With a 45-megapixel stacked sensor and the latest Expeed 7 image processor, the Z8 can do everything from sports to wildlife to scenic photography. It’s also a powerful video camera, offering 8K RAW internal capture at up to 60 fps.

The only other model that can really compare in terms of speed, resolution and video is the Sony A1, but it costs a whopping $2,200 more. To find out how the Z8 stacks up against that model and others, I rented a Z8 and shot with it around Vancouver, Canada with my photographer cousin.

Body and handling

Design-wise, you can think of the Z8 as the Z9 with the battery grip chopped off. It’s still a chunky camera at 910 grams (2 pounds), though, compared to 737 grams for the Sony A1. That might suit pros or those who like a larger camera body, but the size and weight aren’t ideal for travel. By the way, a $346 battery grip (the MB-N12) with secondary controls is available for the Z8, effectively transforming it into a Z9 for far less money.

The Z8 has a nice big grip and all the controls you’d expect, including a joystick, D-Pad style menu control, switch for camera/video settings and front and rear dials. Nikon users will enjoy the layout as it’s largely similar to past models, but everything is just different enough that it may feel awkward for users coming from other brands.

Unlike the A1, the Z8 features a display on top that shows key settings like shutter, aperture and battery life. Although it takes up space that could be used by buttons or dials, it’s a handy way to see everything at a glance and I miss it now on models that don’t have it. If you do have to dive into the menus, they take a bit of getting used to, but work well once you’re over the learning curve.

One of the key negative points is the lack of a fully articulating display. Instead, the rear 3.2-inch 2.36-million dot screen only tilts up and down and to the left or right. That’s too bad, because the Z8 could be a powerful vlogging camera and a flip-out display is must for that type of work (especially as it makes solo shooting easier).

The 3.69 million-dot electronic viewfinder is a bit low-res for a camera in this price range, especially compared to the 9.4 million-dot display on the Sony A1. Even Canon’s cheaper R5 has a 5.76 million dot display that makes it substantially easier to check focus.

Battery life is on the weak side at 420 shots (one to two hours of video shooting depending on resolution), compared to 490 shots for the Canon R5 and 530 for the A1, according to CIPA ratings. Again, though, you can nearly double that with the battery grip. Other notable features include UHS-II and CFexpress B memory card slots, a full-sized HDMI port for external capture, as well as two separate USB-C ports for power delivery and data.

Performance

With the fastest high-resolution stacked sensor out there, the Z8 is unbelievably quick for a 45-megapixel camera. You can shoot RAW photos at 20 fps, a bit slower than the A1’s 30 fps RAW capability, but the Z8 can shoot 30 fps in JPEG mode. It can handle 40 uncompressed RAW frames before the buffer fills, but can store more compressed images if you have a fast CFexpress card.

The hybrid phase-detect autofocus is Nikon’s best to date due to the upgraded image processor, stacked sensor and huge number of AF tracking points. It offers reliable subject tracking, and the face, eye and animal detection is fast and accurate as well. In fact, the company has said it’s nearly identical to the far more expensive Z9 as of the latest firmware.

That said, the Z8’s AF isn’t quite as dependable as Sony’s A1 when shooting at the highest speeds. It occasionally had trouble tracking subjects, in particular those moving toward the camera, resulting in some out-of-focus shots. The Z8 (and Z9) is quite sensitive to setup, so it’s best to fine-tune the AF settings until it works the way you want.

There’s no mechanical shutter, but the Z8’s sensor is fast enough that rolling shutter isn’t an issue, even on fast-moving objects like airplane propellers. The 5-axis in-body stabilization reduces shake by six stops, enough to get sharp photos down to a quarter second or so. That’s superior to the A1, but falls way short of the EOS R5’s 8 stops.

Image quality

The Z8 has the same excellent sensor as the Z9, so of course image quality is identical in all respects. With 45.7 megapixels on tap, it delivers sharp photos on par with the 50-megapixel A1 and second only to Sony’s 60 MP A7R V in the full-frame realm. Dynamic range is also outstanding, arguably a touch better than the A1.

JPEG images are bright and punchy straight out of the camera, with the best results in terms of colors from the Natural Light Auto white balance setting. Colors are accurate, though skin-tones aren’t quite as warm as Canon’s R3 or R5.

1 / 31

Nikon Z8 sample image gallery

Nikon Z8 sample image gallery

Meanwhile, the 14-bit RAW images hold plenty of detail that can be teased out in Lightroom or ON1, particularly in the highlights. Like the Z9, the Z8 no longer has an “uncompressed” option, but now offers “lossless compression” and two high-efficiency lossy modes. I typically used the RAW setting with the highest compression, because it’s super efficient and frankly, I can’t see any difference between that and lossless compressed RAW.

The Z8 performs reasonably well in low-light, too. Grain is well-controlled up to about ISO 6400, and shots are usable at ISO 12800. Beyond that, noise can become distracting. That lines up with Canon’s R5, but Sony’s A1 performs a bit better in dim lighting.

Video

The Z8’s video specs are pretty mind-blowing for a non-cinema camera and exceed the A1’s capabilities. You can shoot RAW video at up to 8K 60p in Nikon’s 12-bit N-RAW or 8K 30p with 12-bit ProRes RAW HQ internally, to CFexpress cards only, of course. It also captures 4K video oversampled from the full width of the sensor at up to 60p, and full-width 4K up to 120p — again, all in RAW.

It’s worth noting that Nikon recently purchased RED cameras, so it now owns the RED RAW video patent that stymied so many other companies, including Apple. It’ll be interesting to see if Nikon loosens up that enforcement, and if the acquisition impacts the tech in its own future models.

As with photos, video autofocus is fast and reliable, while doing a good job tracking subjects, faces and animals. It can handle challenging situations like subjects moving toward the camera, though again, not quite as well as the A1.

8K and 4K oversampled video is extremely sharp. Colors are accurate, but again, skin tones aren’t quite as pretty as on Canon’s latest models. Dynamic range is top-notch, particularly in the ISO 400-800 level in ProRes mode, making it easy to adjust shadows and highlights in post. If you love shooting ProRes footage, be sure to get some high-capacity CFexpress cards, because the files can get huge.

One area where the Z9 bests the Z8 in video is with thermal performance, as the Z9’s larger body allows for 125 minutes of 8K 60p recording compared to 90 for the Z8 before overheating. There are very few content creators that will need to continuously shoot 8K video for that long, however.

Wrap-up

Nikon’s Z8 is an extremely capable camera and shows that the company should offer as much speed and power as possible if it wants to catch up to Canon and Sony. For many hybrid shooters, the Z8 is a better option than Sony’s A1, particularly when it comes to video.

While it does out-spec the Sony in a number of areas, the Z8’s autofocus isn’t quite as good — and that’s arguably the most important feature on any camera. Shooters who require a mechanical shutter (for flash photography, etc.) will also need to look elsewhere. Another 8K-capable full-frame mirrorless model is Canon’s R5 that falls short of both models in many regards, but is cheaper at $3,200.

A decision to buy this camera might be based on what system and lenses you’re already into. However, if I was starting from scratch, I’d go for the Z8 over Sony’s A1, as you get the camera plus a very good lens for the same amount of money.

This article contains affiliate links; if you click such a link and make a purchase, we may earn a commission.

The post Nikon’s Z8 is a phenomenal mirrorless camera for the price appeared first on Best News.

Sony A7C R

We’ll start with the A7C R, since it’s an all-new model. It features a softer, grippier material along with a deeper handle. It also comes with an add-on grip that extends the length, giving you a place to put your pinky finger — a nice addition that unfortunately also makes the camera less compact.

Still, those are key improvements that address ergonomic issues I’ve noticed on past Sony models — particularly when using them for a long day of shooting. Sony also added a front dial so you can more easily adjust aperture/shutter speed/exposure compensation, along with a dedicated video/photo/S&Q dial. And of course, the A7C R weighs just 515 grams (18.2 ounces) compared to the A7R V’s 723 grams (25.5 ounces) and is nearly half the size. That makes it a better choice for street photography and more.

It has a flip-out one-million dot display and 2.36-million dot OLED electronic viewfinder with slightly improved .70X magnification over the A7C II. It also offers full in-body stabilization with 7.0 stops of compensation (depending on the lens) — a nice feature in such a small camera. Other features include mic/headphone ports, USB-C 3.2, a micro HDMI connector a and single UHS-II card slot. The latter feature is a show-stopper for many pros, as there’s no backup for potentially priceless photos.

In terms of photo specs, it’s close to the A7R V with a few notable differences. You can shoot 61-megapixel RAW images at up to 8fps, compared to 10fps on the A7R V. The A7C R has a smaller buffer, though, and that single lower-speed SD UHS-II card slot (the A7R V has dual high-speed CFexpress Type A and SD UHS II slots), so you won’t be able to capture nearly as many photos in a burst. Like the A7R V, the A7C R has 693 autofocus points and 79 percent coverage. It uses the same processor, so should offer roughly the same AF performance in terms of burst shooting, AI tracking and more.

Most importantly, you can expect identical image quality to the A7R V. As I said in my review of the latter, with the very high resolution and the lack of an anti-aliasing filter, only Hasselblad and Fuji’s 100-megapixel medium format cameras offer greater detail. It also offers Sony’s Pixel Shift Multi-Shot that can quadruple resolution to 240.8 megapixels.

The A7C R can’t shoot 8K video like the A7R V, likely due to heating issues with the smaller body. However, it still offers 4K 60p full-frame video (with pixel binning) and 6.2K oversampled 1.5x cropped 4K 60p video. It comes with S-Log3, S-Cinetone and S-gamut3 Cine, records 10-bit 4:2:2 sampled video and can shoot at up to 120 fps in 1080p mode. Data rates top out at 600Mbps in XAVC S-I 4K mode, but you’ll need a (pricey) V90 SD card to shoot that.

That takes us to a very important consideration: the price. The A7C R costs $3,000, or a full $900 less than the A7R V — something that will give many buyers extreme pause. It arrives in fall of 2023.

Sony A7C II

As mentioned, the A7C II has the same 33-megapixel sensor and many of the same specs as the A7 IV. In terms of the body and handling, the form factor and weight are identical to the A7C R — so you get the same extra dial, updated grip, improved EVF and other previously-mentioned features. Unlike the A7C R, though, it doesn’t come with the add-on grip extension in the box.

Shooting speeds are a bit faster at 10 fps in mechanical or electronic shutter mode. By the way, neither the A7C II or A7C R have full mechanical shutters, but use electronic first curtain shutters. This can create bokeh issues when using lenses with very fast apertures, but otherwise isn’t noticeable.

What’s interesting about the A7C II is that autofocus is superior to the A7 IV because it has the same dedicated AI processing unit as the A7C R (and A7R V) that’s missing on the A7 IV. That means you can expect improved subject detection, tracking and other features compared to the A7 IV. When compared to the A7C, though, Sony promises a 40 percent improvement for animal and bird AF tracking, 60 percent for eye AF and 20 percent for auto exposure tracking.

Again, image quality should be the same as the A7 IV. That latter delivers sharper photos than the A7 III thanks to the extra resolution, but offers superior low-light capability despite the smaller pixels. A downside to the A7 IV is rolling shutter, so expect the same issue on the A7C II.

In terms of video, the A7C II is actually a better option than the A7C R. It offers sharp full-frame 4K 30p video with 7K oversampling, or 4K 60p with a 1.5x crop. You get 10-bit 4:2:2 color sampling with S-Log3 and S-Cinetone, with LUTs available in camera.

The Sony A7C II is available in silver and black, and arrives this fall for $2,200. That price is a significant $300 less than the A7 IV and it’s actually a better camera in some ways — provided the lack of a second card slot doesn’t bother you.

This article contains affiliate links; if you click such a link and make a purchase, we may earn a commission.

The post Sony's two new A7C series cameras offer premium features for less money appeared first on Best News.

However, the company also unveiled the Focus Pro, a new version of its LiDAR focus system that works either standalone or with the RS4 Pro. This product is more on the cutting-edge side, adding a host of new capabilities to the company’s gimbal and camera systems.

DJI RS4

The mainstream RS4 gimbal is largely the same as the last model, with a carrying capacity of 6.6 pounds (3kg) that accommodates most mirrorless cameras and a good load of accessories. However, the tilt axis has been extended 8.5mm compared to the RS 3, giving you more balancing space for longer lenses or front-heavy add-ons like ND filters. It also uses DJI’s latest 4th-gen stabilization algorithm for improved smoothness and control.

The RS4 can pair with the new Focus Pro Motor (more about that in a sec), allowing smooth focus and lens zoom adjustments at a speed 30 percent faster compared to the original DJI Focus Motor. As before, it uses dual-mode Bluetooth tech so you can pair with and control multiple cameras.

Another new feature is improved stability in vertical shooting, steadying jolts for the influencer crowd even when walking or running. The redesigned gimbal horizontal plates allows for “seamless transitions to vertical shooting,” the company said, allowing for more efficiency in video creation (to let you quickly get out an Insta Story while filming, for example).

As before, it comes with automatic gimbal locking and unlocking for ease of use, along with Teflon coatings on all three axes for smooth operation. A new joystick mode switch lets you change from zoom to gimbal control and the customizable trigger can quickly turn on the FPV mode.

The RS4 supports multiple accessories via the RSA communication port, including DJI’s RS Tethered Control Handle and third-party options (DJI has an SDK protocol for the RS family). IT also supports the new BG70 High-Capacity Battery Grip that extends runtime to 29.5 hours with a 2.5 hour charge time (compared to , while supporting power delivery to camera and USB-C accessories.

Finally, the RS4 supports DJI’s Ronin Image Transmitter, delivering live-action high-definition feeds to other crew members and allowing for remote-control (focus, etc.) capabilities.

DJI RS4 Pro

The RS4 Pro ups the carrying capacity to 10 pounds (4.5kg) as before, while adding side handles and extra mounting points for accessories. It adds a 20 percent motor torque boost to all axes (compared to the RS 3 Pro) to allow for more responsive tracking even with heavy cameras and accessories.

DJI also introduced a car mount mode, optimizing the stabilizer for vehicle shoots, while updating vertical shooting capability and improving axis locks. Like the RS4, it has DJI’s latest 4th-gen stabilization algorithm that’s particularly helpful for fast-moving scenes when carrying a heavy camera.

The primary new capability is functionality with the Focus Pro LiDAR and Focus Pro Motor system, giving cinematographers autofocus capability even with manual focus lenses. It also supports remote control and image transmission, “allowing for remote gimbal operation and intelligent focus assistance,” according to the company.

“In collaborative team shooting, the gimbal operator can control the RS 4 Pro gimbal through devices such as the DJI Master Wheels, DJI Ronin 4D Hand Grips, and DJI High-Bright Remote Monitor. Meanwhile, the focus puller can enable LiDAR Waveform on the High-Bright Remote Monitor for intelligent focus assistance, precisely controlling focus using the Focus Pro Hand Unit,” DJI says.

DJI Focus Pro

For creators and cinematographers, the Focus Pro is the most intriguing product in this release. It’s a LiDAR focus system consisting of the Focus Pro LiDAR unit, Focus Pro Grip, Focus Pro Motor and FIZ Hand Unit. It gives the operator autofocus capability even with manual lenses, or lets them focus manually via a real-time view from the LiDAR’s perspective.

The grip has a full-color touchscreen, 2.5-hour power supply, intuitive visual operation, auto-calibration and data storage for 15 lenses, along with Bluetooth capability for easy start/stop recording. The LiDAR, meanwhile, supports focus at up to 20 meters (three times more than before), and has an ultra-wide 70-degree view for focus. IT has 76,800 ranging points and a 30Hz refresh rate to minimize focus hunting and ensure reliable focus.

Autofocus includes AF subject recognition and tracking, adjustable focus speed and selectable focus area modes, much like a regular mirrorless AF system. The AMF (auto-manual focus) mode, meanwhile, allows for instant switching between manual and autofocus for tricky shooting scenarios. It also helps camera or focus operators by showing the LiDAR waveform. I tried something similar with the Ronin 4D, and while it takes a while to get used to, it’s very effective.

The FIZ Hand Unit allows full remote control over focus, iris and zoom for focus pullers. It uses stepless real-time damping for smooth control, while letting the focus puller be up to 160 meters away. Other features including faster motor speeds, 10ms latency and intuitive dial operation.

Price and availability

The DJI RS 4 is now available for purchase starting at $549 and includes one Gimbal, BG21 Battery Grip, USB-C Charging Cable, Lens-Fastening Support, Extended Grip/Tripod (Plastic), Quick-Release Plate, Multi-Camera Control Cable, and Screw Kit. You can also pick it up for $719 in a combo with a Briefcase Handle, Focus Pro Motor, Focus Pro Motor Rod Mount Kit, Focus Gear Strip, a second Multi-Camera Control Cable, and one Carrying Case. The RS 4 Pro, meanwhile, starts at $869 or $1,099 with the high-capacity battery grip, with the same range of accessories for each.

The Focus Pro creator combo (DJI Focus Pro LiDAR, DJI Focus Pro Grip, DJI Focus Pro Motor and DJI Focus Pro Carrying Case) is $999, or you can buy the All-in-One combo (with the FIZ Hand Unit as well) for $1,899. The RS BG70 high-capacity battery grip is sold for $149 by itself.

DJI RS 4

$549 at DJI

The post DJI's RS4 gimbals make it easier to balance heavy cameras and accessories appeared first on Best News.

The key feature is the new 25.2-megapixel dual native ISO sensor. It carries the same resolution as the GH6, but adds hybrid phase-detect (PDAF) autofocus with 779 points that's married to Panasonic's AI subject tracking. The new system allows not only for faster tracking, but better AF in backlit conditions, low illumination and other tricky conditions. It recognizes not just faces and eyes, but also human bodies, and can track animal eyes, cars and motorcycles.

Panasonic is promising blackout-free burst speeds of 60 fps with continuous AF and the electronic shutter, or 10 fps in mechanical mode. At the same time, the buffer takes three seconds to fill, meaning you can grab around 160 RAW+JPG images before shooting slows. It's also got a pre-burst shooting function (0.5-, 1- or 1.5-second settings), meaning photographers won't miss a decisive moment if they're a bit late on the shutter.

Panasonic also borrowed the "Dynamic Range Boost" function from the GH6. It's essentially an HDR photo mode that combines low and high ISO images to produce a composite with both low noise and high saturation. The G9 II also has Panasonic's handheld high-res mode that combines multiple images to create a 100MP JPEG photo with extra detail. It uses the camera's IBIS mechanism to keep the camera steady, meaning no tripod is required.

As for the IBIS, it's also borrowed from the GH6 and delivers 8 stops of compensation, or 7.5 stops in 5-axis Dual IS 2 mode (used for longer telephoto lenses). As with other recent models, the G9 II also offers Active IS for shooting on the move, and Enhance IS to correct larger shake when running or walking.

The G9 II has a weather-resistant design, a new 8-direction joystick and supports an all-new optional $350 camera grip (also compatible with the S5 II/S5 IIx). The 1,840K dot LCD display fully articulates for vloggers and self-shooters, of course, and it comes with a decent 3,680K dot OLED. Other features include microphone/headphone ports and a full-sized HDMI port.

Panasonic downplayed it a bit, but the G9 II is now the company's most powerful Micro Four Thirds mirrorless model for video, thanks largely to the PDAF. It can shoot 4:2:0 10-bit 17:9 5.7K video at up to 60 fps, or 10-bit 4K at up to 120p. It also offers 4:3 open gate (5.8K) and 4:3 anamorphic shooting (4.4K). Plus, it supports regular MP4 formats (including I-frame) and Apple ProRes — not bad for a camera aimed at photographers.

You can shoot V-Log/V-Gamut video with 13+ stops of dynamic range, while applying your own LUTs in real time to see how graded footage will look. Panasonic also has a few new creative looks including Leica Monochrome "for deep black-white contrasts."

Other handy video features include a red rec frame indicator, a frame marker and AWB (auto white balance) lock. You can capture video not just to the dual UHS-II SD cards (relay, backup and allocation recording), but also to an SSD via the USB-C Gen 3.2 port. It also supports external ProRes recording via HDMI. The major drawback compared to the GH6 is the lack of a fan and a dedicated cooling design — so it may shut off during long recordings at high frame rates in hot conditions.

The Panasonic G9 II arrives to the US in early November for $1,900. That's $200 more than the original G9 at launch, but a bit less than OM System's OM-1 Micro Four Thirds camera. Along with the G9-II, Panasonic introduced the new $1,600 Leica DG 100-400mm f/4-6.3 II Power OIS lens (200-800mm 35mm equivalent), ideal for wildlife and macro photography. It also unveiled the $1,150 Leica DG 35-100mm f/2.8 (70-200 35mm equivalent).

The post Panasonic's Lumix G9 II is its first Micro Four Thirds camera with hybrid autofocus appeared first on Best News.

Where the GFX100 was gigantic in size due to the built-in battery grip, the GFX100 II has separated those two things, so the camera body alone is considerably smaller (the grip is sold separately for $500). It has a new 9.44 million-dot electronic viewfinder (EVF), the highest in the industry, that's removable as before. That allows the use of an optional $569 tilt adapter that makes low-angle shooting easier. The rear touch display tilts up, down and a bit to the side, but doesn't flip out (sorry, rich vloggers).

With the latest X-Processor borrowed from the X-H2S and X-H2 cameras, the GFX100 II can shoot at 8fps (up from 5fps before), pretty darn fast for a medium format (43.8 x 32.9mm) sensor camera. It now comes with subject-detection autofocus with face/eye detection, and can also track animals, birds, vehicles and other fast-moving subjects like insects and drones — both for photos and video.

The body looks more like the X-H2/X-H2S than other X-series cameras, with just a single mode dial and a large LCD display on top. It offers 5-axis in-body stabilization with up to 8-stops of shake reduction. In terms of storage, it supports dual cards with one CFexpress Type B and one SD UHS-II slot — and you can also capture video to an external SSD via the USB-C port. Other features include headphone/mic ports, a full-sized HDMI port and an ethernet port. It even supports timecode jamming for video via the Atomos AirGlu BT.

If you want to shoot video with a nearly 70mm-sized frame, the GFX100 II can do that impressively well also. It supports 4K at up to 60p using the full width of the sensor, and even keeps rolling shutter to a reasonable level — likely via line skipping or pixel binning. There's even an 8K mode, albeit with a 1.53 times crop, that reads the sensor pixel-for-pixel with some upscaling. On top of 8K, UHD and 4K DCI modes, it can shoot anamorphic video at up to 4.8K.

It can record Apple ProRes vide in three formats (422 HQ, 422 and 422 LT), along with H.264 and ProRes 422 proxy files. The higher-quality codecs require CFexpress Type B or USB SSD capture.

Fujifilm clearly thinks that pros will use the GFX100 II for video, as it offers waveform and vectorscope overlays to help nail exposure. It has front and rear tally lamps, the ability to use fractional shutter speeds to avoid flicker and an optional fan accessory that allows for unlimited 4K/60p recording times. And as mentioned, it supports timecode sync and jamming, so it can work in a multi-camera shooting environment. On top of all that, it supports up to four channels of audio.

Along with the camera, Fujifilm introduced a new $2,300 55mm f/1.7R WR lens (44mm equivalent in full-frame terms), along with two tilt-shift 30mm and 110mm lenses for architectural an artistic shooting ($4,000 and $3,500 respectively). The GFX100 II launches in "early fall 2023 for $7,500, compared to $6,000 for the GFX100S and $10,000 for the GFX 100.

The post Fujifilm launches the slimmed down, cheaper GFX 100 II medium format camera appeared first on Best News.

The body and handling emphasizes manual controls, with no less than five dials on top to control shooting mode, video/photo/B&W, aperture, shutter speed and exposure compensation. It also has a pair of shooting dials front and back and a D-pad style controller, but no joystick. The "grip" is just a small ridge. With all that, the Zf really does look like a an old school Nikon film camera — right down to the chrome-plated shutter release button.

The Zf's magnesium-alloy body is smallish, but not very light at 710 grams (Sony's A7 IV is 659 grams). It does offer "high dust- and drip-resistance" though, Nikon says.

The high-resolution 2.1-million-dot vari-angle touch display fully articulates for vlogging and selfies, while allowing touch function controls and focus point selection. For astro shooters, it has a "Starlight view mode" that boosts display brightness in dark scenes. Meanwhile, the OLED viewfinder has a decent 3.68-million dot resolution and 0.8 times magnification.

It has two card slots, but with a serious caveat. One is a high-speed UHS-II card slot, but the other is a UHS-I microSD slot — the only model with that combo as far as I know. The battery is a weak point, offering only 380 shots on a charge, compared to 580 for the Sony A7 IV. Other features include a USB 3.2 Gen1 port with charging support, mic/headphone ports and a micro HDMI connector.

Inside, it has a backside-illuminated (BSI) 24.5-megapixel sensor and Expeed 7 processor borrowed from the high-end Z models. That gives it autofocus powers akin to the Z8, including Nikon's 3-D tracking plus AI-powered subject detection that can find people, dogs, cats, birds, cars, motorcycles, bicycles, trains and planes. It'll even detect far-away faces that take up as little as 3 percent of the frame's longest side.

As for image quality, the standard ISO range of 100 to 64,000 promises good low-light capability, and it has a pixel shifting mode that boosts resolution up to 96-megapixels for static scenes. In line with the retro styling, Nikon has a dedicated black & white mode (with its own dial setting), that enables multiple monochromatic settings ranging from flat to high-contrast "Deep Tone Monochrome."

It can hit 11fps shooting speeds in RAW mode (14fps with JPEGs) in electronic shutter mode (Nikon doesn't list specs for mechanical shutter) and offers a reduced-quality 30fps JPEG-only mode with a pre-burst option to ensure you won't miss a shot. The five-axis IBS (or vibration reduction, as Nikon calls it) reduces shake by up to 8 stops with a supported lens. Stabilization can be linked to the focus point, rather than just the center of the image as with most systems.

On the video side, the Zf can record full-frame 4K at 30p from a supersampled 6K image, or 4K60p with a DX (1.5 times) crop, along with 1080p/120p. Video can be captured with 10-bit H.265 recording, which will give users better color fidelity and more options in post. However, H.265 files require a powerful computer, meaning you might have to convert them to another format for editing.

Based on the specs, the Nikon Zf looks like a solid camera that can compete against models like Panasonic's S5 II and Sony's A7 IV. However, it sets itself apart from those models based on its retro styling and manual controls, which should appeal to a certain segment of buyers. The Nikon Zf arrives in October 2023 at a competitive $2,000 price for the body only, or $2,240 with the retro-styled Nikkor Z40 f/2.0 SE lens. If you want one of the other colors (Indigo Blue, Sepia Brown, Bordeaux Red, Sunset Orange, Moss Green, StoneGray), you'll pay $2,100 for the body only.

The post Nikon's Zf full-frame camera puts speed and video power in a retro body appeared first on Best News.

It uses the same sensor as the $3,500 A7S III, a video-focused camera that’s also a low-light marvel. However, the ZV-E1 costs $1,300 less, so of course it’s missing some key features like an electronic viewfinder (EVF), dual high-speed card slots, a mechanical shutter and some physical controls.

Sony93100

Sony Alpha ZV-E1

Sony has no less than five models in its content-creator ZV lineup, and the ZV-E1 is the most capable by far.

ProsOutstanding video featuresClass-leading stabilizationIncredible low-light powersVery useful AI featuresConsLess sharp than other modelsNot great for photos$2,198 at AmazonExplore More Buying Options$2,198 at Abt Electronics$2,200 at Sony Electronics

At the same time, the ZV-E1 has some functions that the A7S III lacks, surprisingly enough. Most of those are in the area of AI, and very useful for vloggers, like auto-framing, advanced subject detection and dynamic stabilization. With the sensor and AI features combined, it’s not a spoiler to say that this camera is both a mini A7S III and a powerful vlogging camera at the same time. The sheer number of advancements also make it a technological tour de force.

Body

The sensor might be the same, but the ZV-E1 looks radically different from the A7S III. Instead of Sony’s classic A7-style mirrorless form, the body is squat and chunky like an A6700 or full-frame A7C. It’s also significantly smaller and weighs a third less than the A7S III at 483g, making it Sony’s smallest full-frame camera to date.

Sony boasts that it’s built of recycled plastic, and that makes the camera feel significantly cheaper and less grippy than the A7 series. The grip is also smaller, but I was still able to get a reasonably firm grasp considering the lighter weight. Despite the lower-end materials, it is dust and moisture resistant.

As we’ve seen on numerous recent cameras, there’s a switch for photos, video and slow & quick, and each has its own dedicated settings. It has a prominent red record button on top, and like Sony’s other mirrorless vlogging camera (the APS-C ZV-E10) it has a zoom rocker for supported zoom lenses, and also works with Sony’s “Digital Zoom” feature.

Other than that, it’s significantly stripped down compared to the A7S III. While it does have a few vlogging-specific buttons like Product Showcase and Background Defocus, there’s just a single control dial on top (at the back) and no dial on the front – making it difficult to operate the camera using physical controls in full manual mode.

That said, the ZV-E1 is one of Sony’s first cameras that can be fully operated using touch controls. Most of the key settings (shutter speed, aperture, ISO, etc) can be changed in that way, and it also lets you tweak the display settings by swiping left or right. And of course, the LCD screen fully articulates for vloggers, though it’s a bit low-res at 1,030K dots.

Where the A7S III’s 9.44 million-dot EVF is the best on the market, there’s no viewfinder at all on the ZV-E1. I missed that feature when shooting on bright days, but the EVF does have a “sunshine” mode that automatically maxes out brightness.

1 / 19

Sony ZV-E1 review: The best vlogging camera to date, by a long ways

Sony ZV-E1 review: The best vlogging camera to date, by a long ways

It uses the same battery as Sony’s flagship models, so you get a generous 95 minutes of 4K 30p video recording and 570 photos on a charge. Luckily, the USB-C Gen 3.2 port lets you charge while shooting, and also supports high-speed transfers.

Along with headphone and mic ports, it’s got a micro rather than a full sized HDMI port, which isn’t ideal for a vlogging camera. It has just a single high-speed UHS-II card slot. Oddly the lack of a fast CFexpress type A slot doesn’t appear to limit video capture compared to the A7S III.

Video

As you’d expect for a camera based on the powerful A7S III, video specs are impressive. It can handle 4K UHD video at up to 60 fps, though it’s lightly supersampled from the 12-megapixel, 4,240 x 2,832 sensor – so it’s slightly less sharp than higher-resolution Sony cameras like the A7 IV. Thanks to a recent firmware update, it can also shoot native 4K at up to 120 fps with no supersampling.

You can choose from high- and low-quality MP4 longGOP options, all with up to 4:2:2 10-bit color depth and 280 Mbps data rates. There’s also an I-mode at up to 4K 60p with 4:2:2 10-bit color that offers a more fluid editing experience with no transcoding. That setting uses higher data rates at up to 600Mbps (60 fps), so it requires expensive, high-speed V90 UHS-II cards.

Sony’s S-Log3 boosts dynamic range to 14-plus stops, and you can preview footage using Sony’s LUTs or install your own. If you don’t want the hassle of log, S-Cinetone also boosts dynamic range and is easier to tweak and edit later on.

What about overheating? Since it lacks the thermal capabilities as the A7S III, continuous recording times are shorter, particularly at 4K60 and up. In that mode you can expect less than an hour depending on the outside temperature. Content creators might be OK with that, but event shooters may need to look elsewhere.

Autofocus and AI

When it comes to autofocus, the ZV-E1 actually outshines the A7S III. That’s because it uses Sony’s new AI processor introduced in the A7R V, so it behaves more like that model –- particularly when it comes to image tracking.

It can now track human heads and bodies, not just faces and eyes. And besides people, it has specific settings for animals, birds, insects, cars, planes and trains. Unfortunately it does lack an auto setting, so it can’t automatically select the type of subject — you have to dive into the menus and do that yourself.

Subject tracking sets a new speed and reliability standard for mirrorless cameras, nailing autofocus consistently – even in tricky settings with fast moving subjects. That’s hugely important for vloggers, who often work alone. That said, even Sony’s system isn’t perfect, as it can occasionally lose a subject’s eyes in busy backgrounds.

AI powers other features too. For example, the built-in microphone is now directional, and can automatically aim toward the front, rear or all around, based on subject detection.

A key AI feature lets you digitally zoom an extra 1.5 times without much noticeable loss in quality. It works with the zoom rocker, and unlike with past ZV implementations, includes full subject tracking. That ability to zoom smoothly and automatically scale the image powers other features as well

That starts with the ZV-E1’s in-body stabilization. Optical-only offers 5 stops, enough to smooth handheld video without much movement. Active stabilization considerably boosts performance, but adds a slight 1.1x crop. However, dynamic stabilization is new and quite remarkable. It adds a 1.3x crop, but can effectively remove bouncing from footsteps, making it like using a dedicated gimbal – albeit with some loss in sharpness. With that feature, the ZV-E1 is the first camera that can really match the smoothness of the latest GoPro action cams.

The digital zoom teams up with subject tracking on two other new features as well. One is the Framing Stabilizer, which crops into the image, steadies the shot and keeps the subject in the center of frame, allowing for dolly-like smoothness.

Auto Framing, meanwhile, gives the illusion of camera movement. It first digitally zooms into the subject, then tracks it within the frame. You can choose a small, medium or large crop, different tracking speeds and more. You can even send an uncropped video to HDMI so you have two versions.

It also carries vlogger-centric features seen on other ZV models, including Product Showcase and Auto Depth of Field. As before, the latter automatically defocuses the background by instantly opening the aperture as much as possible. Product Showcase, meanwhile, ignores eye detection and quickly shifts focus to any foreground object brought in front of the camera. Finally, Breathing Compensation uses a slight digital zoom to maintain constant framing when changing focus.

Video Quality

As mentioned, 4K 30p and 60p video is slightly softer than Sony’s 30-megapixel A7 IV due to the lower resolution. On the plus side, the absence of pixel binning means no there’s no aliasing or other ugly artifacts that can ruin a shot.

The other positive aspect is far less rolling shutter than the A7 IV at the full sensor width. That means you can make quick pans or film fast-moving subjects without worrying about skewed video.

Apart from sharpness, image quality is superb. It delivers nearly 15 stops of dynamic range in C-Log3 mode, up there with the best mirrorless cameras. That allows for plenty of detail in dark shadows and bright highlights, even on sunny or dark days. S-Log3 mode, meanwhile, gives editors room to tweak video. Sony’s colors are accurate, though skin tones can lack the warmth I’ve seen on Canon models.

The ZV-E1 can’t be beat in low light. It has dual native ISOs at 640 and a whopping 12800. That allows for low-noise video all that way up to ISO 25,600, and manageable levels even at 51,200 – letting you shoot by moonlight or candlelight. In fact, Sony’s FX3 cinema camera with the same sensor was recently used to shoot a feature film called The Creator, specifically because it’s so good in low light.

Photography

1 / 17

Sony ZV-E1 review sample photos

Sony ZV-E1 review sample photos

Since it doesn’t have an EVF or mechanical shutter, I wouldn’t recommend the ZV-E1 for photography alone. That said, like the A7S III, it’s more than competent in a pinch.

The AF works just as well with photography, and has the same features and tracking modes. So you can count on this camera to grab sharp photos, even when shooting bursts at up to the maximum 10 fps or in low light. It’s actually a pretty good street photography or travel camera, as it’s small, silent and discreet. And with so little skew, I rarely missed the mechanical shutter.

Photo quality is outstanding, particularly in very low light. RAW images can easily be tweaked, even at high ISOs, and colors are accurate. The biggest drawback is again the lack of sharpness. That means there’s not a lot of room to crop into photos later, so you’ll want to get your framing right when you take the shot.

Wrap-up

With all that it can do, Sony’s ZV-E1 is the best vlogging camera on the market and its rivals aren’t even really close. It delivers everything creators need like 4K 120p video, high dynamic range, unbeatable low-light capability, great ergonomics, the best AF on the market and a boatload of useful AI features. The main drawback is a lack of sharpness — but that’s only really noticeable if you’re pixel peeping.

The ZV-E1 costs $2,200, so its rivals include the $2,200 Panasonic S5 IIx, the $2,500 Canon EOS R6 II and Sony’s own $2,500 A7 IV. All of those cameras have sharper 4K video and electronic viewfinders, so they’re better hybrid cameras for both photography and video

The ZV-E1 beats them in nearly every other way, though, while breaking new ground with its innovative AI features. If you’re a content creator looking for a full-frame camera in that price range, I’d highly recommend the ZV-E1.

The post Sony ZV-E1 review: The best vlogging camera to date, by a big margin appeared first on Best News.

However, I (and others) noticed that it held a lot of promise for content creators, too. The superior hybrid AF is also better for video than past models and it offers up to 5.8K 60p video, 4K at 120p, incredible stabilization and even SSD ProRes capture. On paper, it’s superior to the company’s vlogging-dedicated GH6, though it lacks the latter’s fan and a few other minor features.

Panasonic91100

Panasonic Lumix G9 II

The Panasonic Lumix G9 II is one of the most capable hybrid cameras around.

Pros60 fps burst speedsImproved autofocusExcellent stabilizationGood image qualityHigh-end video specsConsMediocre battery lifeAutofocus still behind rivals$1,898 at B&H Photo

That gives the G9 II a bit of an identity crisis. Is it the ultimate content creator camera, an action shooter’s dream or the ultimate hybrid camera? To find out, I’ve got a retail camera with the final production firmware and RAW photo support.

Body

Physically, the G9 II is more like the full-frame S5 II than the six-year-old G9. Gone is the softer, rounded G9 design, in its place a more angular, hard-edged body. It’s relatively large for a Micro Four Thirds camera, weighing 658 grams (OM system’s OM-1 weighs 599 grams), though it has exactly the same heft as the original G9.

The design is more businesslike than pretty, but I like the practicality of it. The ridged grip is secure, and it has every control you need, including a joystick, front, back and rear control dials, a setting dial, shooting dial and numerous buttons. A few things have changed from the G9, as the dual dial on the left is now just a single shooting dial, the on/off switch is in a better location and it has a front shooting dial. This is now a template for Panasonic cameras, so if you’re used to models like the GH5, you’ll adapt quickly.

The menus are easy to use as well, but I wish it had a dedicated photo/video switch with separate controls. For instance, if you set V-log on video, that setting carries over to photos too – and you definitely don’t want that. To keep photos and video apart, you’ll need to employ one of the custom “C” dial settings.

The 1,840K dot LCD display fully articulates for vloggers and self-shooters, of course, and most controls are available by the touchscreen. It comes with a decent 3,680K dot OLED viewfinder that’s on par with other cameras in this price range, like Fujifilm’s X-T5. I’d prefer a little more EVF resolution on a flagship camera, particularly for bird shooting, but it’s not bad.

1 / 24

Panasonic G9 II mirrorless camera review

Panasonic G9 II mirrorless camera review

The G9 II uses the same battery as the S5 II, allowing for a middling 390 shots on a charge. Video endurance is better than the GH6, though, lasting nearly 100 minutes at 4K 60p.

A feature I didn’t expect is SSD recording. That lets you record high-bandwidth ProRes files to an external drive via the USB-C port. It does require some rigging, but is an amazing time saver, as you can edit the files directly with no transcoding needed. It also has a pair of SD UHS-II card slots, but no support for CFexpress like the GH6.

There’s a nice full-sized HDMI port, but the G9 II doesn’t yet support RAW video recording. You also get microphone and headphone jacks, along with a USB-C port that supports 10Gbps transfer speeds and fast PD charging.

Performance

With a new sensor and processor, the G9 II is a speed demon – but this is Panasonic’s first crack at phase-detect autofocus. That does show at times, via issues like occasional lag and an AI feature set lacking compared to rivals.

It can shoot RAW plus JPEG bursts with the mechanical shutter at up to 10 fps, or 60 fps in the SH60 electronic shutter mode with continuous autofocus. If you don’t need that kind of speed (and don’t want to fill the buffer up too rapidly), it also offers 20 fps bursts in electronic mode. Panasonic also introduced a pre-burst mode, which continuously cycles bursts through 1.5 seconds before you fully press the shutter – helping you catch a shot even if you’re a bit slow.

It has a large buffer that allows for over three second bursts at 60 fps and non-stop shooting with the mechanical shutter. However, it takes longer than other cameras to clear the buffer – up to a minute in some cases – due in part to the slowish SD ports. This can be quite annoying, as the camera effectively stops working while the buffer clears.

Still, that kind of speed is impressive – provided the autofocus can keep up. Luckily, the new phase-detect system on the G9 II is mostly up to the task. Shooting at 60fps with eye-detection enabled, the large majority of my shots were in focus with a subject running toward the camera.

It wasn’t quite as reliable for more distant subjects when using Panasonic’s new 200-800mm equivalent telephoto, and didn’t initially lock in as fast as I’d like. The eye detect autofocus, however, was generally reliable for both human and animal subjects. It lacks a specific setting for birds, but the system does seem to automatically switch between birds and deer, for instance, if you’re shooting in the woods.

It can also track motorcycles and cars, and though I didn’t test it on the former, it does a good job tracking vehicles. There’s no “auto” setting either like you’ll find on Canon’s latest models, so you have to go in and switch focus modes manually if you’re shooting a pet and its owner.

In other words, Panasonic is off to a good start but has a way to go to catch up to Sony’s ultra-reliable and more intelligent AF. I expect that to improve over time, though.

If you’re concerned about rolling shutter in electronic mode, don’t be. Readout speeds are fast for a non-stacked sensor, so skew and other issues aren’t an issue except in extreme situations like airplane propellers.

Panasonic has included the same in-body stabilization system as the GH6, so it can reduce shake by up to 8 stops, or 7.5 stops with ultra telephoto lenses. It’s very effective for shooting handheld, letting you grab photos at a quarter second or less with no blur.

Image quality

The G9 II has the same 25.2-megapixel resolution dual gain sensor as the GH6 but image quality for photos is better, with less noise at lower ISO levels.

1 / 30

Panasonic G9 II review sample images

Panasonic G9 II review sample images

With five extra megapixels over the original G9, it takes sharper shots and provides some extra detail over rivals like the OM-1 – letting you crop in a bit more. JPEG colors straight out of the camera look great and require little retouching.

The dual-gain sensor also makes it good in low light for a Micro Four Thirds Camera. Very little noise is visible up to ISO 1600, and it’s well managed beyond that up to about ISO 12,800, as long as you expose correctly. That said, it’s always better to have more light with a small-sensor camera, as noise levels can quickly get out of control, particularly with underexposed shots.

RAW files are relatively easy to edit and give you room to dial down highlights or bring up detail in shadows. Again, the small sensor puts it at a disadvantage to full-frame cameras in that regard, however, as more noise will appear at higher ISOs.

The G9 II now has a dynamic range boost function applied automatically. It uses both the high- and low-gain circuits, and combines them into one photo, HDR style. That helps boost dynamic range in bright sunlight and other tricky situations.

The handheld high-resolution mode, meanwhile, combines multiple images into a single 100-megapixel shot, with no tripod required. It works surprisingly well for shots like landscapes with limited movement, drastically boosting resolution. I did notice that the high-resolution JPEG files have an artificial look when you zoom in though, as if the camera is trying to add non-existent detail. For that reason, I’d suggest enabling RAW when using the feature.

Finally, Panasonic took a page from Fujifilm with a new black and white color profile called Leica Monochrome. It was developed in partnership with Leica, obviously, and features brighter highlights and more contrast. It’s easily the nicest photo “look” setting I’ve seen on any Panasonic camera (it’s great for black and white video, too).

Video

Panasonic might not want to hear this, but if I was a content creator looking for a Micro Four Thirds camera, I’d purchase this model over the like-priced GH6.

Yes, the GH6 has a few advantages. It can capture ProRes video directly to CFexpress cards, while you need to rig up an SSD to do the same on the G9 II. It also has a fan that allows unlimited video recording, so it is better for event videographers. Finally, you can output RAW video to an external recorder.

Aside from that, the G9 holds its own. Both can capture 5.7K at up to 60fps, or 120p 4K, and the G9 II supports 10-bit V-Log recording and 4K internal capture with high data rates and easy-to-edit I-frame files, exactly like the GH6. And you can do high-bandwidth ProRes recording via the USB-C port – again, just like the GH6.

The lack of a fan limits the G9 II’s recording times, but not substantially. 4K and 5.7K recording times are effectively unlimited at 30 and 60 fps. Even 4K at 120fps can go over 20 minutes, and few users would ever need that.

And the G9 II does things the GH6 can’t. The phase-detect AF is clearly superior for video, eliminating wobble and focusing much quicker (though the same AF caveats for photography apply). It also has a lower 500 ISO floor for dynamic range-boosted V-log recording, compared to ISO 2,000 for the GH6. That makes it more practical to shoot in sunlight, where the benefits of log and dual-gain are greatest.

As with the GH6, stabilization is excellent for video, though Sony’s ZV-E1 is a touch better. Boost Mode provides near-tripod levels of smoothness for static shots only. Turning on E-Stabilization eliminates the need for a gimbal in some cases (though the electronic IBS on Sony's ZV-E1 is a hair better). That mode also corrects warping at the edges with wide-angle lenses, a first for mirrorless cameras. As a content creator myself, the stabilization alone would make me reach for the G9 II instead of potentially more capable cameras like Canon’s R6 II – because I know I can capture great footage without a tripod.

4K video is oversampled and thus very sharp, though the cropped 4K 120p is a bit softer. Dynamic range is outstanding in V-log mode, so it’s easy to adjust later, especially at the base ISO 500. Colors are natural, and low-light capability is solid for a small-sensor camera thanks to the dual gain system. So video quality-wise, I have no complaints.

That said, there are a few handy content creator features found on Sony and Canon cameras missing here, like Sony’s dedicated product showcase and focus breathing compensation.

Wrap-up

With all that, the $1,900 G9 II is one of the most capable hybrid cameras I’ve seen. The handling, speed and improved autofocus make it a compelling option for wildlife photographers. But the excellent video capabilities and quality makes it a great choice for content creators as well.

Panasonic’s main competition on the photography side is the $2,000 OM-1. The G9 II has more resolution, but the OM-1 has a faster stacked sensor. For photos, either is a good choice, depending on what you need. However, the G9 II is far superior for video.

On the content creation side, Sony’s $2,200 ZV-E1 is a clear rival, and is a touch better for vloggers. Panasonic’s own GH6, currently discounted to $1,700, is another option. However, neither of those models can touch the G9 II on the photography side. Perhaps the best fully hybrid alternative would be Fujifilm’s X-H2, as it offers both speed and video chops, but it costs $600 more. All told, if you’re someone who tends to do both photography and video, the G9 II is a great choice.

The post Panasonic G9 II review: Its best Micro Four Thirds camera to date appeared first on Best News.

The new tech opens up a lot of new possibilities for photographers. Without the constraints of a physical shutter (no, there isn't one), it can shoot full-resolution, blackout-free 14-bit RAW bursts at up to 120fps with a 1.6 second buffer (around 180 shots). Sony also installed the latest Bionz XR image processor and "high-density focal plane phase detection AF" that allows for real-time autofocus (AF) tracking.

"A designated AI processing unit uses real-time recognition AF to recognize a wide variety of subjects with high precision," Sony explains in the press release. "By combining high-speed performance of up to 120 fps with highly accurate subject recognition performance, it is possible to easily photograph scenes and moments that cannot be seen with the naked eye."

The global shutter also allows for shutter speeds of 1/80,000th of a second (1/16,000th during continuous shooting), ten times faster than most cameras. Compatible flashes can be synced all the way up to the maximum shutter speed, rather than being limited to much lower speeds in electronic shutter mode — normally around 1/250th to 1/500th of a second. It also allows the shutter speed to be finely adjusted to eliminate flicker in video. And Sony is offering a 1-second pre-burst feature that can capture scenes before the shutter button is pressed, reducing the possibility of a missed shot.

The stacked global shutter provides large benefits for video, as well. It's Sony's first camera to support 4K 120p video with no cropping and does so with no rolling shutter distortion (skewing), along with 4K 60p with 6K oversampling. It also offers 10-bit recording with S-Log3 capture in all video modes (including 4K 120p), along with S-Cinetone borrowed from the company's high-end Venice lineup that "makes human skin tones and subjects stand out beautifully," Sony said. It should be one of Sony's best-focusing cameras for video, as all the photo subject tracking features work in that mode, too.

It's got a long list of other features you'd expect on a high-end Sony camera, most notably in-body stabilization with up to 8 stops of shake reduction. The electronic viewfinder is Sony's best with 9.44 million dots, and It resolves the rear display tilt vs. flip debate by doing both of those things. And to help clear the buffer as quickly as possible, the A9 III supports fast CFexpress Type A cards on top of SD UHS II, much like the Alpha A1.

Other specs show an ISO range of 250-25600 (expandable to ISO 125–51200) with a minimum ISO that's a bit on the high side. That shouldn't bother photographers on sunny days, given the extremely fast shutter speeds, but video shooters will need ND filters to block some light.

What will be a key for this camera is the image quality and low-light sensitivity, given that this is an all-new sensor and there's not a lot of data on global shutters. Sony didn't release any sample photos yet from what I've seen, so upcoming reviews of this model will be key. The Alpha A9 III goes on pre-order tomorrow for $6,000, with a vertical grip available for $400 — but won't arrive until next spring.

The post The Sony A9 III is the fastest full-frame camera ever thanks to a global shutter appeared first on Best News.

Both cameras have far different price points, currently around $450 and $1,300, respectively. They’re still the company’s least expensive new full-frame and crop-sensor mirrorless cameras, though, and Canon markets them both as ideal for tourism and adventure — so I figured that this is a great way to test the capabilities of both.

Like any potential buyer, I wanted to see if they’re better than a smartphone for traveling — specifically if the larger sensors can counter a smartphone’s AI computational photography. I also looked at ease of use and automated operation, flexibility for sunny beaches or dark bars, vlogging and more. After trying them out at some of Gran Canaria’s most scenic spots, I found one of them to be a camera worth buying and one, not so much.

Smartphone computational photography

Before detailing my experience with these cameras, I want to talk about computational and AI photography. Most smartphones incorporate these tricks, like taking multiple photos in quick succession to get the best one or improve low-light shots. They often deliver better-exposed shots with superior white balance, too. There is a price to be paid though in terms of over-sharpening and other artifacts that can give photos an artificial look.

I tested this by taking a few shots with both a Pixel 7a and a camera in the auto settings, as many travel photographers do. As I suspected, at first glance the shots on the smartphone look better, but a closer look reveals superior photos from the camera in terms of detail, color accuracy, skin tones, true noise levels and more. I believe it’s important for buyers to understand this and have a basic idea of how to adjust images in post, or their new purchase could end up in a drawer.

Canon EOS R100

The 24-megapixel APS-C EOS R100 seems like it should offer a lot for travelers. It’s small and light at 356 grams, so with a compact lens, it’s not a huge burden compared to a smartphone. At the same time, the larger sensor potentially offers superior quality and the flexibility of interchangeable lenses.

The small size comes with big compromises, though. Handling is mediocre and the settings aren’t super intuitive. I’d love to tell you could just control it on the screen instead, but the display isn’t touch sensitive and is nearly useless for vlogging as it’s fixed in place too. The electronic viewfinder has low magnification and is relatively dim, so it’s hard to use in the sun — especially with glasses on — unfortunate if you’re on the beach, for example.

It has just a single UHS-I card slot, so storage is relatively cheap but you won’t have a backup if the card glitches. You get a microHDMI jack to output to a TV, along with a mic input, but no headphone jack. The USB-C 2.0 port can only transfer files, not charge the camera or let you use it as a webcam.

It supports Canon’s smaller LP-E17 battery, but is rated for a decent 430 shots on a charge and many more in real life. One big benefit is a built-in flash with exposure compensation to dim it down – though settings are limited in the fully automatic mode most beginners will use.

EOS R100 performance and video

The R100 has anemic performance, to put it mildly. It shoots and focuses at just 3.5 fps max, the slowest in its category. It feels sluggish when shooting RAW photos, even in single shot mode. Luckily, it’s much more reactive when shooting JPEGs.

The sensor has some of the worst rolling shutter I’ve seen in silent mode. Luckily, it does have a first-curtain mechanical shutter that eliminates that, and the silent mode setting is hidden away where many folks will never find it.

There’s eye-detection AF for people only, and it works well if your subject is close to the camera. That’s OK for family photos and the like, but not ideal for candid or street shots on your trip. The autofocus isn’t great in low light either, but is otherwise fairly reliable.

The R100 is OK for grabbing the odd travel video, but not suitable for content creators. Max resolution is 4K 24p, but that comes with a 1.5 times crop, or 2.2 times with electronic stabilization, killing the bokeh advantage of a large sensor. And there’s no option for log, 10-bit, or any other high-end video features. That said, 4K video is relatively sharp and colors are nice and accurate.

EOS R100 image quality

1 / 17

Canon EOS R100 sample images

Canon EOS R100 sample images

The bright spot of the EOS R100 is photo quality. As you’d expect from Canon, image quality is excellent with warm skin tones and accurate colors straight out of the camera. It can also handle low-light shooting well thanks to the large sensor, with little noise up to ISO 6400. All that will help you take great shots of mountains, the beach, nightlife and other typical vacation scenarios. The ability to shoot RAW, along with the mechanical shutter, is another good reason to get this model over most smartphones. And finally, the built-in flash is there to help you get nice looking images even in dark environments.

EOS 100 wrap-up

So would I recommend the EOS R100 for travel, particularly over a smartphone? Sorry Canon, but no. It’s too stripped down to replace a good smartphone, and while it does deliver better image quality, it’s too complicated. Instead, I’d suggest Canon’s older EOS M50 Mark II ($729), as it offers the same image quality but has a touchscreen, is smaller, and still offers good lens options. Sony’s A6100 ($848) has better autofocus and video options, and if you can afford a little more, Canon’s own R50 ($800) is the same size but far more capable.

EOS R8

Like the EOS R100, Canon’s R8 is the company’s most stripped-down and cheapest new full-frame camera. It gives you the same sensor and image quality as the $2,000 EOS R6 II for $700 less, but takes away some of the speed, video features and more.

The main thing lacking in the R8 is in-body stabilization, so it relies on lens and electronic shake reduction – but that actually worked pretty well for me. It’s also missing a full mechanical shutter, but does have a front-curtain shutter that eliminates rolling shutter. The EVF is far more basic, with lower resolution and magnification.

On the plus side, it has the same flip-out display as the R6 II, meaning it can serve as a capable vlogging and selfie camera. It also has a decent range of manual controls, with dual dials for the main settings, a full range of manual and auto settings and a dedicated photo and video switch. It’s also smaller and considerably lighter than the R6 II, so it’s a better travel option.

It has both mic and headphone jacks, along with a microHDMI port. It captures photos at high speeds to a UHS-II card, but there’s only one slot. The biggest compromise is a battery that’s the same as the one in the R100. Given the extra power demands of the larger sensor, it delivers only 290 shots on a charge, max and under an hour of video shooting.

EOS R8 performance and video

For a budget camera, the R8 is fast. It supports only 6 fps with the electronic curtain shutter, but can handle 40 fps bursts in electronic mode. There’s significant rolling shutter, though, so keep that in mind for action shots.

The R8 uses Canon’s latest AI subjection recognition tech, meaning it can track both animals and humans accurately. It also comes with an auto setting that lets the camera determine the subject and follow it accordingly.

I think autofocus is one of the most important features for travel photography, and the R8 delivers. It can locate and lock onto various subjects and track them rapidly around the frame. That makes it more capable than other recent models like the Sony’s A7 IV and the Nikon Z6 II. Focus can be selected via the touchscreen with your eye to the EVF, which works well, but be sure to enable the “touch and drag” setting in the menu.

It’s also a good video and content creation camera, with a few caveats. You can shoot uncropped video at up to 4K 60p, and it supports Canon’s C-Log 3 with 10-bit capture, along with HDR PQ. 120 fps ultra slow mo is available at 1080p. That said, 4K 60p has some pixel binning, so it’s less sharp than the 30p mode. The lack of in-body stabilization also makes it less useful for vlogging, because electronic stabilization adds a 1.25 times crop..

EOS R8 image quality

1 / 16

Canon EOS R8 sample images

Canon EOS R8 sample images

Image quality is a strong point with the R8 too, especially for tourists who want far more than a smartphone can offer. It’s a great people and scenery-shooting camera, with rich skin hues and accurate colors. At the same time, the full-frame 24-megapixel sensor is great in low light, delivers plenty of detail and offers beautiful background bokeh. Serious photographers can grab RAW photos and get the same level of detail found on more expensive cameras.

EOS R8 wrap-up

Canon’s entry-level full-frame R8 is definitely worth taking on your voyages. It offers impressive image quality and is great for content creators, too. The main drawback is the lack of stabilization and a small battery, but you’ll be fine if you carry an extra battery or two. Rival options include Nikon’s Z5 ($1,299), which has image quality on par but inferior autofocus and video, and if you’re more into vlogging, the Panasonic S5 ($2,099) is a better option for less money. If you’re looking for the best affordable hybrid full-frame camera, the Canon R8 is a great choice.

This article contains affiliate links; if you click such a link and make a purchase, we may earn a commission.

The post Traveling with Canon’s entry-level EOS R8 and R100 mirrorless cameras appeared first on Best News.