sony’s Imaging Edge Viewer software, and combine the files to produce an ARQ composite raw file for further processing. It’s not clear why the camera can’t just produce composite raw files in-camera.

240MP 16-shot pixel-shift multi-shot image, 100% crop

I wasn’t as convinced by the 240MP mode, though, which simply doesn’t deliver as much extra detail as you might hope. It also chews up storage space alarmingly, with the 16 raw files together taking up 2GB per scene, and the final composite raw file being almost as large again. Given that 60MP should already be more than enough for almost any purpose, I’m not sure there’s much practical point to this, but it’s there if you need it.

Sony A7R V: ISO and Noise

The A7R V may not have a new sensor, but no other full-frame camera can surpass it in terms of image quality. When used with a high-quality lens, the level of detail it can capture is remarkable. Image files are extremely clean at ISO 100, and there’s barely any penalty in pushing up to ISO 1600 either, with just a little luminance noise creeping in.

Beyond this noise has an increasing impact, swamping the finest low-contrast detail and causing colours to desaturate. Even so, I’d be entirely happy shooting up to ISO 25,600 if necessary. But as tends to be the case, I’d avoid the extended high settings unless there really was no other alternative.

Below are 100% crops from our standard studio test scene – click on any to see the full-size image.

Sony A7R V, ISO 100, raw + Adobe Camera Raw, 100% crop

Sony A7R V, ISO 400, raw + Adobe Camera Raw, 100% crop

Sony A7R V, ISO 1600, raw + Adobe Camera Raw, 100% crop

Sony A7R V, ISO 6400, raw + Adobe Camera Raw, 100% crop

Sony A7R V, ISO 25600, raw + Adobe Camera Raw, 100% crop

Sony A7R V, ISO 51200, raw + Adobe Camera Raw, 100% crop

Sony A7R V, ISO 102400, raw + Adobe Camera Raw, 100% crop

Sony Alpha A7R V: Our Verdict

We’ve become used to Sony raising the bar significantly with almost every new camera it releases, and the Alpha A7R V is no exception. In short, it’s ridiculously impressive in almost every imaginable way. The sensor may still be the same as its predecessor’s, but that means you get class-leading image quality that can only be surpassed by stepping up to a medium format camera such as the 100MP Fujifilm GFX100S, which means compromising in terms of speed and autofocus. Elsewhere it’s a significant upgrade over the A7R IV, thanks to its sensational viewfinder, superb screen design, and multitude of interface improvements.

Sony has added a range of significant updates to the A7R V, but at a price. Image: Andy Westlake

That’s before we even consider Sony’s latest subject recognition AF system, which adds a whole new string to the camera’s bow. It just works so well, which makes shooting those specific subject types so much easier, particularly when they’re moving rapidly or erratically. Of course, if you’re currently using the A7R IV for landscape, portrait, or studio work in mostly static scenarios, then the new AF system probably won’t bring much advantage. On the other hand, it’ll be exciting to see what it delivers on the action-specialist Alpha 1’s eventual successor.

Sony Alpha A7R V Sony FE 24-70mm F2.8 GM II at 35mm, 1/6sec at f/2.8, ISO 100, hand-held. Credit: Andy Westlake

Overall, if your needs are tilted more towards image quality than outright speed, it’s difficult to argue against the Sony Alpha 7R V being the best full-frame stills camera available. However, it’s undeniably very expensive, commanding a serious premium over the likes of the Sony A7R IV and Nikon Z 7II. Likewise, if you’re not ideologically wedded to full-frame, you can get a significant fraction of the capability at a much lower price from the Fujifilm X-H2 or X-T5. But if you can justify the A7R V’s price, you’ll be blown away by just how good it is.

Sony Alpha A7R V: Full specification

Related reading:

• Sony Alpha A7R IV full review
• Sony Alpha A7R V vs A7R IV
• Make the most out of your Sony A7R II for landscapes

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The post Sony Alpha A7R V full review appeared first on Amateur Photographer.

In 2020, it launched its first mass-market full-frame mirrorless camera, the Lumix S5. With a 24MP sensor in a compact body and a strong feature set – especially for video – it was a good camera that handled well and delivered fine results. But as with all Lumix models, it was held back by its use of a proprietary Depth from Defocus (DFD) autofocus system, which couldn’t match its competitors for continuous AF or smooth focus transitions during video recording.

For more options take a look at the best Panasonic Cameras to Buy in 2023.

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Panasonic Lumix S5II at a glance:

• $1,997 / £1,399 body only
• $2,745 / £2,299 with 20-60mm & 50mm lens
• 24.2MP full-frame sensor
• ISO 100-51,200 (standard)
• Up to 30 fps shooting
• C4K 60p video recording
• 5-axis in-body stabilisation
• 3.68m-dot, 0.78x viewfinder
• 3in, 1.84m-dot vari-angle LCD
• Panasonic.com/uk

Panasonic’s Lumix S5II is a significant upgrade over its predecessor. Image credit: Andy Westlake

While PDAF is clearly the headline news, the S5II naturally gains a number of other updates and improvements. Perhaps the most interesting, in technical terms, is the addition of a cooling fan above the sensor, with vents on either side of the viewfinder housing. This allows the camera to support extended video recording times (in principle limited only by card space or battery power), without needing a bulky fan unit on the back.

Panasonic Lumix S5II. Image credit: Andy Westlake

At $1,997 / £1,799 body only, the S5II looks rather affordable next to its newest competitors, such as the Canon EOS R6 Mark II ($2,499 / £2,397) and the Sony Alpha A7 IV ($2499 / £2399). It’s also very close in price to the broadly similar Nikon Z6 II, which has recently dropped below the $2000 / £2000 mark. Unsurprisingly, though, this counts as a considerable premium over the original Lumix S5’s $1499 / £1,499 street price. So does the S5II have what it takes to attract enthusiast photographers in this crucial section of the market?

Panasonic Lumix S5 II: Features

Like its predecessor, the S5II is based around a 24MP full-frame sensor. Of course, it’s not identical, as it now incorporates phase detection pixels for autofocus. But as before, it provides a standard sensitivity range of ISO 100-51,200, which can be extended to ISO 50-204,800 via the camera’s menu.

While the S5II’s full-frame sensor has the same 24MP resolution as the S5’s, it now includes phase detection elements for autofocus. Image credit: Andy Westlake

However, the S5II now offers considerably quicker burst shooting, at up to 30 frames per second with continuous autofocus using its electronic shutter. Employ the mechanical shutter and it’ll shoot at 9 fps with focus fixed, or 7 fps with AFC, which in both cases is 2 fps faster than before. Panasonic says it can shoot an impressive 200 raw+JPEG frames before slowing down.

The big update, of course, is the new ‘phase hybrid AF system’, which combines phase detection for speed and contrast detection for accuracy. There are no fewer than 779 selectable points covering the entire frame, right into the extreme corners. As with the firm’s previous models, the S5II also includes a subject detection system that’s capable of recognising and tracking humans and animals. However, unlike other recent cameras, you don’t get any kind of vehicle recognition mode.

The BLK-22 battery promises 370 shots per charge, or 1500 in power save mode. Image credit: Andy Westlake

Like older Lumix S cameras, the S5II includes in-body image stabilisation, which is rated for up to 5 stops of shake suppression on its own. Mount an optically stabilised lens such as one of the firm’s telephotos zooms, and the two systems work together via the Dual IS 2 system to increase this by a further 1.5 stops.

With the camera mounted on a tripod, the IS mechanism can also be used for a 96MP high-resolution multi-shot mode. Unlike many competitors’ systems, this generates a composite raw file in-camera, with the option of motion suppression processing to prevent ghosting with objects that move between frames.

The S5II records files to two UHS-II SD card slots – there’s no CFexpress support Here, you can also see the remote release socket on the side of the handgrip. Image credit: Andy Westlake

Much investment has been made in its video capabilities. Not only can the S5II shoot in 4K at up to 60fps in 4:2:2 10-bit colour, with no hard limit to the recording time, but it can also output 6K 30fps footage in either 17:9 or 3:2 aspect ratios. The in-body image stabilisation now supports ‘Active IS’ for video recording, which Panasonic says provides 200% greater shake compensation compared to the S5.

Both microphone and headphone sockets are onboard, handily placed out of the way of the articulated screen. Users of external monitors and recorders will be delighted by the incorporation of a full-size HDMI socket.

Microphone and headphone ports are placed high on the side where they won’t obstruct the articulating screen. Videographers will be pleased to see a full-size HDMI output above the USB-C port. Image credit: Andy Westlake

Smartphone connectivity is provided via built-in Bluetooth and Wi-Fi, with a comprehensive set of features. You can use your phone as a simple Bluetooth shutter release, or take full control of the camera remotely, complete with a live view feed. Then after shooting, you can import images from the camera onto your phone. Panasonic also includes a particularly well-designed in-camera raw converter so you can tweak your images before sharing them. The Lumix Sync app is nicely laid out and works well.

Panasonic Lumix S5II: Key features

Panasonic has used much the same design as the original S5, but with several major updates

• Power:  Panasonic’s familiar DMW-BLK22 battery is rated for 370 shots per charge using the viewfinder, but this can be extended by engaging power saving mode
• Connectors:  On the side there are USB-C and full-size HDMI ports, along with 3.5mm stereo microphone and headphone sockets positioned so they don’t block the articulated screen
• Remote release:  On the side of the handgrip, there’s a socket for Panasonic’s DMW-RS2 cable release. Its 2.5mm connector is incompatible with similar-looking releases for other brands
• Storage: The S5II has dual UHS-II SD card slots, which can be used either simultaneously in backup mode, sequentially, or recording different file types to each
• Battery Grip: The S5II is compatible with the DMW-BG35 vertical grip, which provides a duplicate set of controls and accommodates a second battery for extended shooting
• L-Mount: A wide range of full-frame L-mount lenses is now available to fit the S5II at a wide range of prices: 14 from Panasonic, 13 from Leica, and 21 from Sigma

Panasonic Lumix S5 II: Design and handling

For its body design, the Panasonic Lumix S5 II inherits the tried and tested layout of its predecessor, with all the same controls in the same places. It’s a chunky, robust camera with a large grip that feels comfortable and secure in the hand. It’s a touch larger and heavier than the original S5 though, at 134.3 x 102.3 x 90.1 mm and 740g, so don’t expect the same accessories such as cages to still fit.

As is characteristic of Lumix models, the body is almost entirely unfettered by styling, with a functional angular appearance that stands in contrast to the softer, more organic lines favoured by Canon and Nikon.

The S5II’s top controls are the same as its predecessor’s including a prominent red video record button. Image credit: Andy Westlake

As mentioned, the S5 II includes a built-in fan unit to provide active cooling during video recording, which is uniquely placed on top of the body in front of the EVF. As a result, the viewfinder protrudes further behind the camera, while the fan housing also juts out in front. I found this to be of no practical disadvantage; in fact, some users may appreciate the additional clearance of the viewfinder eyepiece from the LCD, especially when using the touchscreen to move the AF area.

Disconcertingly, the fan vents mean that you can see all the way through the camera from one side to the other. Despite this, Panasonic claims that the body is still dust and splash resistant.

Panasonic Lumix S5 II cooling vent. Image credit: Andy Westlake

Panasonic provides three electronic dials for changing exposure settings, although the default setup makes bafflingly little use of them. Out of the box, the front and rear dials do the same thing in all exposure modes except Manual, while the wheel on the back doesn’t do anything without pressing a button first. Thankfully, you can reconfigure the top-plate thumb dial to change exposure compensation and the wheel on the back to set ISO directly, which I much prefer to using the row of buttons behind the shutter release.

There’s a dedicated dial to set the drive mode, with two configurable high-speed shooting positions. By default, one automatically engages the electronic shutter for 30fps shooting, while the other uses the mechanical shutter. Notably, this dial also offers direct access to the pixel-shift multi-shot and intervalometer options. On other brands, these options tend to be inconveniently buried in menus.

The S5II’s rear controls again mirror its predecessor’s. Image credit: Andy Westlake

In a similar fashion, the controls governing the autofocus system are all extremely well set up. A switch on the back sets the focus mode between AF-S, AF-C and MF, with a button in the centre to select the focus area mode and enable subject detection and tracking. In manual focus mode, this button engages a magnified view for more accurate focusing.

Beside this control, and falling perfectly under your right thumb, is an AF area joystick, with an AF-ON button above and to its right. One very welcome update over previous S-series cameras is that the joystick is now 8-way (rather than 4-way), meaning that it can move the focus point diagonally as well as vertically and horizontally. This makes it much quicker to move the focus point manually over large areas.

The Q Menu gives quick access to secondary settings, and settings can be adjusted using the touchscreen. Image credit: Andy Westlake

Other settings are accessed by pressing the Q button, which gives access to such things as the Photo Style, white balance, and aspect ratio. Unusually – and rather helpfully – the camera displays a small preview image that shows the effect of any changes you make. Like most of the camera’s interface, the Q menu can be operated using the touchscreen as well the physical controls. The main menus are also relatively well-organised and comprehensible, and can be entirely navigated by touch.

Panasonic has traditionally provided a high level of user customisation options, and the S5II is no different. You can reassign the functions of all the buttons, build a ‘My Menu’ with your most-used items, and store up to five custom camera configurations (with three directly accessible via C positions on the mode dial). With the latter, though, it’s important to remember that focus and drive settings are always defined by their respective dials.

The S5II fits nicely in the hand, with a secure, good-sized grip. Image credit: Amateur Photographer

Unlike the Canon EOS R6 Mark II or Sony Alpha A7 IV, the S5II doesn’t have a switch to select between still and video modes. Instead, in a long-running Panasonic tradition, there’s a movie position on the exposure mode dial, along with S&Q for slow and quick motion. Here there is a separate interface, with a video-specific status panel and menus. Exposure settings are shared between photo and video modes by default, which can be inconvenient if you regularly switch between the two. But this can be fixed via the obscurely named CreativeVideo Combined Set menu.

Panasonic Lumix S5 II: Viewfinder and Screen

One noteworthy upgrade over the original S5 comes with the viewfinder, which at 3.68m dots and 0.78x magnification, is both larger and higher resolution than before. It’s clear and detailed, previewing both colour and exposure across a +/-3EV range. Depth of field preview is provided by a button on the front, with a second tap of this button also previewing any motion blur effects from your selected shutter speed.

The viewfinder housing protrudes unusually far back, and is surrounded by a large rubber eyecup. Image credit: Andy Westlake

You get the option to display all the usual aids such as gridlines, a level gauge, and live histogram. There are also a few less-common options, including an IS scope that helps visualise how steadily you’re holding the camera. What you don’t get, though, is the option to show a more neutral preview akin to an optical viewfinder, which several other brands offer, and can be really useful in dark or high contrast conditions.

The S5II’s fully articulated screen can be swung out and set to face in almost any direction. Image credit: Andy Westlake

Below the EVF there’s a 3in, 1.84m-dot fully articulated touchscreen, which is much the same as that on the S5. It can be set to face almost any direction, which makes it handy for shooting at awkward angles or on a tripod. Set facing directly forward, it’s useful for selfies or vlogging. In latter case, it’s now possible to set the camera to show a bright red outline onscreen as visual confirmation that it’s recording.

Panasonic Lumix S5 II: Autofocus

While the S5II’s headline update is its new hybrid phase detection AF, in other respects the autofocus system remains very similar to before, at least in terms of features. You get a comprehensive choice of focus area sizes and shapes, which you can cycle through easily by pressing the AF area button repeatedly. There’s a conventional subject tracking mode based on pattern and colour, Panasonic’s long running and very effective face and eye detection, plus two subject detection modes, ‘Human’ or ‘Animal + Human’. This might look basic compared to the latest systems from Sony and Canon, but it does at least understand that you might want to photograph your family and pets at the same time. Oddly, you can’t combine the Human and Face/Eye modes.

Click on any sample image to see the full-size version

The S5II’s subject recognition will focus specifically on animals, including birds. Panasonic Lumix S5 II, Lumix S 70-300mm F4.5-5.6 Macro OIS at 300mm, 1.5x crop, 1/1000sec at f/5.6, ISO 1600. Image credit: Andy Westlake

I tested the S5II using the Lumix S 20-60mm F3.5-5.6 and Lumix S 70-300mm F4.5-5.6 Macro OIS lenses, with the latter being the longest telephoto that the firm currently offers. The good news is that the addition of phase detection is just as positive a step forward as we’d expect, bringing the camera’s autofocus capabilities broadly into line with its rivals. This applies whether you’re filming yourself with the kit zoom, or shooting bursts of still images using the telephoto zoom.  However, phase detection doesn’t bring any real advantages for photographing static subjects using AF-S, as the old DFD system was already more than adequate for that.

There’s nothing exciting about this picture of an oncoming train, aside from the fact that it’s the 130th frame in a 30fps raw burst using AF-C, and every single one is in focus. Panasonic Lumix S5II, Lumix S 70-300mm F4.5-5.6 Macro OIS at 300mm, 1/1000sec at f/5.6, ISO 800. Image credit: Andy Westlake

When faced with relatively large, predictably moving subjects such as trains or cars, the S5II performs very well indeed. When the subject is approaching the camera, it nails focus on practically every shot, even when shooting at 30fps. However, when the subject is retreating, it has a noticeable tendency to lag ever so slightly behind, giving softer results when examining your images close-up onscreen.

With more erratic motion, I found that the AF system continued to perform well, especially with animals that the subject detection could recognise (including birds). The camera occasionally dropped focus for a few shots, or drifted onto the background instead, but overall, it did much better than any previous Lumix model that I’ve used.

A 70-300mm lens is never the best best for birds in flight, but the the S5II still did a decent job keeping track of this heron. Panasonic Lumix S5II, Lumix S 70-300mm F4.5-5.6 Macro OIS at 300mm, 2.9x crop, 1/1000sec at f/5.6, ISO 250. Image credit: Andy Westlake

There are still a few caveats, though. Shooting at 7fps in AF-C with the mechanical shutter comes with a disconcertingly long viewfinder blackout time that hinders your ability to follow the subject. Also, when using the 70-300mm telezoom, I often experienced a short but noticeable delay before the camera started shooting, while the lens locked onto the subject. But I suspect this is at least as much to do with the lens as the camera. On this subject, it’s worth noting that to get the best out of the S5II, existing Lumix users will need to update the firmware of their lenses, which enables continuous AF during zooming.

Panasonic Lumix S5 II: Performance

In use, the S5II turns out to be a reliable performer. It usually comes to life almost instantly after you switch it on, although on occasion it can take a couple of seconds for the live view display to appear, which I suspect is related to the camera establishing a Bluetooth connection with your phone. Once it’s up and running, it’s quick and responsive towards both the physical controls and the touchscreen. One point worth noting is that the mechanical shutter is a bit louder than its peers, and while it’s not hugely intrusive, there are better options available if you need to be discreet.

The S5II delivers raw image quality at least on a par with its 24MP full-frame peers. Panasonic Lumix S5II, Lumix S 20-60mm F3.5-5.6 at 48mm, 1/20sec at f/8, ISO 100. Image credit: Andy Westlake

Continuous shooting performance is very impressive indeed. In my tests, not only did the camera have no trouble shooting 200 raw frames in a burst with the electronic shutter, but this increased to 300 frames at 10fps (i.e. in S-AF), and 330 frames at 7fps with C-AF. This really should be enough for even the most enthusiastic of sports or wildlife shooters.

Panasonic Lumix S5II, Lumix S 70-300mm F4.5-5.6 Macro OIS at 300mm, 1/2000sec at f/5.6, ISO 6400. Image credit: Andy Westlake

In my experience, battery life was a mixed bag. When shooting a lot of high-speed bursts, you can surpass the specified 370 shots per charge by a wide margin. But on the other hand, when just snapping the occasional frame from time to time, I found the battery drained surprisingly quickly. I’d recommend setting a shorter sleep time on the Power Save settings, and if you tend to use the viewfinder rather than the LCD most of the time, enabling the LVF Power Save Mode. For video, the battery is good for two hours of continuous recording.

Panasonic’s IBIS allows you to hoot hand-held confidently at slow shutter speeds. Panasonic Lumix S5II, Lumix 20-60mm F3.5-5.6 at 20mm, 1/4sec at f/5.6, ISO 200. Image credit: Andy Westlake

Panasonic’s image stabilisation works very well indeed, allowing you to shoot hand-held at very slow shutter speeds. I was able to get sharp results at shutter speeds of around 1 second using the 20-60mm zoom towards its wide and, which matches other similar full-frame models. Equally impressively, I got perfectly usable images from the 70-300mm zoom at its long end at 1/20sec.

Sync IS 2 works with OIS lenses for even greater stability. Panasonic Lumix S5II, Lumix S 70-300mm F4.5-5.6 Macro OIS at 300mm, 1/20sec at f/8, ISO 200. Image credit: Andy Westlake

Likewise, the high-resolution multi-shot mode is strikingly easy to use and effective. You do need to use a tripod, but then it’s simply a case of setting the drive mode dial and taking a picture. You get a single raw file generated in-camera, which is packed full of detail and with no ugly artefacts. The camera saves a single-shot raw file alongside, which is handy if you inadvertently shoot hand-held without changing the drive dial back. This all makes the mode genuinely useful, which really isn’t the case with every other brand. In fact, it makes you wonder why Sony and Fujifilm’s implementations are so clunky and ineffective.

The 96MP high resolution multi-shot mode works well and is much more practical than other manufacturers’ implementations. Panasonic Lumix S5II, Lumix S 20-60mm F3.5-5.6 at 23mm, 1/50sec at f/8, ISO 100. Image credit: Andy Westlake

The image above was shot in the 96MP mode, and below, you can see a detail crop comparison to the accompanying 24MP single-shot file. The difference is impressive – the multi-shot version records much more detail and eliminates colour aliasing artefacts.

Left: Crop from a 24MP file, upsampled to 96MP using Adobe Preserve Details 2 (click thumbnail for full-size version). Right: 100% crop from high-resolution multi-shot image.

My biggest disappointment with the S5II lies with its out-of-camera JPEGs. They’re OK in bright, sunny weather, although not as attractive as those you’ll get from the Canon EOS R6 Mark II, for example. But in less ideal conditions, it returns in decidedly dull-looking results.

This camera JPEG from the S5II is just a bit insipid and uninspiring. Panasonic Lumix S5II, Lumix S 20-60mm F3.5-5.6 at 60mm, 1/60sec at f8, ISO 500. Image credit: Andy Westlake. This image was shot on a pre-production camera; the production model behaved the same way.

There are several reasons for this. Firstly, the metering is extremely conservative, to the extent that I brightened almost every picture I shot in raw processing, sometimes by as much as a stop. Secondly, the auto white balance tends towards over-neutralisation, with most images benefiting significantly from a warmer rendition. Then there’s Panasonic’s Standard Photo Style, which provides a distinctly subdued and neutral colour palette, which is never going to provide a boost in dull conditions. This means that the S5II isn’t necessarily the best choice for sharing your photos directly from the camera, especially now that smartphones make a point of producing beautifully finished image files with minimal user intervention.

A slight warming of the white balance and saturation boost in raw conversion makes for a much more appealing image. Panasonic Lumix S5II, Lumix S 20-60mm F3.5-5.6 at 60mm, 1/60sec at f8, ISO 500. Image credit: Andy Westlake. This image was shot on a pre-production camera.

Pull the raw files into your favourite converter, though, and the picture is transformed. Now, the conservative metering means that you rarely lose out on highlight detail due to underexposure. Instead, you can play with tonal controls to your heart’s content, safe in the knowledge that noise is unlikely to spoil your images, almost regardless of what brightness and shadow/highlights changes you choose to make. The latitude for adjustment is vast – you can push ISO 100 files by 5 stops in Adobe Camera Raw without seeing any problematic shadow noise. Finish off by tweaking the white balance and pepping up the colour, and you’ll be rewarded with some impressive image files.

At low ISO, you can boost the shadows in raw processing pretty much as far as you like. In the camera JPEG, the boat’s hull is deep brown. Panasonic Lumix S5II , Lumix S 20-60mm F3.5-5.6 at 20mm, 1/15sec at f/8, ISO 100. Image credit: Andy Westlake

Video performance is every bit as impressive as we’d expect from Panasonic. However, you do need to get used to some operational quirks. For example, by default the camera operates using a continuous AF mode which only comes into play when you start recording. This turns out to be controlled by its own menu setting that’s entirely independent of the camera’s AF mode switch. It works well for keeping a presenter in focus (and finally without the dreaded DFD wobble), but in other situations, it can cause the camera to hunt and drop focus completely. Similarly, enabling Active IS can help smooth out large camera movements, but it makes deliberate panning motion look jerky.

Panasonic Lumix S5II, Lumix S 20-60mm F3.5-5.6 at 60mm, 1/60sec at f/11, ISO 800. Image credit: Andy Westlake

Crucially, though, the camera captures a superb level of detail, and the recording time really is practically unlimited. I tested it indoors at an ambient temperature of 20°C, recording internally at the highest available quality (6K, 3:2, 24p, 200Mbps), and the camera kept on going for two hours until the battery ran out. I could tell that the built-in fan was running, but only by putting my ear against the camera in an otherwise silent room. The top shell also became to the touch, but not uncomfortably so. This is really impressive, and I suspect we’ll see other camera makers copying Panasonic’s fan design sooner rather than later.

Panasonic Lumix S5 II: ISO and Noise

In general, the S5 II delivers exactly the kind of output we’d expect from a 24MP full-frame sensor. At ISO 100, images are finely detailed and extremely clean and free of noise, and it’s only at ISO 1600 that a little luminance speckling becomes clearly discernible, although even then, only at 100% onscreen.

Image quality at moderately high ISOs is very good indeed, with barely any visible noise. Panasonic Lumix S5II, Lumix S 20-60mm F3.5-5.6 at 27mm, 1/60sec at f/8, ISO 2000. Image credit: Andy Westlake. This image was shot with a pre-production camera.

Boost the sensitivity to ISO 6400 and the finest detail starts to blur away; at ISO 25,600, it’s pretty much gone altogether. However, I’d still be quite happy using this setting as a matter of course when the situation required. Even ISO 51,200 is usable at a pinch, but I wouldn’t use the extended higher settings.

Below are 100% crops from our standard studio scene, shot in raw and processed in Adobe Camera Raw using default settings. Click on any crop to see the full-size image.

Panasonic Lumix S5II, raw + Adobe Camera Raw, ISO 100, 100% crop

Panasonic Lumix S5II, raw + Adobe Camera Raw, ISO 400, 100% crop

Panasonic Lumix S5II, raw + Adobe Camera Raw, ISO 1600, 100% crop

Panasonic Lumix S5II, raw + Adobe Camera Raw, ISO 6400, 100% crop

Panasonic Lumix S5II, raw + Adobe Camera Raw, ISO 12,800, 100% crop

Panasonic Lumix S5II, raw + Adobe Camera Raw, ISO 25,600, 100% crop

Panasonic Lumix S5II, raw + Adobe Camera Raw, ISO 51,200, 100% crop

Panasonic Lumix S5 II: Our Verdict

There’s no doubt that the Lumix S5 II is a significant step forward for Panasonic. The addition of phase detection brings its autofocus performance pretty much into line with its peers, while the practically unlimited video recording will be a major selling point for some users. The fact that Panasonic has achieved the latter without adding a bulky fan unit on the back is particularly welcome.

Panasonic has made a serious competitor to other models in a similar price bracket. Image credit: Andy Westlake

Indeed, there’s a great deal to like here. The body is relatively compact and feels very robust, while the control layout is superb. To my mind, there are a few suspect default control assignments and settings, but the camera is almost infinitely customisable, so they can be fixed by a trip into the menu. Once I’d got the S5II set up to my liking, I found it a likeable camera to work with. Panasonic makes it notably easy to change all your key settings while shooting, while giving unusually direct access to functions that often get buried in the menus, such as the intervalometer and high-res multi-shot modes.

You also get an excellent viewfinder and screen, extremely effective image stabilisation, and impressive continuous shooting. The movie capabilities are every bit as good as you’d expect from Panasonic, while the raw image quality is superb. But this really is a raw shooter’s camera, as the in-camera processing is often so dull. And to me, that’s a bigger problem than just the JPEG output, as it also affects everything you see in the viewfinder, and how raw files are previewed on your computer. Not only can it discourage you from processing a perfectly good raw file, but it might also even make you think twice about pressing the shutter button in the first place.

The Lumix S5II can deliver really impressive image quality, but you’ll need to be prepared to shoot almost everything in raw. Panasonic Lumix S5II, Lumix S 20-60mm F3.5-5.6 at 60mm, 1/60sec at f/8, ISO 3200. Image credit: Andy Westlake

Aside from this, though, it’s clear that the S5II is now a very serious alternative to the likes of the Canon EOS R6 Mark II, Nikon Z 6II, and Sony Alpha 7 IV, at a very keen price. It’s a particularly impressive tool for hybrid users who value video capability as highly as stills. The L Mount has been in sore need of a camera with real mass-market appeal, and the Panasonic Lumix S5II goes a long way to hitting that spot.

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Panasonic Lumix S5II: Full specifications

The Panasonic Lumix S5 II is fitted with the Lumix S 20-60mm F3.5-5.6 kit zoom. Image credit: Andy Westlake

The post Panasonic Lumix S5 II in-depth review appeared first on Amateur Photographer.

Sony A6400 at a glance:

• $899 / £799 body-only ($998 / £899 with 16-50mm Power Zoom lens)
• 24.2MP APS-C CMOS sensor
• ISO 100-32,000
• 11 fps shooting
• 2.36m-dot electronic viewfinder
• 3in, 921,600-dot tilting touchscreen

How does it compare?

While it may look very similar to its predecessor, the Sony A6300, the A6400 brought with it some big improvements in autofocus performance. That’s not to say the A6300 had poor AF, but is more a testament to how Sony has led the way in terms of AF development, introducing features such as Eye AF that soon became industry standards. In fact, it was the Sony A6400 that debuted Sony’s next generation Real Time Tracking and Real Time Eye AF technologies.

Where does it sit in the A6000 series?

The A6400 sits in the middle of the A6000 series and is a fast, high-end rangefinder-style camera with lots of external controls, and at a body-only price point of $899 / £799, it seems squarely pitched at serious enthusiast photographers. However Sony says it’s targeting a wide range of potential buyers from beginners to professionals.

Like its other APS-C mirrorless models, Sony’s A6400 has a small body and corner-mounted viewfinder. Image: Andy Westlake

If we’re honest, Sony’s Alpha 6000 series isn’t the easiest to understand. For instance, the A6400 launched in 2019, three years after the Sony A6500 debuted in 2016. In 2020, we saw the A6600 hit the market, replacing the A6500. In a rare moment of clarity, Sony clarified that the A6400 completely replaced the A6300 in the European market and slots neatly between the veteran entry-level Sony A6000 that dates from 2014, and the high-end A6500, now the A6600. As a result, Sony will continue to have three similarly-named and almost identical-looking cameras on sale simultaneously. Does it make sense yet?

24MP APS-C size sensor

In essence, all of the Sony A6000-series cameras share a 24-megapixel APS-C sensor and the same body shape; what changes from model to model are things like AF performance and the image processor. The A6000-series cameras are best-sellers for Sony, which is helped by the fact that when a new model is released, the company keeps selling the older versions at decreased prices. Of all of the Sony A6000-series cameras you can still buy – the Sony A6100, A6400, and A6600 – the Alpha 6400 is one of the best Sony cameras in terms of its combination of features and price point. It’s also one of the best cameras for vlogging, for those content creators out there.

The A6400 is available to buy as a body only, or in kits with 18-135mm or 16-50mm f/3.5-5.6 zooms, though the latter are getting harder to find in the UK market. The A6400 + 16-50mm kit is still available in the US for $979. The 16-50mm is very compact and will get you started for minimal extra outlay, but optically it’s very compromised. I’d advise spending more on a better lens if at all possible, such as the aforementioned E 18-135mm f/3.5-5.6 OS, E 18-105mm F4 G OSS, or E 16-80mm F4 ZA OSS. For more options have a look at the best Sony E-mount lenses.

The 18-135mm f/3.5-5.6 lens is a good match to the A6400. Image: Andy Westlake

Sony Alpha 6400: Firmware Updates

Sony has updated the firmware on the A6400 a few times since its launch to add features such as real-time Eye AF for animals, support for the RMT-P1BT wireless remote and general performance enhancements to improve the overall stability of the camera.

You can download the firmware from Sony’s website.

Sony Alpha 6400: Features

In terms of core features, the A6400 offers broadly the same specification as the A6300 before it. Once again you get a 24.2MP APS-C sensor, a standard sensitivity range of ISO 100-32,000 that’s expandable to 102,400, and continuous shooting at up to 11 frames per second. However, the latest Bionz X processor and front-end LSI means that it’s now possible to shoot 116 JPEG frames before the camera starts to slow down, or 46 in raw + JPEG. For most situations, this should be ample. Somewhat unusually, the camera slows down in its silent electronic shutter mode, to 8fps.

The Sony A6400 uses a 24MP sensor, the same resolution as older A6000-series bodies. Image: Andy Westlake

However, it’s the hybrid autofocus system that Sony’s most keen on talking about. This employs 425 phase-detection points arranged across the whole of the image area, which work in concert with 425 contrast-detection points for maximum accuracy. The firm claims it offers the world’s fastest autofocus, at a mere 0.02sec under optimum conditions. Considering that the average human reaction time is generally considered to be about 0.2sec, this is incredibly quick. But it also means that the A6400’s speed increase over its predecessor is pretty much unnoticeable.

Video is activated using an oddly-placed button on the camera’s shoulder. Image: Andy Westlake

Video specs

Naturally Sony has included an impressive video specification. The A6400 can record 4K (3840 x 2160) video at 25fps, with no field-of-view crop. Meanwhile Full HD (1920 x 1080) can be recorded at 100fps, while a separate S+Q mode is on hand for recording slow- or quick-motion footage. There’s a 3.5mm stereo socket for connecting an external microphone, and clean HDMI output for using an external recorder. Advanced features include S-log gamma that gives output suitable for colour grading, zebra pattern overexposure warnings, and highly-configurable focus peaking that’s more accurate than on previous A6000-series cameras. Sony also says that the video AF performance is radically improved.

Micro USB, Micro HDMI and 3.5mm stereo microphone connectors are found behind this neat hinged door. Image: Andy Westlake

One feature that the A6400 lacks is, sadly, in-body stabilisation. We’ve got used to Sony employing this in its full-frame models, so it comes as a surprise to find it omitted here. If you need this feature, which is extremely useful for both stills and video, you’ll have to buy the more expensive A6500 instead.

Built-in intervalometer

One addition that will please many Sony fans is a built-in intervalometer for time-lapse photography. It’s comprehensively featured, including an anti-flicker option for suppressing sudden brightness changes between frames, and the camera can be powered via its Micro USB port during long sequences. The only real disappointment is that time-lapse movies can’t be compiled in-camera. Instead, this has to be done on a computer using Sony’s free Imaging Edge software.

Sony has introduced a comprehensively-featured intervalometer for time-lapse shooting. Image: Andy Westlake

As usual, Wi-Fi is built in for connecting the camera to your smartphone, via the PlayMemories Mobile app for Android and iOS. Sony provides a capable remote control option that’s activated from the camera’s menu, complete with live view display. It’s also easy to send your favourite images to your phone when viewing them in playback, by just a press of the Fn button. But yet again, there’s no in-camera raw conversion for adjusting your images before you share them. Bluetooth is built in, too, but it’s only used for geo-tagging your images with your phone’s location information, which is much less useful than the quick remote-control and Wi-Fi-activation functionality offered by the likes of Canon, Fujifilm and Panasonic. PlayMemories Mobile is due to be replaced by a new app, Imaging Edge Mobile, which hopefully will bring Sony more up-to-date in this respect.

Sony Alpha 6400: Body and Design

The A6400 employs a boxy, rectangular design with a corner-mounted viewfinder and a prominent handgrip. Magnesium-alloy front and top plates confer a robust feel, and Sony says that the camera is dust and moisture-resistant. Unfortunately, though, none of the firm’s matched APS-C format lenses are sealed to match, but instead only its bulkier, more expensive full-frame optics.

A tiny flash unit pops up from the top plate, and there’s also a hot shoe for working with more powerful and sophisticated external units. Image: Andy Westlake

In terms of layout, the A6400 is almost identical to its predecessor, with the only real change being that the screen that can now face forwards over the top of the camera for selfies and vlogging, thanks to the addition of yet another hinge to its articulation mechanism. However in terms of the body shape and the basic positioning of buttons and dials, the design can be traced back much further, to the NEX-7 from 2011.

Onscreen interface

For its time, the NEX-7 was an incredibly sophisticated camera, and while its default setup left a lot to desired, it could be hugely improved if you were prepared to battle through the menus and re-assign the controls more usefully. Since then, Sony has substantially reconfigured what the various buttons and dials do, and radically redesigned the onscreen interface and menus. Almost 8 years on, the A6400 is still an incredibly sophisticated camera, but while its default setup leaves a lot to be desired, it can be hugely improved if you’re prepared to battle through the menus and re-assign the controls more usefully.

The Sony A6400’s controls are almost all found on the back. Image: Andy Westlake

To be fair, Sony has now made all of the key exposure settings externally accessible, one way or another. But the problem is that everything is supposed to be operated by your right thumb, using control points scattered across the camera’s back. To change key exposure settings therefore requires a lot of thumb movement and button-pressing, which means that the A6400 is nowhere near as fluid or pleasant to use as its APS-C mirrorless competitors from the likes of Canon and Fujifilm.

Twin dials

The dual electronic control dials are a case in point. In general, this design feature is prized by serious photographers for enabling quick operation, because it allows one exposure setting to be changed using your forefinger and another with your thumb. But Sony has placed both dials for operation by your thumb, one on the top-plate and the other on the back, which fundamentally misses the point. By default, the dials are also configured to change the same setting in all exposure modes except manual, which again fails to make best use of them. Thankfully you can assign either dial to operate exposure compensation in the other exposure modes, which makes much more sense.

The NP-FW50 battery is rated for 360 shots per charge and can be topped-up over USB. The A6400 can also be powered via its USB port. Image: Andy Westlake

Indeed the camera is highly customisable, and Sony has added a useful new My Dial feature that lets you temporarily assign different settings to the electronic dials when you press a custom button. I used this with the C1 button beside the shutter release to give quick access to white balance and ISO. Unfortunately, though, you get no visual feedback in the viewfinder when you change the dial mode, which can easily result in inadvertent changes. This is strange given that it’s clearly indicated when you’re using the LCD.

Best with lightweight lenses

On a more positive note, the chunky handgrip is much the best I’ve used on any small rangefinder-style mirrorless body, at least when used with relatively lightweight lenses. However, the camera’s low profile means that it’s very shallow, with only enough space for your second and third fingers to wrap around. As a result, it’s not especially comfortable to hold with larger and heavier lenses, which is unfortunate for a camera whose autofocus capabilities should make it an ideal vehicle for fast primes and telephotos. I can’t help but feel that Sony really needs to develop a larger, SLR-shaped APS-C body with a proper, full-height grip, which would be much better suited for this kind of work.

The prominent handgrip works well with lightweight lenses, but isn’t really deep enough for comfortable use with larger optics. Image: Andy Westlake

On a more positive note, the chunky handgrip is much the best I’ve used on any small rangefinder-style mirrorless body, at least when used with relatively lightweight lenses. However, the camera’s low profile means that it’s very shallow, with only enough space for your second and third fingers to wrap around. As a result, it’s not especially comfortable to hold with larger and heavier lenses, which is unfortunate for a camera whose autofocus capabilities should make it an ideal vehicle for fast primes and telephotos. I can’t help but feel that Sony really needs to develop a larger, SLR-shaped APS-C body with a proper, full-height grip, which would be much better suited for this kind of work.

The truth

Despite all its handling flaws, with some extensive menu fettling I was able to get the A6400 set up reasonably tolerably. But even then, I can’t say I found it to be an enjoyable camera to use. Mirrorless cameras have moved on a long way since this design was first conceived, and Sony has been left trailing by other manufacturers who have a considerably better grasp of photographers’ preferences and needs. If you want an APS-C camera at this price point that’s both highly sophisticated and a pleasure to shoot with, the Fujifilm X-T30 looks like a rather better bet.

Sony Alpha 6400: Viewfinder and screen

Sony has fitted the A6400 with a pretty decent electronic viewfinder. It’s a 2.36m-dot panel that offers 0.7x equivalent magnification, a size and resolution that’s only really surpassed by more expensive cameras. Exposure information is displayed neatly above and below the image preview, and it’s possible to display a live histogram or a dual-axis electronic level (but annoyingly, not at the same time). By default, Sony aims to preview the final image in terms of brightness, colour, white balance and depth-of-field, which helps you get all your settings right before taking the shot.

Here you can clearly see the screen’s 16:9 aspect ratio. Image: Andy Westlake

The camera’s low body brings another drawback when you look at the rear LCD screen. It may declare itself to be of the 3in type, but because of its wide 16:9 aspect ratio, the active display area when shooting stills in the 3:2 aspect ratio is rather smaller, being closer to 2.6in. Compared to other similar-shaped cameras such as the Fujifilm X-E3 or Olympus PEN-F, this looks tiny.

The removable large rubber eyecup is essential to minimise glare, but it blocks the lower-right of the screen in its forward-facing position. Image: Andy Westlake

The screen is touch-sensitive, but as with other recent Sony cameras, it doesn’t do much. You can set the focus point by touch, or zoom into images by double-tapping the screen in playback and then scroll around to check sharpness, but that’s the limit. You can’t use the touchscreen to interact with the useful onscreen Fn menu, change menu settings, or even flick through images in playback. It feels like a feature the firm has grudgingly added so it can be ticked-off in the marketing materials, which is particularly disappointing given how well some other manufacturers now completely integrate a touch interface into their cameras.

Sony Alpha 6400: Autofocus

If you’ve read this far in this Sony A6400 review, you’ve probably concluded that I think the Alpha 6400 is an absolute stinker of a camera. But it’s more complicated than that, because the A6400 incorporates an absolutely ground-breaking autofocus system that’s far ahead of anything else I’ve previously used, including Sony’s own flagship Alpha 9. This is, to put it mildly, a really big deal, particularly if you regularly shoot moving subjects.

Sony’s new AF system does a great job of focusing on your subjects eyes and not being distracted by anything else. Sony A6400 + E 18-135mm f/3.5-5.6 OSS, 1/125sec at f/5.6, ISO 4000. Image: Andy Westlake

Sublime autofocus

Sony’s new AF system leaves its rivals trailing with its new Real-Time Eye AF and Real-Time Tracking technologies. In essence, these use a wide range of information, including colour, pattern, shape and distance, to lock onto the subject and then follow it wherever it moves around the frame. All you have to do is enable AF-C and Tracking modes, then place the focus area over the subject and activate AF. The camera will do the rest. It advances on previous subject-tracking systems by its uncanny ability to keep track of the designated target almost no matter where or how it moves, or what obstructions pass between it and the camera. It can even re-acquire the correct subject if you temporarily lose it off-screen.

When shooting human subjects, the camera is also able to switch seamlessly between eye-detection, face-detection and simple object recognition if your subject turns their face away. What’s more, you don’t need to assign a custom button to activate Eye AF any more; instead it kicks in automatically if you use the shutter or AF/MF buttons to activate autofocus. If you shoot human subjects for anything other than static portraits, this has the potential to completely transform how you work.

The tracking AF can ‘stick’ to any subject, allowing you to recompose without having to move the focus point. Sony A6400, E 18-135mm f/3.5-5.6 OSS, 1/250sec at f/5.6, ISO 100. Image: Andy Westlake

Tracking AF

That’s not the limit of the system’s usefulness, however; it has the potential to change how you use autofocus completely. Even with static subjects, it’s possible to change composition while the camera keeps track of your main subject, so you don’t even have to move your focus point around the frame manually. You might think that this sounds little different to the conventional focus-and-recompose approach, but it’s not susceptible to the same errors as the camera focuses on the subject after it has been placed off-centre, rather than before.

If this all sounds too much like science fiction, you still have a full set of conventional AF modes to fall back on. You can choose between various sizes of focus area, and move the point of interest feely around the frame using either the touchscreen or the d-pad, although the latter requires a custom button to be assigned to the obscurely-named Focus Standard. I’d recommend using the touchscreen, if you can live with it, as the focus area is then highlighted in a readily-visible orange when you move it. However when you use the d-pad, the focus area is outlined in a near-invisible grey, so it’s often impossible to see. This is a long-running bug that Sony shows no sign of fixing.

Sony Alpha 6400: Performance

Once you’ve got it set up to your liking, in practical use the A6400 is a quick, reliable camera that operates with minimal fuss. It’s not especially discreet, though: in stereotypical Sony fashion, the shutter fires with a relatively loud clack. This is another area where the firm has stood still, while the competition has worked towards making quieter cameras.

The A6400 is capable of fine image quality, especially when processing raw. Sony A6400 + E 18-135mm f/3.5-5.6 OSS, 1/160sec at f/8, ISO 100. Image: Andy Westlake

The camera takes a second or so to turn on, and thereafter responds to control inputs without any lag. About the only time it’ll hold you up is when recording a burst of images to the card. In this respect, it’s disappointing that the SD slot doesn’t support the faster UHS-II format, which means that a full burst can take a while to write; almost 40 seconds with a 90MB/s Sandisk Extreme Class 10 card. While Sony has ironed out one bug, and it’s now possible to access the onscreen Fn menu during this time, you still can’t change drive mode while the camera is writing, or initiate video recording.

Dynamic range is superb. Here most of the image was in deep shadow, with barely any visible detail in the ‘straight’ JPEG. Sony A6400 + E 18-135mm f/3.5-5.6 OSS, 1/60sec at f/8, ISO 125. Image: Andy Westlake

White balance

The A6400 creates pretty good images, though. In typical Sony fashion, auto white balance tends to err on the cool side, and the standard JPEG colour palette is noticeably subdued compared to the punchier, more attractive output you’ll get from the likes of Canon, Fujifilm or Olympus. But with a bit of tweaking the quality can be truly excellent, with minimal noise and plenty of fine detail in good light.

High ISO image quality is excellent, with strong colour and detail. Sony A6400 + E 18-135mm f/3.5-5.6 OSS, 1/1000sec at f/5.6, ISO 6400. Image: Andy Westlake

High-ISO image quality is also extremely good. Not only does Sony manage to maintain colours extremely well up to ISO 6400, its JPEG processing provides an unusually strong impression of fine detail. But while ISO 12,800 is usable at a push, I’d avoid going any higher.

Sony Alpha 6400: Image quality

Sony has fitted the A6400 with the same 24.2MP APS-C sensor as its predecessor, but teamed it up with a faster processor. Unlike the firm’s current full-frame and 1-inch type sensors, it doesn’t use a back-illuminated or stacked architecture. As a result, the A6400 is now technically surpassed by Fujifilm X-T30, with its 26.1MP back-illumimated X-Trans CMOS 4 sensor. But it’s still capable of excellent image quality, with good detail and dynamic range at low sensitivities, and strong performance at higher settings up to ISO 6400.

The tilting screen is handy for low-angle shooting. Sony A6400 + E 20mm F2.8 pancake, 1/4000 sec at f/2.8, ISO 100. Image: Andy Westlake

Resolution

In the process of my Sony A6400 review, I found that at ISO 100 in raw format the camera comes close to the maximum resolution its sensor could theoretically deliver, achieving approximately 3800 lines per picture height before false colour and maze-like aliasing creep in. This falls progressively as the sensitivity is raised, but the camera still maintains around 3000 l/ph at ISO 6400. At higher settings, noise has an increasing impact, with around 2800 l/ph resolved at ISO 25,600 and just 2000 l/ph at the top extended setting of ISO 102,400. Sony’s JPEG processing prioritises suppressing artefacts, resulting in slightly lower resolution compared to raw.

In the crops below, multiply the numbers beneath the line to calculate the resolution in lines per picture height.

Sony A6400 resolution, raw ISO 100

Sony A6400 resolution, raw ISO 400

Sony A6400 resolution, raw ISO 1600

Sony A6400 resolution, raw ISO 6400

Sony A6400 resolution, raw ISO 25600

Sony A6400 resolution, raw ISO 102400

ISO and noise

At low sensitivities the Alpha 6400 delivers finely-detailed images with barely any hint of noise. Increase the setting to ISO 800 and noise starts to impinge on even-toned areas when viewed closely onscreen, but you’d really struggle to see it in print. This gets more pronounced at ISO 1600 and ISO 3200, but I still wouldn’t hesitate to use these settings. Indeed it’s only really at ISO 6400 that there’s clearly a negative impact on fine, low-contrast detail and colour saturation, although image files still look quite usable, especially with a touch of luminance noise reduction applied. Beyond this things go downhill fast, and while ISO 12,800 images might still be OK when viewed at smaller sizes, the top three settings all suffer from muted colour and excessive noise that swamps all but the broadest details.

Sony A6400, raw ISO 100

Sony A6400, raw ISO 400

Sony A6400, raw ISO 1600

Sony A6400, raw ISO 6400

Sony A6400, raw ISO 25600

Sony A6400, raw ISO 102400

Sony Alpha 6400: Verdict

The Sony Alpha 6400 is without doubt the most Jekyll-and-Hyde of all the cameras I’ve reviewed recently. On the one hand, it’s impossible to praise its new autofocus technology highly enough – this really is a glimpse of the future. Its ability to lock onto and track subjects is truly extraordinary, as is its seamless switching between object-, face- and eye-detection focusing. The fact that Sony has presented this within a straightforward and intuitive interface reinforces the impression that it’s a major step forward. Essentially, it means that you longer have to think much about focusing, even with erratically-moving subjects, and can instead concentrate purely on composition. Even better news is that this breakthrough technology will soon be available to Alpha 9, Alpha 7R III and Alpha 7 III owners via a free firmware update.

Sony’s A6400 places astonishing AF technology in a mediocre body design. Image: Andy Westlake

The cons

The problem I found, however, is that Sony has placed this technology in an 8-year-old camera design that now feels distinctly out-of-date. The compact rangefinder-style body was ground-breaking when mirrorless cameras were in their infancy. Since then photographers’ preferences have coalesced around models that behave like miniature DSLRs, such as Fujifilm’s X-T series, Olympus’s OM-Ds, or even Sony’s own full-frame cameras. These tend to offer superior control layouts, larger screens and quieter shutters. Indeed it’s particularly disappointing to see how much Sony’s APS-C bodies have stagnated, given the considerable improvements we’ve welcomed with each generation of Alpha 7; indeed the A6400 handles poorly compared to even the relatively-clunky first version of its full-frame cousin.

Sony A6400 + E 18-135mm f/3.5-5.6 OSS, 1/100sec at /8, ISO 160 Image: Andy Westlake

Is it right for you?

How positively any given photographer will take to the A6400 depends, therefore, on how they can reconcile these two poles of its split personality. For those who primarily see photography as an artistic pursuit, and demand that the camera be an extension of their hand and eye that operates intuitively to facilitate their vision, it’s unlikely to be the right answer. However for those who simply want to nail the shot with erratic subjects, and therefore need the best possible AF system and sensor, the A6400 could easily be a godsend.

Related reading:

• Best cameras for portraits and portrait photography in 2024
• The best cameras for beginners in 2024
• All the best Sony cameras in 2024

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The post Sony Alpha A6400 review appeared first on Amateur Photographer.

• New $2,796 / £2,399 body only
• Used $1,759-$2,049 / £1,900-£2,049 body only
• Nikon Z-mount
• 45.7MP full-frame BSI CMOS sensor
• Dual EXPEED 6 image processors
• ISO 64-25,600 (expandable to ISO 32-102,400)
• 5-axis in-body image stabilisation
• 10fps continuous shooting (Single AF)
• 4K/60p video
• Dual card slots (XQD/CFexpress and SD cards)
• Weather resistant

How time flies. It feels like yesterday Nikon entered the full-frame mirrorless market with the Z6 and Z7, but it was actually five years ago. Nikon didn’t rest on its laurels, however, and launched both the Z6 II and Z7 II in 2020 as well as the Z5.

Nikon Z7 II with 24-70mm f/2.8 lens (MT)

The retro Z fc appeared in the middle of 2021 and in the autumn, the much-anticipated Z9 pro flagship was finally unveiled. This model has done great things for the brand’s standing, putting it back up there alongside Canon and Sony. Nikon’s top-end offerings were further bolstered by the Z8.

The Nikon Z7 II features an identical arrangement of buttons and controls as the Z7

The Z7 II followed the popular Z7 and became the leading enthusiast model in the Z-series. It’s virtually identical in design and tries to address the shortcomings of the original. Will it entice those who haven’t already switched to mirrorless to do so and is it worth upgrading to from the Z7? These are questions I intend to answer.

Nikon Z7 II: Features

For resolution, the Z7 II inherits the same 45.7MP back-illuminated full-frame sensor from the Z7. This is different from the 24.5MP sensor used in the Z6 and Z6 II in how it does without an anti-aliasing filter. With an identical sensor there’s no change to sensitivity range, which can be set between ISO 64-25,600 (expandable to ISO 32-102,400).

The original Nikon Z7 (left) and the new Nikon Z7 II (right)

Rather than pairing the sensor with a single EXPEED 6 processing engine like in the Z7, the Nikon Z7 II boasts dual EXPEED 6 image processors, enabling it to shoot faster for longer. It shoots at up to 10fps using a single autofocus point (with no subject tracking) and the size of its buffer has improved significantly. Nikon claims it can rattle out 77 raws (12-bit), or 200 JPEGs. By comparison, the original Z7 could only manage 25 JPEGs at 9fps, or 20 raw files at 9fps before its buffer capacity was reached.

Nikon has carefully thought through the placement of buttons for intuitive operation

To ensure a fast readout is achieved, the Z7 II once again features a CFexpress/XQD card slot. This time though, Nikon has answered those who shamed the Z7 for only having a single slot by introducing a second UHS-II SD card slot. This update will be well received by those unnerved at the original’s inability to backup, overflow or segregate to a different card.

The hybrid autofocus system, which combines contrast and phase detection points across 90% of its sensor’s surface area is similar, although a few refinements have been made. In total there are 493 phase detection points compared to the Z6 II’s 273 points, with the option to select every other point for faster AF point repositioning across the frame.

Here the Nikon Z7 II is loaded with an XQD card and SD card. The memory card door is slightly larger to accommodate the new SD card slot that’s UHS-II compatible

The detection range of the AF system is wider than the Z7’s, allowing it to focus more effectively in dark scenarios. It spans from -3EV to +19EV, or -4EV to +19EV when used in its low-light AF mode. Pinpoint AF helps with precise focusing on small subjects in the frame and other AF-area modes include single-point AF, the choice of two wide-area AF modes (S and L) and an auto-area AF mode.

Unlike the Z7, face, eye and animal detection can now be used in the larger of the two wide-area AF modes, as well as Auto-area AF. Nikon has added face, eye and animal detection settings to the iMenu too – and rather than being limited to stills, as with the Z7, they’re also available for shooting video.

Selecting AF-area mode from the iMenu loads this screen. Face, eye and animal detection can now all be used in the Wide-area AF (L) setting as well as Auto-area AF

This leads us nicely to the Z7 II’s video capabilities. It’s equipped with 4K recording, but unlike the Z7 that was limited to 30fps, the highest frame rate has increased to 60fps. It’s worth noting that 4K/60p 8-bit video can be recorded internally, however, and a small crop (approximately 93% of the FX frame width) is applied.

Full HD at up to 120fps is available too and, for long shoots or lengthy time-lapse sequences, there’s the option to provide constant power to the camera (or charge the battery) via a powerbank and USB Type-C cable. Peaking and zebra pattern displays can be used to refine focus and exposure, while VR and Active D-Lighting are both available.

The ports at the side of the Z7 II. The microphone port can be accessed without having to expose the headphone. Accessing the USB-C port does expose the Type C HDMI connector and accessory terminal

Videographers also get 3.5mm microphone and headphone ports, the option to output ProRes raw over HDMI to an external recorder and the option to refine autofocus speed and the tracking sensitivity.

The move to Nikon’s latest EN-EL15c Li-ion battery has resulted in increased battery life. Capable of shooting 420 shots using the LCD, or 360 shots using the EVF, it surpasses the 330 shot stamina of the original Z7.

Nikon’s new EN-EL15c battery is black whereas the previous EN-EL15b battery was dark grey

In most other respects, very little has changed. The Z7 II benefits from the same effective 5-axis in-body stabilisation system, has a shutter speed range of 30secs to 1/8000sec with a top speed of 1/2000sec using its electronic first-curtain option, and provides TTL metering with 5-stop exposure compensation control.

The only other minor change is to Nikon’s SnapBridge app, which lets users update firmware on the camera direct from their smartphone using the power of Wi-fi and Bluetooth connectivity. There’s all the usual wireless control you might expect, including the option to take remote control of the camera and establish an always-on Bluetooth LE connection that enables the the automatic transfer to your phone of every picture you shoot.

Focal Points

• FTZ 2 adapter – Like the Z 7, the Z 7 II can be paired with F-mount lenses using Nikon’s FTZ 2 adapter. The camera’s IBIS system works with F-mount lenses. However to get it to work with pre-AF lenses you’ll need to tell the camera the focal length of the lens you’re using. This is done via the Non-CPU lens data sub-menu. The FTZ 2 adapter doesn’t have a built-in screw drive focus motor so it can’t autofocus with D-type lenses; one has to focus manually instead.
• Touchscreen – The Z 7 II’s response to light touches is on par with today’s smartphones and for photographers who shoot at night, there is the option to switch the information display from dark on light to light on dark to minimise the glare of the screen. The top plate display can’t be inverted though and displays light on dark.
• Timelapse – The Z 7 II features a built-in timelapse movie feature, which gives users the option to record raw images at the same time. On the Z 7 you had the option to record video or stills, however it wasn’t possible to do both simultaneously.
• WR-R11b/WR-T10 Wireless Set – Nikon’s WR-R11b wireless remote allows wireless control of the Z7 II’s shutter release as well as offering synchronised control of multiple cameras linked to a master camera. The kit is supplied with the WR-T10 wireless transmitter, which also lets you control important camera functions from further distance than is possible with the app.
• Extended shutter speeds – The Z 7 II adds selectable in-camera shutter speeds as long as 900 seconds for photographers who specialise in long-exposure photography. These are only available in manual mode and you’ll need to turn Extended shutter speeds (M) on from the shooting/display menu first in order to access them.
• iMenu – Hit the ‘i’ menu button above the four-way controller and you’ll be presented with quick access to twelve commonly used settings. This function is integrated into the touchscreen and is fully customisable too, meaning you can pick and choose exactly what you want to have instant access to from a touch of your finger.

Nikon Z7 II: Build and Handling

There are few real differences between the Z7 II to the Z7. If it wasn’t for their badges at the front, you could be forgiven for thinking they were identical.

Take a much closer look at the pair from above and you might say the Z7 II is slightly chunkier. This isn’t an illusion; it is fractionally larger and has a body depth that’s 2mm thicker to accommodate the new SD card alongside the CFexpress/XQD slot. You may also notice the memory card door is slightly larger and the EVF eyepiece doesn’t overhang the screen as much at the rear.

Spot the difference. The original Z7 (left) has a smaller memory card door than the Z7 II (right)

The minor difference in depth has no impact on the way the camera feels in the hand and it upholds the fantastic handling characteristics of the original. It’s built around a magnesium alloy chassis like the Z7, which comes fully weather-sealed to prevent moisture, dust and dirt penetrating the seams and damaging the electronics.

It didn’t flinch at being subjected to squally rain showers during testing and performed well in bitterly cold conditions with no changes in operational behaviour. The only weak point is when accessing the USB port to charge or power the camera in foul weather, as it does expose the HDMI and accessory terminals.

The Z7 II performs brilliantly in the wet. Water droplets on the surface of the screen don’t play havoc with touchscreen operation like some cameras

Nikon’s Z-series cameras may not be the most pleasing to the eye, and are quite far removed from the look of the company’s DSLRs. However, as I’ve said  before, these designs offer the finest handling experience of any mirrorless cameras on the market.

This is quite a bold claim, but having tested and used such a wide variety of cameras there’s something special about how comfortable Nikon’s full-frame mirrorless cameras feel when they’re picked up and used over long spells of shooting.

The rubberised texture extends all the way around the grip to the large thumb rest at the rear.

The Z7 II is no exception. The superbly sculpted rubberised handgrip and chunky thumb rest combine to give it a solid and secure feel in the hand. If I had to pick between the Canon EOS R5, Nikon Z7 II and Sony Alpha 7R IV based on the quality of their handling alone I’d choose the Z7 II every time.

We were very complimentary of the positioning of buttons, dials and controls on the Z7. All of the controls on the Nikon Z7 II are in exactly the same place: good news for anyone who might upgrade, as they’ll immediately feel at home with the switch. Nikon DSLR users who transition to the Z7 II will also find there’s not much new to learn, with buttons sensibly located across the body where you’d expect to find them.

Here the Z7 II is setup to shoot a 900 second (15 minute) exposure in manual mode. Other long shutter speed settings include 60, 90, 120, 180, 240, 300, 480, 600, 720 seconds.

All-important buttons are within reach of the right hand; except for playback and delete, which are to the left of the viewfinder to prevent accidental presses. Having the playback button on the edge of the body makes it easy to flick between shooting and reviewing. Like all the buttons on the body, it has a fairly soft, spongy feel and is totally silent.

The mode dial is a located from the top left shoulder and needs the central lock button to be depressed as it’s rotated. Instead of getting a drive dial beneath, drive modes are selected from a dedicated button below the menu button using the d-pad rather than the front/rear thumb dials, as on the Z7. Users get a knurled joystick that falls naturally under the thumb and the focus point can be shifted diagonally across the frame as well as up/down, left/right to get it where you need it as fast as possible.

Like the Z7, the mode dial button has to be depressed as it’s rotated

Turning to the top plate, the front and rear thumb dials are well positioned for making quick exposure adjustments and the movie-record button only starts recording when movie mode is engaged from the stills/video switch.

Like many of the buttons across the body, the movie-rec button can be assigned to different stills and video functions from the main menu. I found it useful setting it to ‘Choose Image Area’ in stills mode to quickly access the Z7 II’s various crop modes, which include DX (19.5MP), 5:4 (37.9MP), 1:1 (30.3MP) and 16:9 (38.3MP). As previously mentioned, you can also customise the iMenu to preference.

The Z7 II’s image area settings on display. The incredibly responsive touchscreen makes it easy to navigate through the menu by touch.

Unlike the Nikon Z5, the Nikon Z7 II benefits from a square top plate display that reveals all the key shooting information you might want to glance down: shutter speed, aperture, ISO, battery power, drive mode and the remaining capacity of the memory card. It displays information white on black and there’s no way of inverting the display like on some cameras. It is however intelligent enough to automatically adapt to the ambient light conditions and switch off when the camera goes to sleep.

Nikon Z7 II: Vertical grip 

The introduction of the MB-N11 vertical grip – which is also compatible with the Z6 II, by the way – is a welcome improvement from the disappointing MB-N10 designed for the original Z7. Loading it with a pair of batteries this time increases the battery stamina to over 300 shots. However, you’ll need to use either EN-EL15c or EN-EL15b batteries in order to charge them via the built-in USB-C port.

The new MB-N11 grip will hold two batteries and provides a duplicate set of controls for portrait-format shooting

The grip allows hot-swapping of batteries without losing power to the camera. The benefit of it having its own USB port means it frees up the camera’s USB port and lets users charge two batteries one after the other when it’s disconnected from the camera.

Regarding controls, it has a shutter button, front and rear dials, AF-ON button and an AF-area joystick. Dust- and drip-resistant, the MB-11 adds 290g to the weight of the camera (without batteries).

Nikon Z7 II: Viewfinder and Screen

Nikon has used a 0.5in, 3.69-million-dot electronic across all three of its previous full frame mirrorless models. We thought we might see a move to a 5.76-million dot viewfinder to match the resolution offered by the Canon EOS R5 and Sony A7R IV, however the Z 7 II features the same 3.69-million-dot panel used by the Z7 with 0.8x magnification.

The eye sensor is located above the EVF panel. The camera automatically detects when the screen is pulled out and disables the eye sensor to prevent accidentally switching the feed

The EVF has a reasonably fast refresh rate of 60fps and displays shooting information clearly against black background strips above and below the preview image. If you typically shoot with the viewfinder raised to your eye you can use the button on the shoulder of the EVF to change it from automatically switching between the viewfinder and screen to viewfinder only. Likewise, you can do the same if you’d prefer composing and viewing using only the screen.

Below the EVF you’ll find a high-resolution 2.1M-dot touchscreen that again tilts 90degrees up and 45degrees down. It offers the same manoeuvrability as the screen found on Sony’s A7R IV, but doesn’t allow as much freedom of movement as fully-articulated screens like those found on models like the Canon EOS R5.

The Z7 II features the same screen as the Z7. Unfortunately it can’t be tilted when working in the portrait format, making low and high angle portrait shots hard to compose.

Although low and high level shooting in the portrait format isn’t the Nikon Z7 II’s forte, the screen unit itself is nice and thin, pulls out effortlessly, and is incredibly responsive to finger taps and presses – even with raindrops on its surface.

Navigating the menus, adjusting key exposure variables and swiping between or zooming into images with a double tap in playback are all extremely easy to do using the touchscreen and its smartphone-like response makes for a great way of controlling the camera in darkness or when you don’t dare risk nudging your setup having composed the perfect shot on a tripod.

Nikon Z7 II: Autofocus

Intrigued to find out what affect the new processing power has on performance, I headed to a local forest to photograph mountain bikers at speed. Within minutes of shooting I noticed an improvement in the speed of the feed from the sensor to the EVF when focusing continuously and attempting to track fast and erratic subjects.

Nikon Z7 II, Nikkor Z 24-70mm f/2.8 S, 1/1000sec at f/3.2, ISO 6400

Whereas it was quite easy to lose the subject in the frame when shooting with the Z7, there was a noticeable improvement switching over to the Z7 II, which didn’t suffer from the same lag or let me lose sight of the subject in the frame.

As for the response of autofocus, the Z7 II is fast at finding focus in Single AF (AF-S) and did a fairly good job of keeping up with fast moving subjects when shooting a burst in continuous (AF-C) mode. There were, however, a few times at longer focal lengths where I noticed a momentary delay acquiring focus between near and far subjects.

Nikon Z7 II, Nikkor Z 70-200mm f/2.8 VR S, 1/800sec at f/3.2, ISO 4000

The Z 7 II’s autofocus has improved and it manages to focus accurately in dark conditions, however there is still room for improvement. While the Z7 II has advantages over Nikon DSLRs in the way it provides wider autofocus coverage and effective eye detection, cameras like the D850 and D5 have more complex autofocus tracking algorithms and the option to use group-area AF and select wider dynamic-area AF.

Nikon Z7 II, Nikkor Z 50mm f/1.8 S, 1/160sec at f/2, ISO 32 (model @tash.keeley on Instagram)

Using the Z 7 II on a portrait shoot highlighted just how effective its face and eye detection is, which I’d say is on a par with the responsiveness of Sony’s Eye AF. Having the option to use face and eye detection in the larger of the two wide-area modes is useful and means you no longer rely on auto-area AF and can specify a person in a group to target.

Like in stills mode, the joystick can be flicked left and right to choose which eye you’d like the camera to prioritise focus on when recording video. Reviewing a few video clips highlighted the Z 7 II does an extremely good job of maintaining focus on faces and eyes, even whilst moving and zooming.

Nikon Z7 II: Performance

Keeping on the subject of display, the performance of the Z 7 II’s EVF is excellent and will impress even the most devoted DSLR users who are yet to be convinced that electronic viewfinders are the way forward. The high quality optics produce an extremely clear view right to the edge of the frame, with the key advantages over an optical viewfinder being that you can observe exposure changes live and inspect a highly accurate view of how different aperture values affect depth of field.

Nikon Z7 II, Nikkor Z 24-70mm f/2.8 S, 1/6sec at f/4, ISO 2000

Using the magnify button at the rear to zoom in with the camera held to your eye reveals just how sharp the EVF is and it’s good to see Nikon reducing the frame rate of the EVF in Energy Saving Mode for times when it’s crucial that battery power is preserved.

One other revision to the EVF is that it now automatically turns off when the rear screen is flipped out. As well as increasing battery life, it makes shooting easier as the eye sensor will not interfere with turning the monitor off when standing directly behind the camera or when touching the screen.

Nikon Z7 II, Nikkor Z 50mm f/1.8 S, 1/200sec at f/2.2, ISO 32 (model @tash.keeley on Instagram)

My only criticism of the screen (other than the fact it can’t be tilted in the portrait format) is that there’s still no way to turn off all the shooting information to view the scene or subject being shot, without distracting settings around the perimeter. You’d have thought this would be easy by cycling through the display options using the DISP button, but no. It’s similar in playback too. I’d like to be able to hit the DISP button to review images without file information lining the bottom of the screen, or having to zoom in slightly.

Shooting a series of action sequences gave me a good chance to test the Z 7 II’s continuous shooting and buffer capabilities. Loaded with a 64GB XQD card capable of 440MB/s read and 400MB/s write speeds revealed it’s in a different league to the Z7 when it’s asked to rattle out bursts for a sustained period.

Nikon Z7 II, Nikkor Z 70-200mm f/2.8 VR S, 1/640sec at f/3.2, ISO 4000

I managed to record 56 12-bit raw files at 10fps to my XQD card before slowdown occurred. Switching the image quality to Fine JPEG resulted in 102 images being recorded. With an even faster XQD or CFexpress card such as those that offer write speeds up to and above 1200MB/s, I expect the claimed 77 12-bit raw, or 200 JPEG figures could be achieved.

[UPDATE] Before the camera had to be returned to Nikon I tested the Z7 II with a new Manfrotto Professional 128GB CFexpress Type B memory card capable of 1730MB/s read and 1540MB/s write speeds. With the NEF (Raw) recording compression set to compressed and the bit depth set to 12-bit, I successfully managed to shoot a burst of 74 raw files at 10fps. Switching over to Fine JPEG resulted in 139 frames being recorded at 10fps before the limit of the buffer was hit. With the image quality set to JPEG (normal) the Z7 II rattled off 148 consecutive frames at 10fps.

To shoot at the fastest speed of 10fps the Continuous H (extended) setting must be selected, although users should be aware the speed drops to 9fps when shooting 14-bit raw files. Set the Z7 II’s focus mode to AF-C (continuous) and the fastest it’ll shoot 12-bit raws in Continuous H (extended) is 9fps with the caveat that the shutter speed must be higher than 1/250sec. Attempt to shoot 14-bit raws in AF-C in Continuous H (extended) and the Z7 II shoots at a maximum of 5fps provided the shutter speed remains above 1/250sec.

The maximum speed in the Continuous H setting is 5.5fps, which drops ever so slightly to 5fps when shooting 14-bit raw. In Continuous L users get the option to set the frame rate between 1fps and 5fps.

Nikon Z7 II, Nikkor Z 24-70mm f/2.8 S, 1/500sec at f/2.8, ISO 2000

In general operation, the Z7 II springs into life as soon as the on/off switch is flicked from your index finger. All buttons respond instantly when they’re held or pressed, the joystick reacts immediately to any shift in direction and at no point does it feel like it’s a camera that’ll slow you down.

The above, combined with its intuitive layout of controls, makes it extremely enjoyable to operate when taking photos for pleasure or when it is being used in a pressured environment. The sense that the Z 7 II has been meticulously thought through and expertly engineered for demanding enthusiasts and seasoned professionals who have very high expectations really shines through.

Nikon Z7 II, Nikkor Z 70-200mm f/2.8 VR S, 1/125sec at f/4, ISO 12,800

The Z 7 II’s in-body image stabilisation performs just as reliably as the Z 7’s and is instrumental in achieving sharp handheld shots in challenging low-light scenarios. As per usual there’s the option to select Normal, Sport or Off modes. However, Nikon still doesn’t allow the Vibration Reduction settings to be assigned to function or custom buttons; so it has to be assigned to the iMenu, or My Menu for quick call up.

When the camera is used handheld to shoot subjects that move quickly or unpredictably it’s worth remembering to switch from Normal to Sport mode to ensure the image in the viewfinder remains as stable and smooth as possible. Paired with the Nikkor Z 24-70mm f/2.8 S, I was able to get sharp handheld images from a standing position at shutter speeds as slow as 1/10sec at 70mm, and 1/2sec at wideangle. With the Z 70-200mm F/2.8 VR S, I managed consistently sharp shots of static subjects at 1/25sec at full telephoto.

Nikon Z7 II, Nikkor Z 24-70mm f/2.8 S, 1/50sec at f/4.5, ISO 800

With no dedicated metering mode button on the body, some users may wish to assign the Fn1 button to this function. A high majority of my test images were captured using the matrix metering mode, which exposes for scenes fairly well, however I did find myself dialling the exposure down by 0.3EV or 0.7EV at times to ensure detail in the brightest areas of a scene was preserved.

Spot metering was effective in some tricky backlit scenes and although the camera does lean towards producing a fairly cool feel to images captured in sunny conditions using its Auto0 White balance mode, there’s the option to select Auto A1 and Auto A2 settings, which do a fine job of preserving the natural atmosphere of a scene and warm colours respectively. If you typically shoot outdoors you may prefer to use Natural light auto, which can be relied on to produced colours extremely close to those observed by the naked eye.

Nikon Z7 II: Image Quality 

There’s the option of choosing between three image sizes when the Z7 II’s image area is set to FX. As well as outputting Large (45.4MP) 8256×5504 pixel files, there are Medium (25.6MP) 6192×4128 pixel and Small (11.4MP) 4128×2752 pixel image sizes to choose from.

Switching the image area to DX applies a 1.5x crop of the sensor and can be used to gain extra reach from lenses, albeit at reduced resolution. In DX mode the Z 7 II outputs Large (19.5MP) 5408×3600 pixel files, with Medium (10.9MP) 4048×2696 pixel and Small (4.9MP) 2704×1800 pixel sizes also available.

Nikon Z7 II, Nikkor Z 70-200mm f/2.8 VR S, 1/3200sec at f/2.8, ISO 3200 (Captured in the Nikon Z7 II’s DX mode)

With no change in sensor, the Z 7 II delivers an identical image quality performance to that of its predecessor. This is no bad thing as we were overwhelmed by the detail and astonishing dynamic range of the Z 7 when we reviewed it.

Sony’s A7R IV (and its replacement the Sony A7R V) hold the crown of being the highest resolution full-frame mirrorless camera on the market, but unless you have a need to print larger than 40x60in on a regular basis, the Z7 II’s maximum resolution output will be more than sufficient.

An advantage the Z 7 II presents over its rivals is its ability to shoot natively as low as ISO 64 without having to expand the sensitivity. This in turn allows truly astonishing levels of detail to be extracted from deep shadows during raw processing. Just as remarkable is the level of detail the sensor is able to resolve at high ISO, which like the Z7, is on par with the noise performance recorded by the Nikon D850 that uses a very similar sensor.

Nikon Z7 II: ISO and Noise

The Z 7 II’s ISO performance doesn’t reveal any surprises and is equally as impressive as the results recorded by the Z7. Shoot in raw and you’re guaranteed exceptionally clean, noise-free images between its base setting of ISO 64 and ISO 1600.

Push to ISO 3200 and ISO 6400 and you’ll start to notice noise appear, but it’s so well controlled it can be easily be addressed by applying a little noise reduction in post. Extremely fine detail does take a hit at ISO 12,800, however I wouldn’t refrain using this setting or ISO 25,600 if I had to.

Entering the expanded ISO 51,200 and ISO 102,400 settings sees image quality go downhill fast so you’ll want to avoid them. The automated noise reduction that’s applied to the Z 7 II’s JPEGs is good up to ISO 1600, after which point you’ll notice fine texture and detail starts to become smoothed out.

Ultimately, the best image quality is achieved by shooting in raw, but for those who do shoot JPEGs at high ISO it’s preferable to reduce the high ISO noise reduction from normal to low.

Nikon Z7 II, ISO 64, Raw

Nikon Z7 II, ISO 100, Raw

Nikon Z7 II, ISO 400, Raw

Nikon Z7 II, ISO 1600, Raw

Nikon Z7 II, ISO 6400, Raw

Nikon Z7 II, ISO 12,800, Raw

Nikon Z7 II, ISO 25,600, Raw

Nikon Z7 II, ISO 51,200, Raw

Nikon Z7 II, ISO 102,400, Raw

Nikon Z7 II: Verdict

Although the Z7 II hasn’t strayed far away from the original Z7 and is a relatively minor update on what we’ve seen before, Nikon has listened to constructive feedback from critics and acted on it to create its finest high-resolution mirrorless camera to date.

The Fn1 and Fn2 buttons around the lens mount are customisable from the Z7 II’s Custom controls

The standout improvement is the introduction of a second card slot that’s seen as essential by photographers who can’t risk losing precious images should a single memory card fail, corrupt or get damaged. Some people will still question why the original Z7 didn’t include dual slots in the first place. For that we have no answer and can only guess Nikon didn’t expect a single card slot to create as much hullabaloo as it did.

There’s more besides the second slot and its dual image processors speed things up. It only shoots 1fps faster, but with a deeper buffer and 10fps shooting (Single AF) it can now shoot more raw files faster than the Nikon D850. Other improvements such as being able to use it with a proper vertical grip, record 4K video at 60fps and focus accurately in darker environments are welcome.

The Nikon Z7 II handles particularly well with Nikon’s larger and heavier Z-series lenses

I’m a fan of the way Nikon has integrated its face, eye and animal detection modes to the Wide-area AF mode and offers quick access to them via the iMenu. The focusing performance is respectable, but it’s still not perfect for action and sports photographers with only 9-point dynamic-area AF and no group-area AF. There are photographers, myself included, who’d very much like to see Nikon offer the option to refine the size of the AF point, or allow different groups of AF points to be selected.

Nikon got the handling and placement of controls just right on its Z-series models from the start. The Z7 II, like the Z7, feels fantastic in the hand and is a delight to pick up and use. Then there’s its fabulous image quality, which despite offering no improvement over the Z7, is remarkably impressive and offers magnificent latitude when processing Raw files.

The information display screen (dark on light). We’d like to see Nikon offer the option to compose images without having to view any settings on the screen at all – something that’s not currently possible.

Compared to the Sony A7R V and Canon EOS R5, the Nikon Z7 II is well priced for such an impressive high-resolution full-frame camera. Nikon users who view twin card slots as essential are likely to buy the Z7 II or upgrade to it, and it does make the better buy for anyone thinking now is the time to switch from a DSLR to Nikon’s Z-series mirrorless system.

For photographers who already own a Z7, are satisfied with it, and can live with a single card slot, an upgrade is hard to justify. Even if you sell your Z7 in good condition you can expect to make up a considerable shortfall to get your hands on a Z7 II.

To conclude, the Z7 II is a minor, but important refresh of one of our favourite high resolution full-frame mirrorless cameras and comes highly recommended.

For more options, have a look at our guide to the best Nikon Z mount lenses, or have a look at the best Nikon mirrorless cameras.

The post Nikon Z7 II review appeared first on Amateur Photographer.

The X-S20 is priced at $1559 / £1249 body only or it can be purchased as part of a kit with one of two lenses. Choose it with the XC 15-45mm OIS PZ lens and it pushes the price of the X-S20 up by £100 to £1349. Alternatively, it costs £1599 with Fujifilm’s XF 18-55mm R lens.

Fujifilm X-S20 at a glance:

• 26.1MP sensor
• 30 fps shooting
• 6.2K 30p video
• 1.84m-dot vari-angle touch-screen
• AI-based autofocus

Fujifilm X-S20 sensor. Photo Joshua Waller

Fujifilm X-S20 Features – A wolf in sheep’s clothing…

The X-S20 follows on from the Fujifilm X-S10, and is Fujifilm’s mini-DSLR styled camera, designed to be easy to use, but feature packed, with in-body image stabilisation (IBIS), a top mode dial, and dual command wheels. This is in comparison to the X-T series, which feature more traditional shutter, ISO, and exposure compensation controls.

The X-S20 sits above the X-T30 II, but below the X-T5, and with a larger grip it is suitable for a wide range of shooting, including using larger lenses, whilst maintaining a relatively compact size that makes it suitable for travel and video use. One area where the X-S20 misses out, compared to the X-T5, is in weather-sealing, as the X-S20 is not weather sealed.

Fujifilm X-S20 vari-angle touch-screen – flipped forwards. Photo Joshua Waller

Dearer than the X-S10 at launch

Introduced with a body-only RRP of £1249, this is a 25% price increase over the body-only RRP of the X-S10, which was £949 when introduced.

The camera uses the same battery as the X-T4 / X-T5 (and X-H2/s) cameras, giving an improved battery life compared to the X-S10. This offers up to 800 shots with economy mode enabled, or 750 shots on normal mode.

The 26.1MP X-Trans CMOS 4 sensor features a back-illuminated (BSI) design, and is joined by the X-Processor 5 for improved power efficiency.

Fujifilm X-S20 top. Photo Joshua Waller

At first glance, the design looks very similar to the X-S10, but on closer inspection I found the grip to be ever so slightly larger, so slight, that you’d barely notice. The top shutter release button and surrounding on/off switch has been altered slightly and is slightly larger, with updated top buttons for ISO and Q buttons.

The camera weighs in at 491g (with battery and memory card), and as expected, continues to offer five-axis in-body image stabilisation (IBIS) ,which is said to give up to 7.0 stops of image stabilisation. (Tested with the XF 35mm F1.4 R lens). This gives it an advantage over the X-T30 II, which lacks IBIS.

Fujifilm X-S20 now with 3.5mm headphone jack. Photo Joshua Waller

AI based subject-detection auto-focus has been added, which Fujifilm say is equivalent to the X-T5. This detects a wide variety of options, including animals, birds, automobiles, motorcycles and bikes, airplanes and trains. It can also detect insects and drones!

6.2K/30p video is recorded at 4:2:2 10-bit, internally, and there’s a 3.5mm microphone / headphone jack on the side. An optional tripod grip, the Fujifilm TG-BT1, is available.

Fujifilm X-S20 – Key Features:

• 26.1MP APS-C X-Trans CMOS 4 (BSI) sensor
• In-body image stabilisation (IBIS)
• Upto 6.2K/30P, 4K/60p, 1080/240p video, up to 360Mbps
• AI based autofocus system
• ISO 160 – 12,800 (standard), ISO 80 – ISO 51,200 (extended)
• 60min – 1/4000sec (mechanical), up to 1/32,000sec (electronic)
• 30fps continuous shooting (electronic, 1.25x crop), 20fps (electronic, blackout free), 8fps (mechanical)
• 2.36m-dot EVF, 0.62x magnification, with eye-detection and dioptre adjustment
• 1.84m-dot vari-angle 3.0inch touch-screen
• Single SD card slot – UHS-II compatible
• 3.5mm headphone jack
• Up to 750 shots (normal) 800 shots (economy mode)
• Uses the NP-W235 battery from the X-T4/X-T5
• 127.7 x 85.1 x 65.4mm, 491g (with battery and memory card)

Improved battery life is just one of the new updates found in the X-S20, and the battery is charged in-camera using the provided USB Type-C cable, and AC power adapter (USB).

Fujifilm X-S20 with new larger battery. Photo Joshua Waller

Enhanced AI based subject detection auto-focus is available, as mentioned. This can be manually selected in the menus or will automatically detect the subject when the camera is in Auto mode. You’ll also find face and eye detection, as expected, however this is in a different menu, and does need to be manually selected, unless you’re using the Auto mode.

Subject detection can be set to animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones. You’ll need to select birds for insects, and airplanes for drone detection.

Phase detection focus works down to -7.0 EV* (with an XF 50mm F1.0 lens attached), or down to -4.0 EV* using contrast detection (using the same lens), according to Fujifilm’s own testing.

The back of the Fujifilm X-S20 supports the optional fan that was introduced with the X-H2s. Photo Joshua Waller

All these other features come as standard with the X-S20

When I say standard, I mean, they’re they the same features you get with every new X-series camera, the incredibly popular Film Simulation modes, with 19 provided on the X-S20. These include Provia, Velvia, Astia, Classic Chrome, PRO Neg Hi, Pro Neg Std, Classic Neg, Nostalgic Neg, Eterna/Cinema, Eterna Bleach Bypass, Acros (+ Ye/R/G Filter), Black and White (+ Ye/R/G filter), and Sepia. There are options for film grain effect, as well as Colour Chrome Effect, and Colour Chrome Blue.

Dynamic range options include DR100, 200 and 400, as well as HDR modes up to HDR800+. The HDR mode combines a number of shots to improve dynamic range, but results can look unrealistic at times.

Using the in-body image stabilisation system dust can be removed from the sensor, using ultra-sonic vibration. Wi-Fi and Bluetooth are built-in, and this works in combination with the new Fujifilm XApp.

Fujifilm X-S20 with 18-55mm lens. Photo Joshua Waller

Video features at a glance:

As the video features are significantly updated, it’s worth having a closer look at these here:

• 6.2K/30p 4:2:2, 10-bit, OpenGate
• 4K 60/30/25/24p
• FullHD 60p (LP), High-speed FullHD up to 240p
• F-Log2, said to give up to 13+ stops of dynamic range
• ATOMOS compatible – giving 12-bit Apple ProRes RAW, up to 6.2K, 29.97fps
• Blackmagic Design Video Assist 12G, supports Blackmagic RAW, up to 6.2K, 29.97fps
• 3.5mm headphone (right), 3.5mm microphone jack (left)
• ISO125-12,800 (standard), ISO 25,600 (extended)
• MicroHDMI port

The new Vlog mode is designed for recording yourself, as well as giving quick on-screen access to product priority focus, as well as a background defocus mode, face/eye detection, self-timer, IS mode, and high-speed mode.

Fujifilm X-S20 Vlog mode quick access settings let you shoot face/eye detection, product priority mode, as well as background defocus mode. Photo Joshua WallerUSB-Type C supports webcam use, without the need of additional software, and you can use film simulation modes while live streaming or in online meetings (should you wish). In addition to this 4K/60P resolution live streaming is supported, and works straight out of the box, with no need for a capture card or any additional software.

Video frame rates

A range of frame rates are available, including (29.97, 25.00, 24.00, 23.98 at 6.2K) and this can be recorded internally to SD card. The camera also records DCI-4K, 17:9, 4K 16:9, and FullHD (17:9/16:9) at resolutions from 23.98 up to 59.94p. High-speed video recording is available at FullHD (17:9/16:9) resolution at 100p, 120p, 200p, and 240p. An additional video resolution of 5.2K 16:9 is available if using HDMI raw output.

FullHD video is recorded with no crop, or a 1.29x crop with high-speed FullHD. CINE / 4K video has a 1.18x crop (above 29.97fps), with no crop at 4K 29.97fps (8-bit only). 6.2K video has no crop. Switching on DIS, Digital Image Stabilisation adds a further 1.1x crop, when available (4K/FullHD only).

Video recording time is said to be up to 95mins (FullHD, actual), or up to 150min (FullHD, continuous, with external power).

Fujifilm X-S20 top with new updated mode dial, which now features Vlog and C1-C4. Photo Joshua Waller

Custom settings

There are four Custom settings on the mode dial (C1, C2, C3, and you guessed it, C4). These can be set to be either stills or movie, and then you can save custom settings for each of these, whether you want these to be setup for video or stills is up to you.

On the back, there are two screw holes, plus a hidden (covered) connection, and this lets you connect the optional cooling fan that was introduced with the X-H2s.

When recording a red tally surround / red frame indicator is shown on the screen, and there’s also an orange tally light on the rear of the camera, so the person behind the camera can see the recording status even when the screen is facing forwards. If the screen isn’t facing forwards, then a front tally light can also be switched on. These can all be switched on/off as needed.

The new auto subject detection function detects a subject and tracks it with continuous AF. This works when shooting stills and video.

Fujifilm X-S20 with 18-55mm. Photo: Joshua Waller

Fujifilm X-S20 Handling

The X-S20 features dual-command dials in the usual position, both front and back, making these easily reachable for adjusting settings. Unlike some Fujifilm cameras these don’t push in, and therefore can’t be clicked in to adjust additional settings.

There’s a third command dial on the top left of the camera, and this is used for adjusting the Film Simulation mode on default settings (except in the Filter mode, where it is used to choose the different toy/effect filters) – this can be customised to your choosing.

Superb customisation

In fact almost every button can be customised (excluding the Drive, Playback, Menu and Disp. buttons), so that you can setup your camera exactly how you desire. You can use the Q (Quick) menu button to gain quick access to common settings, but most of the time this may not be needed, as there are a variety of external buttons and dials available.

Customisable buttons and dials are all over the Fujifilm X-S20. Photo Joshua Waller

Menu system

The menu system is logically laid out, but can take some time to master and navigate, simply due to the vast array of options and settings available. There is also the slight annoyance whereby an option will become greyed out, and no longer available for selection, but the camera will not explain why the option is greyed out. This is something I’ve seen on other cameras, whereby the camera will explain why an option is unavailable, so it’s a shame it’s not available here. There are also a vast number of options, and it might be time for someone to add the ability to search the menu system with an on-screen keyboard.

Plastic construction

In terms of build quality and construction the camera is, for the most part, made out of plastic. This fees very sturdy in almost all areas, with perhaps the only potential weakness found in the pop-up flash, which can bend slightly when open and squeezed. As the flash is unlikely to be used in this way, this is of very little concern.

Fujifilm X-S20 side ports including USB Type-C and MicroHDMI. Photo Joshua Waller

The rubber surround around the electronic viewfinder (EVF) is not particularly deep, and in comparison to the deeper eyecups on even budget DSLRs, this feels a little like a cost cutting. Luckily for those who wear glasses and want to use the EVF more regularly, there are optional eyecups available from third parties, as well as dioptre adjustment. However, the viewfinder does provide very accurate colours, and can be particularly useful to use when shooting in very bright sunny conditions.

The 3inch screen features an increased resolution of 1.84m-dots when compared to the X-S10. The  touch-screen can be tilted forwards, and adjusted to almost any angle you can think of. It provides a good view, with accurate colours, although there were times when it was difficult to see the screen clearly in very bright sunny conditions, and this can make it more difficult to judge the exposure accurately. There are options to increase the brightness in the menus, and this helps with visibility.

Auto-focus

The X-S20 features the AI based auto-focus system from the X-H2, X-H2s, X-T5 series, but with additional subject detection, this can be turned off if needed, but can detect a number of different subjects when in use.

Using the AUTO mode enables a new auto subject detection AF and scene detection feature that is designed to automatically detect the subject as needed, automatically switching between people and animals, planes, trains and automobiles, and the other subjects the camera can detect. The camera will also automatically choose the best film simulation (seemingly randomly), as well as the best dynamic range settings. This means your photos can look wildly different from shot to shot, and whilst you can switch off the automatic film simulation, you can’t switch off the automatic dynamic range settings.

Animal detection AF was used to focus on the dog in the water fountain. 1/1600sec, f/5.6, ISO160, 55mm. Photo Joshua Waller

Manually setting the subject

The reason why this is worth mentioning is that in all the other modes, you still have to manually switch between either face detection OR subject detection, and then when you do select subject detection focus, you have to manually set the subject you’d like the camera to focus on. This is a real shame, as you never know when you’re suddenly going to see an animal appear, and this can result in you missing the shot. It would be amazing if you could simply set subject detection to automatic, in all camera modes, and not just the Auto mode.

Side note: There is a workaround to this, as you can assign ‘Face detection’ to a custom button, and ‘Subject detection’ to another button, and this then gives you a quicker way of switching between these focus modes.

Apart from this slight complication in using the cameras new subject detection AF system, the auto-focus is generally very reliable, very quick, and for the most part does what you want it to, as long as you’ve got it on the right settings. If you don’t have it on the right settings, then you can miss shots, or miss the focus point.

Fujifilm X-S20 front with 18-55mm lens. Photo: Joshua Waller

Fujifilm X-S20 Performance

This is where we look at the images produced by the camera in detail to assess image quality, including colour reproduction, sharpness and detail, noise levels, exposure, and dynamic range amongst other factors. Click any sample image to view the full-size version of the image.

The Citadel, Gozo, Malta. 1/320sec, f/5.6, ISO160, 18mm. Photo Joshua Waller

The Fujifilm X-S20 gives great JPEG images with pleasing colour reproduction, and can be trusted to deliver consistent results time and time again. The exposure system can be relied upon, and although tempting to adjust exposure compensation to adjust the look of an image, it is generally rarely needed.

Salt, Pepper, Oil and Vinegar by the sea. 1/1700sec, f/5.6, ISO320, 55mm (83mm equivalent). Photo Joshua Waller

Auto mode

The only time when image colour and dynamic range was unpredictable was when the camera was set to Auto mode, as this switches on Auto Film Simulation, as well as auto dynamic range options, and this meant that shots could vary wildly from one to the next.

Decorative pots on the wall. 1/320sec, f/5, ISO160, 55mm, +1EV used to give a brighter image. Photo Joshua Waller

I found the contrast is quite high on default settings, with the Film Simulation by default set to Provia/Standard. The levels of contrast can be adjusted by altering a variety of settings, including the Film Simulation, the dynamic range options, as well as the highlight and shadow tone curves. For a softer look, Astia is a great option, but for more people the default settings work really well.

People walking. 1/500sec, f/5.6, ISO160, 55mm. Photo Joshua Waller

Auto white balance can be relied upon, giving great results time and time again. You can, of course, use any number of the preset white balance modes, but with auto white balance offering Auto, Auto white priority, and Auto ambience priority, it’s easy enough to quickly setup the camera to your own personal preferences.

Low-light performance

NAAR restaurant / bar, Malta. 1/100sec, f/3.2, ISO640, 28mm, -1EV. Photo Joshua Waller

Even when shooting in dark conditions, the noise performance of the camera is impressive. Shooting at ISO640 gives very low levels of noise, as can be seen above. It’s not until you get to ISO3200 that you start seeing noise more clearly. However, we found that noise was very well managed, and isn’t an issue.

Taken with the Fujifilm X-S20, 18-55mm, 1/100s, f/2.8, 18mm, ISO3200, -0.7EV. Photo Joshua Waller.

The image below is a test of both low-light performance, as well as being a challenging shot to take due to the vast differences in bright and dark areas. This is the JPEG image straight from the camera with no further processing.

Stained glass windows, 1/160s, f/4, ISO3200, 55mm, -1.3EV. Photo: Joshua Waller

As we go higher up the ISO range, noise does increase, as is to be expected. Using ISO12,800 gives an image with noticeable noise, particularly when viewing the image at 100%, however, we’d still be happy to use this ISO speed, as the results still look good. Higher than this and we might want to avoid using the images, but your needs may vary.

Low-light, church, Malta. 1/75sec, f/4, ISO12800, 55mm. Photo Joshua Waller

Video quality

Video quality is very impressive, with sharp detailed footage, as well as pleasing colours, accurate focus, and good exposure control. Image stabilisation is a little weak on default settings, using just IBIS and OIS (with the 18-55mm lens), and therefore we’d need to use the additional Digital Image Stabilisation (DIS), or a gimbal or tripod to get more steady footage. This also means that video footage can look quite wobbly when walking and talking to camera.

When using the Vlogging mode, it appears as though you have to choose product priority focus before you start recording, which is frustrating if you wanted to switch back to face detection half way through the video. Wind noise can be an issue when using the built-in microphones, but this could easily be remedied with a ‘dead cat’ or an external microphone setup.

The ability to plug the camera straight into a USB Type-C socket and for webcam use, is impressive. Particularly as you don’t need to install any software, and you can select resolutions up to 4K, with 60fps available. This will make this a perfect option for anyone who wants to live stream on Twitch or YouTube.

Value for money

To simplify alternative camera recommendations, we are looking at how much alternative cameras cost that offer in-body image stabilisation, as this is going to make a big difference to the quality and stability of video recorded when vlogging. Therefore, these are some of the closest alternatives we’ve found, including the Canon EOS R7, Panasonic Lumix GH5 II, and OM System OM-5.

The Canon EOS R7 is priced at £1449 body only, which is noticeably more than the X-S20, but does offer weather-sealing. In terms of compact APS-C lenses suitable for vlogging, the Canon EOS R7 offers almost none.

The Panasonic Lumix GH5 II is available for £1199 body only, and features IBIS, as well as a range of video features, but is quite a lot larger than the X-S20.

The OM System OM-5 is priced at £1199 body only, for just a little bit more, the X-S20 is perhaps more feature packed in terms of video, and goes beyond the resolution for both stills and video, although the OM-5 does offer weather-sealing.

The GH5 II and OM-5, as part of the Micro Four Thirds lens ecosystem, offers a vast range of lenses, compact, small, premium, take your pick.

If you don’t need IBIS, for example, you’re going to be using the camera primarily on a tripod or other support, then this opens up your options further, so have a look at the best cameras for video. If you mainly want a camera for photography, then there’s the cheaper Fujifilm X-S10, or the more expensive Fujifilm X-T5 to look at.

Fujifilm X-S20 Verdict

Fujifilm X-S20 being used by Joshua Waller.

With a proven track record of exceptional image quality from the 26.1MP X-Trans CMOS 4 sensor, the X-S20 builds on this success by providing a camera that is both highly skilled for stills photography, as well as videography.

Cracking set of video features

If you already have the X-S10 and are primarily a stills photographer, then the X-S20 may be overkill for you, but for the budding or experienced videographer, vlogger, and live streamer, the X-S20 hits it out of the park, with a cracking set of video features that really takes it to the next level.

It’s a cat! 1/350sec, f/5.6, ISO160, 55mm. Photo Joshua Waller

You can start off in the Vlog mode, and work your way up to more advanced video needs, and you’ll find that the X-S20 continues to give you advanced video features including raw video output. For those that want a high-quality streaming camera, this is set-up and ready to go straight out of the box!

The main question will be whether the price, and particularly the small electronic viewfinder, makes the X-T5 a better bet for stills photographers. If you’re a glasses wearer like myself, and/or primarily like to shoot with an electronic viewfinder, then the somewhat small EVF on the X-S20 is perhaps the only negative I could find. For some this will be a deal-breaker, for others, it will be a non-issue, particularly if you’re a videographer and going to be using the screen only.

For more options have a look at the best Fujifilm X-Mount lenses, plus have a look at the best Fujifilm cameras.

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