La sensibilidad a la luz del GFX 100 II ahora se reduce de 100 a 80 para mejorar aún más el rango dinámico. Todo esto permite a los fotógrafos ser creativos con imágenes RAW o extraer detalles de luces y sombras.
La cámara tampoco está mal con ISO alto, gracias a la retroiluminación del sensor y al diseño de doble ganancia. El ruido visible a ISO 6400 es mínimo y se pueden utilizar imágenes de hasta ISO 12800 si la exposición es correcta.
El sensor de formato medio ofrece una profundidad de campo increíblemente reducida si lo necesita para retratos. Cuando se combina con una lente rápida como la de 80 mm f/1.7, permite lograr un bokeh y una separación de sujetos sorprendentes.
Para aquellos que prefieren utilizar archivos JPEG directamente desde la cámara, ofrece imágenes con colores precisos y la cantidad perfecta de nitidez en la cámara. Esto es perfecto para obtener vistas previas o para personas que quieran utilizar los fantásticos modos de simulación de películas de Fujifilm. Para la GFX 100 II, Fujifilm ha introducido un nuevo modo llamado Reala Ace que se basa directamente en uno de sus antiguos negativos de película. Con una sensación fuerte, abundante y ligeramente nostálgica, se ha convertido en uno de mis nuevos favoritos.
Hay un problema de calidad: la calidad de imagen de la GFX 100 II cae de 16 bits a menos de 14 bits cuando se toman imágenes en ráfaga de 8 fps para reducir la productividad. Esto en sí no es gran cosa, pero Fujifilm ha sido cauteloso a la hora de comercializar esta cámara, lo que ha molestado a muchos fotógrafos profesionales.
video
Steve Dent para Xataka
Estoy empezando a decir que soy como un disco rayado, pero la X100 II también es la mejor cámara de formato medio de Fuji para videografía. Tiene un montón de modos nuevos, entre los que destaca 8K. También ofrece 6K, 4K/60p y 1080p a 240 fps. Todos estos formatos se pueden capturar en ProRes de 12 bits, así como en formatos H.265 de 10 bits. También obtiene acceso a la excelente función de captura F-Log2 de Fujifilm que mejora el rango dinámico.
Pero hay algunos grandes compromisos. La resolución 8K se captura con un recorte de 1,53x, lo que reduce el tamaño efectivo del sensor a menos que el fotograma completo, anulando una de las principales ventajas del formato medio: la poca profundidad de campo. La otra resolución utiliza todo el ancho del sensor, pero la agrupación de píxeles reduce la nitidez.
El movimiento del obturador también es un problema al disparar en 8K, así que asegúrese de no mover demasiado la cámara a esta resolución. Es menos ruidoso cuando se graba en 4K, probablemente debido a la agrupación de píxeles.
Aparte de eso, la calidad de vídeo de la GFX100 II es diferente a la que he visto en la mayoría de las cámaras sin espejo. El sensor más grande lo hace cinematográfico, especialmente con algunos de los lentes fijos de Fujifilm. El vídeo de 8K también es muy nítido cuando la frecuencia de muestreo se reduce a 4K en DaVinci Resolve.
Pero, siendo realistas, el vídeo es una buena característica para uso ocasional, ya que la mayoría de los compradores seguramente lo utilizarán para fotografía.
esta contenido
Nathaniel Charpentier para Engadget
La GFX100 II de $ 7,500 es una excelente cámara de formato medio con mejoras en todos los ámbitos con respecto al modelo anterior. Más importante aún, ¿qué piensan mis amigos fotógrafos profesionales? ¿Comprarán uno? “Lo más notable es la mejora en el enfoque automático con respecto a la GFX100”, dijo un fotógrafo. Nathaniel Charpentier“En nuestro estudio normalmente trabajamos con Sony, y el enfoque automático de la GFX100 II todavía está lejos del nivel de Sony, pero es una gran mejora.
“No es una cámara deportiva y no tiene velocidades de disparo en ráfaga súper rápidas. Es más bien para retratos de estudio para ciertos tipos de 'reportajes' como la fotografía de bodas, si realmente necesitamos el rango dinámico adicional que proporciona una cámara de formato medio. Puedo, quiero verlo usado”. A estas alturas no piensan comprar uno debido al alto precio (y a que acaban de pagar 6.000€) Para A9III), pero está en la parte superior de su lista de futuras compras de equipos.
Su principal competidor es la Hasselblad X2D 100C de 8.200 dólares, que probablemente tiene una ciencia del color y una calidad de imagen ligeramente mejores, al tiempo que aporta cierto prestigio al nombre Hasselblad. Sin embargo, la GFX100 II es superior en la mayoría de los demás aspectos, incluidas las velocidades, el enfoque automático y el vídeo. Sin embargo, si realmente necesita enfoque automático en situaciones difíciles o con mucha gente, el fotograma completo es aún mejor: la Sony A1 de 45MP de $6,500, la Nikon Z8 de $3,800 o la Z9 de $5,500 (ambas también de 45MP) son mejores opciones.
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Take the strain, and three, two, one, pull! No, I’m not in the gym lifting weights, but in the woods with my Nikon DSLR and raising its optical viewfinder to my eye to compose a picture. It’s my D800‘s first outing in years and it’s quickly reminding me why I was so happy to switch to mirrorless. At 31.7oz / 900g and combined with my Nikon 70-200mm AF-S f/2.8 VR lens (50.4oz / 1430g) it’s well over 80oz / 2300g, and being cumbersome isn’t even the worst part.
Don’t get me wrong, I’ll come away from this walk in my local woods that’s bursting with fragrant bluebells and wild garlic with some pictures I’m super-excited about (see below), but boy do I have to work that much harder to get the results I want. And without wanting to lug a tripod around, I actually can’t get the same degree of sharpness in my pictures from this day in the dim conditions under a dense tree canopy.
There are aspects of the Nikon D800’s handling that I really enjoy and mixing up creative tools keeps me fresh as a photographer, but overall my mirrorless camera is a much more streamlined experience and I’m still glad that I made the leap from a Nikon DSLR to the Z6 II. Let’s look at where my DSLR struggles begin.
1. Carrying the gear
(Image credit: Future | Tim Coleman)
My Nikon D800 from 2012 is an extra 50% heavier than the Nikon Z6 II I’m now used to, and also the Z7 II that is arguably my DSLR’s modern day equivalent. The 70-200mm f/2.8 F-mount lens is also heavier than the mirrorless Z-mount version, although not by much. Overall, there’s approximately a 20% reduction in weight in the mirrorless version of my DSLR camera and lens pairing.
The DSLR camera body is also bulkier, and I notice this quickly with the chunkier handgrip. In some ways it’s actually a better balance with the fairly large telephoto lens than what my mirrorless camera offers, but in practice I’m wanting to place the DSLR down quicker than mirrorless.
When you’re repeating the motion of bringing the camera’s viewfinder up to your eye to compose a shot, the strain starts to take hold quite quickly.
2. Composing the shot
(Image credit: Future | Tim Coleman)
I like the D800’s optical viewfinder (OVF), a lot. It’s a bright and big display through which I can immerse myself in the scene. And it’s one less digital screen to look at, and I’m all for that.
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However, what you don’t get with an OVF, like you do with a mirrorless camera’s electronic viewfinder (EVF), is exposure preview, which is supremely helpful as you go about taking photos. You get a bright display but potentially a very different looking final image, both in brightness and depth of field / bokeh.
That can cause a problem for me because I tend to fiddle with exposure compensation based on the mood I want in the picture. It’s all too easy to leave the camera at -2EV for a low-key effect and unwittingly carry on shooting dark pictures because the end result is not reflected in the OVF display. Overall, I prefer an optical viewfinder display for the feeling and an electronic viewfinder to meet my practical needs.
Another point regarding my D800 is that its screen is fixed, whereas my mirrorless camera has a tilt display which is super helpful for shooting at low angles, which I often do especially in scenarios like this. Some DSLRs like the Nikon D850 also have a moveable screen, but most don’t, and once you’re used to working from a tilting or swivel screen, it’s hard to go back to a fixed one.
3. Focusing issues
(Image credit: Future | Tim Coleman)
Focusing isn’t bad with the D800. It’s actually very good, but it’s not as refined as the Z6 II mirrorless camera. It’s evident as I pinpoint certain bluebells – the focus points simply aren’t small enough. I wrestle with autofocus as it hunts for the subject that’s right there, more so than with mirrorless.
If I was taking portraits today, I’d be much more relaxed with my mirrorless camera too thanks to its reliable subject and eye detection autofocus, whereas my D800 has regular back-focusing issues.
I’ve also become accustomed to composing shots through the Z6 II’s LCD display, often instead of the viewfinder. If I try to do the same – focusing through the D800’s Live View – it is a significantly worse experience, too. Nikon DSLRs aren’t really designed to be used for photography with autofocus through Live View, though Canon DSLRs do a better job.
4. No image stablization
When looking closely at the detail of the tree bark in sharp focus, there’s a subtle softness that comes with shooting handheld using a high-resolution DSLR like the D800. (Image credit: Future | Tim Coleman)
The single thing I miss the most when opting for my DSLR over mirrorless is in-body image stabilization, which in the Z6 II enables me to shoot handheld in more situations.
I remember when I first bought my D800 just how unforgiving its 36MP sensor was regarding camera shake and its resulting effect – softening detail. At the time, my golden rule to calculate the minimum acceptable shutter speed for sharp shots was shutter speed equals the focal length of your lens – for example, 1/200sec when shooting at 200mm.
That rule went out the window with the D800, the highest resolution full-frame sensor ever, and I would have to be conservative by around 2EV. At the same 200mm focal length a faster than normal 1/1000sec was as slow as I could go really. Or I could bring out the tripod to eliminate camera shake.
Image 1 of 7
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
I don’t want a tripod for my shooting techniques where I need maximum portability, like this day in the woods, nor do I want to damage the woodland and bluebells – I need a light footprint. No, I’m going handheld all the way.
Now I’m in these woods shaded by a dense tree canopy and the shutter speed I need to use with the 70-200mm lens requires a high ISO, even with the f/2.8 aperture. Put simply, the quality of detail I can get in this scenario cannot match what I can with my mirrorless camera which is equipped with image stabilization and able to shoot at slower shutter speeds and low ISO because it compensates camera shake.
The photos I came away with using my DSLR
Visually most woodlands are messy. You have to search long and hard for tidy compositions such as a single tree standing out from the rest. Or you can embrace and work with the chaos.
I’ve intentionally used a telephoto lens and shot through branches and leaves to add layers, a sense of depth and to bring in those elements that you otherwise have to work so hard to avoid. And I’m certainly not about to cut away branches or rip up flowers to get the shot I want.
Image 1 of 5
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
(Image credit: Future | Tim Coleman)
My overall experience bringing my DSLR back out of retirement was fine, but it has reminded me how mirrorless has evolved the camera experience for the better. Ultimately mirrorless is a more refined experience than a DSLR in just about every department.
Images are better, too. I haven’t been able to shoot handheld at ISO 100 under dense tree cover like I could with mirrorless, and there’s just an edge of softness in my pictures caused by subtle camera shake that I don’t have with mirrorless. I’m less concerned with my DSLR’s inferior corner sharpness and pronounced vignetting compared to mirrorless.
I’m not about to sell my DSLR – I’ll give it another run out soon. It’s just I’ve been reminded the extra dedication needed to the craft in order to come away with the pictures that I’m happy with. As I own both a DSLR and mirrorless camera, opting for the DSLR feels like taking the hard path.
The Opal Tadpole is an incredibly capable webcam that is well-engineered and beautifully designed. The video quality is respectable, but my lasting impression of the Tadpole was not to do with the sensor’s capabilities but rather that it just felt really good to use. All of this is due to the thoughtful and well-implemented design, as well as the minimalist feature set. This should come as no surprise, considering the Opal co-team has history with Google, Uber, and Jump.
(Image credit: Future)
The Tadpole, as the name suggests, is small. At only 3.5 x 4.5 cm, the unit itself sits neatly and unobtrusively at the top of any laptop screen. When I first started using it, a few people initially asked me what on earth it was, but after a while, the device just faded into the background. So, if you’re after one of the tiniest webcams on the market at the moment, then your search is over.
The small size results in an overall weight of less than 50 grams, so there’s no chance of any unnecessary strain being applied to your screen hinge. This also makes it a dream to transport around, but more on that later.
Rather than a magnetic mount, the Opal team has opted for an adjustable clip. This means that the whole unit is either on or off, rather than having a permanently located mount. I personally prefer this implementation, because there is no chance of me losing any individual parts and thereby rendering the whole piece of kit useless.
(Image credit: Future)
The range of the clip is 35 degrees, which was more than adequate for my Macbook Pro and is indeed perfect for almost all laptops. One of the concerns I initially had was about damaging my laptop. I didn’t want to scratch my metal back or crack the glass of the screen. I therefore gave the clip a good look before applying it to my laptop. After seeing that the clip was primarily made of silicone rubber, I proceeded to mount it. In reality, I needn’t have been concerned. The rubber ensures that the laptop is well protected.
The build quality is high, with a painted aluminum front and an anodized aluminum back. Despite not being the most expensive webcam on the market, the Tadpole certainly feels as premium as the best. Chemically strengthened glass will help with longevity although, for obvious reasons, I didn’t test how robust the glass was.
The cable, which measures 55cm in length and 3.7mm in diameter, is woven for greater durability. I love a woven cable, so that’s a win for me. It’s just the right length for attaching to a laptop, and thanks to the magnetic end, it can be looped around your wrist as you move between meetings. Even though I appreciate the design feature, I didn’t find much use for this type of portability.
(Image credit: Future)
Moving away from the design and build quality, I’m sure you’re interested in knowing about the camera itself. Generally, it’s pretty good, although not as good as the built-in webcam on my MacBook Pro 2023. As a result, I’ll inevitably stick with that, but that doesn’t mean there aren’t many people who would benefit from this type of webcam – after all, many laptops have sub-par 720p webcams or no webcam whatsoever.
The Sony IMX582 RS sensor does a fantastic job of producing clean video with minimal noise, even in the shadows. Color replication is strong, with vibrant colors chosen over and above a flat profile. The image therefore pops nicely, which is exactly what you want when appearing in front of others at a meeting or when video-calling your parents.
(Image credit: Future)
The f/1.8 lens is made up of six elements and is able to let in a significant amount of light, something that is particularly noticeable when using it in low light. Unfortunately, the dynamic range that is supported by the lens and its sensor is not quite wide enough. It was a real shame that during my meetings I had to put up with bright backgrounds, such as windows, that were almost completely blown out. It’s understandable that cameras like this would struggle here, but the Tadpole struggled more than I would have liked to see.
In terms of resolution, the 48 MP image is binned to 1080p, which is more than enough for most laptops. For most people, there is little point in spending more on a 4K webcam when it will make almost no difference to the visual experience – that territory is more for professional online content creators.
(Image credit: Future)
As important, if not more so, is the quality of the audio. One of the biggest challenges to providing good audio from a webcam is that they’re often omnidirectional and therefore pick up way too much background noise. Some webcams overcome this by using noise filtering, but Opal has landed on a completely different solution.
By using a directional microphone, the Tadpole captures only what is directly in front of the camera. The solution, in essence, creates a tunnel through which sound is funneled. As a result, any sound that doesn’t travel down this tunnel isn’t heard. It’s a genius little idea and puts the results in the hands of engineering rather than leaving it to programmers to work out.
This directional microphone does a pretty good job, with almost all low-to-medium level background noise removed. It didn’t work entirely in a crowded room but was certainly better than omnidirectional alternatives.
Another audio feature is the ability to mute calls with a single tap of the integrated capacitive button on the USB-C cable. This is a nice little feature to have, though I certainly wouldn’t buy the webcam because of it.
(Image credit: Future)
One of the biggest selling points of the Tadpole is its portability. It is small, lightweight, and packs neatly into a purpose-made carry case that looks like a yoyo. The case is built well and allows the cable to neatly protrude out the side, doubling up as a loop for carrying. Simply put, this is one of the best carry cases for a webcam that I’ve ever seen. The magnetic clip makes it quick and easy to take in and out, with just enough strength to ensure it doesn’t accidentally fall out.
The Opal Tadpole is one of the best options in the mid-range webcam space. It delivers better quality than the super-budget alternatives but lacks additional features that are seen in the more expensive and premium webcams. Video quality is more than good enough for most situations, although it does sometimes struggle to deal with bright light sources. The directional mic is a nice feature that does a good job of cutting out a reasonable amount of background noise. Overall, the Tadpole is a very capable webcam.
Opal Tadpole webcam: Price & availability
How much does it cost? $129 (about £105 / AU$200)
When is it available? Available now
Where can you get it? US with worldwide shipping
At $129 (about £105 / AU$200), the Opal Tadpole sits in the middle between the super-budget Logitech HD Webcam C310 and the eye-wateringly pricy Elgato Facecam Pro. The former lacks good image quality and feels a bit cheap in the hand, whereas the latter delivers amazing 4K video at 60 fps – for a high price.
If you want to compare like for like in terms of price, then the Tadpole is only a little more expensive than the Logitech C920, which wins the status for ‘best overall’ webcam in our best webcams buying guide – though it lacks the unparalleled portability of the Tadpole.
For the asking price here, you get decent video quality and some nice features, including single-tap muting. If you’re after something a little better than the cheapest options on the market, then the Opal Tadpole is a respectable choice.
The Opal Tadpole ships worldwide, with associated shipping costs. For the UK, that is set at an additional $8. The yo-yo case also costs an additional $19, but it’s worth the price in my opinion.
Opal Tadpole webcam: Specs
Swipe to scroll horizontally
Opal Tadpole
Price:
$129 (about £105 / AU$200)
Supported resolutions:
1080p
Sensor:
Sony IMX582 RS sensor
Lens:
Not specified
Focus range:
10 cm to ∞
Aperture:
f/1.8
Focal length:
Not specified
Should you buy the Opal Tadpole webcam?
(Image credit: Future)
Swipe to scroll horizontally
Opal Tadpole webcam report card
Value
The Opal Tadpole is competitively priced as a mid-range webcam. Cheaper alternatives don’t have the same build quality whereas more expensive webcams have more features.
4 / 5
Design
With a design that not only looks great but is well engineered, the Tadpole will be an instant hit for anyone who gets their hands on one.
4.5 / 5
Performance
Setting the webcam up was an absolute doddle; simply plugging it in and choosing it from my list of webcams. Video quality could have been better but still very reasonable.
4 / 5
Avarage rating
I would have liked to have seen better handling of highlights but all in this is a very nice web cam at a very reasonable price.
I tested its general performance as well as its special features
I made sure to test it under a variety of lighting conditions
As soon as it came through the door, I was keen to get the Opal Tadpol webcam out of the box and hooked onto my laptop. Everything about the design and functionality oozes quality, so I wanted to get it setup as soon as I could.
After a few minutes of getting it up and running, I spent time in video calls to test it’s many features. I also made sure to give it a good run around in different lighting conditions, including bright and low-lit rooms.
With a few neat features, I also checked those out so I could determine the degree to which I would use them on a regular basis. I also used the carry case to help me transport the webcam around.
Nikon is arguably the world’s most famous camera brand, but with the decline of DSLRs it has lagged behind Canon and Sony. In 2022, it released the Z9, a flagship mirrorless camera that could finally hold its own against rivals, but the $5,500 price tag put it out of reach for most. To appeal to a wider audience, Nikon unveiled the Z8 last year with the same sensor and nearly the same specs as the Z9 for $1,700 less.
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 cameras, 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.
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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 that acquisition impacts the tech in future Nikon mirrorless cameras.
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.
Rhonda Dent for Engadget
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 400-800 ISO range 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 file sizes can get huge.
One area where the Z9 bests the Z8 in video is with overheating, as the Z9’s larger body allows for 125 minutes of 8K 60p recording compared to 90 for the Z8. 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 show that the company should offer as much speed and capability as possible if it wants to catch 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 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.
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Google‘s Long Exposure photo mode is actually decent. There, I said it. Photographer me is putting his neck on the line by saying that another smartphone computational photography mode, recently given its own tab in Google’s revamped Camera app, is one less reason to use a ‘proper’ camera – and mine’s a TechRadar-approved best mirrorless camera, no less.
I was on a short family break at the coast recently and set an early alarm to sneak out for a little solo time at first light at a secluded cove nearby. It would be me, the gentle lapping waves, and hopefully a little color in the sky. Of course, I would take a camera too.
Hot tea in a travel flask, banana, notepad and pen, mirrorless camera, two pro lenses covering the 24-200mm focal length between them, an ND filter plus a tripod, and I was good to go. Oh, and the Google Pixel 6 was in my pocket.
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The standard version of the headline image, completely unedited.(Image credit: Future | Tim Coleman)
With the Long Exposure photo mode applied but no edit. That horizon needs straightening!(Image credit: Future | Tim Coleman)
An edited version in the original 4:3 aspect ratio, whereas our headline images get cropped 16:9.(Image credit: Future | Tim Coleman)
A steep descent through a wooded area and the sheltered east-facing cove came into view. I’ve learned the importance of enjoying nature first before taking a camera out of the bag, especially given my screen-intensive day job.
After grounding myself in the peace and unrushed pace of the quiet sunrise I started moving around the beach looking for compositions that caught my eye, for photos that would transport me back to what it was like being there.
Sunrise was lovely – not award-winning, but adding a splash of color. The outgoing tide was steadily revealing more of the beach. Small waves crashed against the clay-red sandy incline, climbed up the beach a little, and then retreated around small rocks, creating interesting patterns.
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I’ve taken a few long exposure seascape photos down the years, and love the technique, especially for accentuating the movement of water as it retreats around rocks. I take a quick snap of the scene on the Pixel 6 and it occurs to me that I’ve not properly used its Long Exposure photo mode yet, now prominent in the camera app with its own tab.
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Most of my favorite images of the morning were taken in vertical format. I’ve made a cooler, moody edit to this photo using the Google Pixel 6’s camera app editor (Image credit: Future | Tim Coleman)
The unedited standard version of the same image. (Image credit: Future | Tim Coleman)
The Long Exposure photo mode blurs movement, while keeping still objects sharp. The creative technique can be used in several ways, with blurring moving water a popular choice. Having observed the water trails, I line up the picture and take the snap.
It works a little like Night Sight – you need to keep your phone as steady as possible while the long exposure is captured. That way the still objects – in this case the rocks, cliff faces, and untouched sand – remain sharp. This computational photography mode is like a pro mirrorless camera’s in-body image stabilization on steroids.
The phone stores both the regular photo and the long exposure effect image (I’ve included both versions of every image for comparison). I have to say, the effect in this scenario is convincing (see above), similar to what I’d expect from my mirrorless camera which remains in the bag 50 meters away up the beach.
Whatever camera you use for long exposure photography (be it mirrorless or a cameraphone) – in this context of accentuating retreating ocean waters – you need to keep trying and trying and trying to get the shot. Timing is so hard.
Your best bet is starting the capture with the wave at its peak up the beach and just as the water starts to retreat. That way the natural path back to the ocean, be it straight or snaking around rocks, is accentuated and depicts the tidal energy.
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Not all scenes are worth using the Long Exposure photo mode for. The water is too far away in this composition and now I’m blowing out highlights.(Image credit: Future | Tim Coleman)
For this scene I prefer the standard photo. Also, if you look closely at the detail in the image using the Long Exposure photo mode, it’s a little softer.(Image credit: Future | Tim Coleman)
Google Pixel’s Long Exposure mode isn’t perfect – detail is usually softer than in the standard version – but it’s pretty darn good and convincing enough that I didn’t really need to bring my mirrorless camera, tripod, and ND filters along for the ride. If I owned the OM System OM-1 II (or OM-1), I could use that camera’s Live ND computational photography mode instead and leave the tripod and ND filters behind.
I haven’t lost faith in my ‘proper’ camera, far from it. Towards the end of my time at the beach, while still alone, a playful seal popped its head up like a floating rock. I steamed back up the beach to my bag, grabbed the camera with a 70-200mm lens, and got a few photos that far exceed what I could possibly hope to get with the Pixel 6 – though some of today’s best cameraphones might have done a decent job.
I’ll also still use my ‘proper’ camera with tripod and ND filters for long exposure photography, too. It’s just that now I might think twice if lugging all of that gear to get the creative effect is worth it when I have the computational mode in a device that slips into my pocket.
Sammy, from considerable distance, taken with my pro mirrorless camera that I still love. (Image credit: Future | Tim Coleman)
Ambling through the packed CP+ 2024 Camera and Photo Imaging Show halls in Yokohama Japan, I was drawn to the Voigtlander stand decked with various lenses alongside compatible cameras. Then I saw it – a gorgeous lens attached to the retro Nikon Z fc. I had to look twice: was this a manual-focus SLR lens from 30 years back, or was it in fact something new?
As it turns out, the Voigtlander Nokton D35mm f/1.2 I was gawping at has been around for almost two years, so it’s hardly new by today’s standards; but this was my first time seeing such a lens in the flesh, and it was love at first sight.
The old-time German lens maker is now owned by Cosina, and under Japanese ownership it has become increasingly active, producing compelling optics for today’s leading mirrorless camera companies such as Fujifilm and Nikon, including full-frame models like the Nokton 50mm f/1.0.
I was able to handle the lens – a 35mm f/1.2 for APS-C cameras (with an approximate 53mm full-frame equivalent focal length) – and I immediately knew that it was what the Nikon Zf and Z fc cameras desperately needed.
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(Image credit: Future)
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Nikon is arguably the only camera company to come close to Fujifilm’s dominance of the retro digital camera market, a run that began with the Finepix X100 in 2010, and which right now includes sold-out models like the new Fujifilm X100VI. Yet for all the gorgeous Nikon FM2-inspired retro design of the Zf and Z fc, the cameras lack lenses to compliment their aesthetic.
The Zf and Z fc perform as well as if not better than their counterparts, and are packing cutting-edge digital tech, but most photographers buy them primarily because of how they look. Years after launch, however, they’re still missing a crucial component – complimentary lenses. It’s all very well getting a Nikon mirrorless camera that packs today’s tech and looks decades old, but pairing it with one of Nikon’s modern Z-mount lenses somewhat spoils the effect.
Alongside the Z fc, Nikon launched the Nikkor Z 28mm f/2.8 SE lens – it’s the lens pictured in our Nikon Z fc review – which does look the part, but why haven’t we seen other Nikon-made lenses to compliment its line of retro cameras? And for me that Nikon lens lacks a crucial component to complete the old-school user experience; a dedicated aperture ring. Besides adapting old lenses for Nikon’s retro mirrorless cameras, it turns out we have to look elsewhere – to Voigtlander.
Voigtlander’s manual-focus-only lens has a ridged focus ring with smooth rotation, manual focus distance markings, and – drum roll – an aperture control ring. There’s not a single Nikon Z lens with an aperture ring, and it’s the kind of feature you’d expect to see on old-school lenses. Heck, you can find one on many Fujifilm XF lenses (and Sony‘s modern mirrorless lenses like the FE 24-50mm f/2.8, too).
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Out of focus light at f/1.2(Image credit: Future)
Out of focus light at f/5.6(Image credit: Future)
A quick portrait at f/1.2(Image credit: Future)
I was able to try Voigtlander’s classic-looking lens mounted to a Z fc, and purely on a visual level it’s a dream match.
I put a memory card in the camera and, rooted to the spot (I wasn’t able to move from the stand), shot some quick frames, cycling through the lens’s aperture range to check bokeh, and took a portrait of the person next to me to check sharpness (see above).
From those quick image checks I don’t think the lens will win any awards for optical quality, but shots look decent enough. Bokeh is at its creamiest at either f/1.2 or f/1.4, while true sharpness kicks in a f/2, so you have to choose between a softer and dreamier look or pin-sharp detail.
It’s a manual-focus-only lens, too, so you can’t enjoy the latest subject detection autofocus, though the Nikon Zf also has some of the best manual focus aids around. (note that if you’re using the APS-C lens with the full-frame Nikon Zf, the image area is cropped to avoid vignetting.)
There are electronic contacts in the metal lens mount, and so all metadata is logged in your files for easy reference. Yes it’s manual-focus only, and has the old-school looks, but with electronic contacts it’s also a modern lens built for today’s mirrorless cameras (also available in the Fujifilm X-mount, albeit with a different look to match Fujifilm’s style).
Those who have bitten the bullet and bought a Nikon Zf or Z fc should definitely check out the Voigtlander Nokton D35mm f/1.2. However, I was a bit surprised by the price of the lens. It’s around $600 / £550 for a manual-focus, fixed-focal-length standard lens that’s relatively easy to manufacture, and is lacking in terms of outright image quality when pushed to its limits.
That said, the Voigtlander more than makes up for those shortcomings in the user experience, and – yes – looks, departments. Looks matter in photography, but that’s more often the case when we’re talking about images, rather than the gear used to capture them.
Leica’s SL family has always been the most “mirrorless” looking of its cameras, offering pro photographers handling that’s similar to rivals like Canon and Sony. That continues with the launch of the SL3, a 60-megapixel (MP) model that looks nothing like its famous rangefinder cameras, offering a new phase-detect autofocus system, 8K video capability and more.
The new model has the same sensor as the M11 rangefinder and Q3 compact models, but very much resembles the SL2 and tips the scale at a hefty 767 grams. It’s also IP54-rated so you can shoot in weather conditions ranging from 14 to 104°F without worrying about dust, moisture etc.
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The biggest change in the layout is a new dial on the left top (all the dials are blank as you can customize them any way you want). At the back, Leica moved the three key buttons (play, function and menu) to the right, and changed the power switch to a button.
The SL3 now has a new 3.2″ 2.3m-dot LCD, and unlike past models, it can tilt (but not swivel). The EVF has also been updated to a higher-resolution 5.76m-dot 0.78x OLED version. As for storage, it supports both CFexpress type B and SD UHS-II memory cards. It comes with a full-sized HDMI and USB-C charging ports, along with mic/headphone jacks.
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The new sensor increases resolution from 47 MP on the SL2 up to 60 MP, a significant bump. It’s likely similar to the sensor Sony uses on the A7R V, and supports a wide native ISO range from 50-100,000, with a claimed 15 stops of dynamic range.
It can shoot bursts up to 15fps, but more importantly, offers a new phase-detect AF system that’s faster and more intelligent, according to the company. It combines phase detection, contrast and object autofocus for faster and more consistent performances. That includes face and eye detection, along with a new animal detection feature. It’s also supposed to be better at tracking action, Leica says.
Leica
As for video, the SL3 can record internally in DCI 8K 8192 x 4320 at 30 fps and DCI 4K at up to 60p with a maximum bitrate of 600Mb/s. It can also record externally via the HDMI output, also at DCI 8K and DCI 4K up to 60fps. Those resolutions are all available in 10-bit with the choice of L-Log Rec. 2020 and HLG Rec. 2020. It supports ProRes recording, but only up to 1080p.
As you’re probably expecting, the SL3 isn’t cheap at $6,995, though it is significantly cheaper than the $9,000 M11. It’s now available at B&H Photo Video and elsewhere.
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