Camera
Sigma fp L initial review
Product shots by Dan Bracaglia
The Sigma fp L is a high-resolution development of the company’s compact full-frame interchangeable lens camera. It gains a 61MP BSI CMOS sensor, providing a more stills-focused platform than the original fp 24MP L-mount mirrorless camera.
Rather than looking at existing categories of cameras, Sigma says it’s aimed to make a user-oriented camera that’s designed to be flexible, adaptable and fun to use. The fp L certainly isn’t readily comparable to other existing models, but it is the smallest and lightest full-frame interchangeable lens camera on the market.
Jump to:
What’s new | How it compares | Body and handling | Initial Impressions | Samples | Specifications
Alongside the fp L (literally and figuratively) Sigma has crafted an add-on viewfinder. The EVF-11 connects to the camera’s USB and HDMI ports and provides a large, tilting 3.69M dot display. More on this, later.
Key Specifications:
- 61MP BSI-CMOS full-frame sensor
- On-sensor phase detection
- Eye-detect autofocus
- Compact body with twin control dials
- Dedicated Stills/Cine switch
- Full-time silent electronic shutter
- 8-bit UHD 4K/30p video in MOV or CinemaDNG
- 4K output as up to 12-bit CinemaDNG to SSD, or Raw to external recorder
The Sigma fp L will be available in mid-April with a list price of $2499. A kit including the EVF-11 viewfinder will retail for around $2999.
What’s new…
 |
Phase detection autofocus
The fp L also gains on-sensor phase detection autofocus, a first for the company. As with all phase detection systems, this allows the camera to calculate how out-of-focus it is, and hence how far it needs to drive the focus. This technology underpins some of the fastest and most reliable AF systems we’ve encountered from other manufacturers, but isn’t a guarantee of either of these things. The Sigma fp L we’re using is not yet final, but focus certainly seems improved over the original fp model, showing slightly faster and more decisive focusing, especially with smaller AF points (though there is still a little wobble/hunting at times).
 |
| The fp L is the first Sigma camera to offer eye-detection AF Panasonic Lumix 85mm F1.8 | F2.2 | 1/100 sec | ISO 800 Processed in ACR: WB warmed, exposure, highlights and blacks reduced Photo: Erin Carey |
The fp L also gains eye-detection autofocus, to help achieve perfect focus when shooting portraits and social photos. Our initial impressions are positive, with the Sigma detecting eyes even when they’re small in the frame.
The fp L also has a subject tracking AF system, which works within a 7×7 rectangular grid of focus points. We’ve not tried it for anything serious yet, but from our limited use so far, it seems to work.
Crop zoom
One of the main ways the fp L makes use of its high pixel count sensor is with its crop zoom mode. This provides a series of crops from the sensor to provide a tighter angle of view (effectively digital zoom, if you then view at the same size).
You can set the maximum and minimum region of the sensor the camera will use, from full-frame all the way down to a ‘Full HD’ (1920 horizontal pixel) crop. These are indicated as 1.0 to 5.0x crops, which take you (for example) from a 24mm field of view up to around a 153mm equivalent, if you have a 24mm lens attached.
Naturally, as you crop in, you use progressively smaller parts of the sensor and, if blown up to the same size, you’ll pay an increasing cost in terms of noise for doing so, as well as decreased resolution. Our calculations suggest that the maximum 5.0x zoom will be using a sensor region around the size of a traditional compact camera with 2.4MP resolution, so it’s worth considering where to set your limits, and whether you’d prefer to crop in post.
 |
New color modes
Sigma has added two extra color modes to the fp L: Duotone and Power Blue. Duotone imposes one of ten contrasting color gradients on the image, while Power Blue offers a cool, pale tint to the images.
These additional modes mean there are now 15 color profiles. Sadly there’s still no in-camera Raw conversion option, so you can’t change your mind about which color mode you want for your JPEGs, after the fact.
Composite Low ISO Expansion
Perhaps fittingly for a camera that’s likely to lend itself well to landscape shooting, the fp L has a series of composite Low ISO settings. These take a series of exposures and combine them to give the effect of longer, lower ISO shooting. There’s no motion correction between frames, so you’ll need a steady tripod, but it opens up the option of using exposures all the way down to the equivalent of ISO 6.
Movie capture
 |
On the movie side of things, the fp L is well-equipped. It can capture 8-bit MOV or 8-bit CinemaDNG files internally, with resolutions extending up to UHD 4K at up to 30p. It’s one of the few cameras to shoot true 24p video, as well as having a 23.97p option.
The amount of care and attention that Sigma has given to video in the fp L is impressive. Alongside focus peaking and zebras, which have become pretty standard, the fp L also has a waveform display, to help assess exposure. Furthermore, it offers the ability to control exposure in terms of shutter angle, rather than just shutter speed.
The fp L also offers its Crop Zoom function in video mode, letting you shoot 4K in any of 19 crops from the full width of the sensor all the way down to a native 3840 x 2160 region (around a 2.5x crop).
Like the fp, where the fp L really comes into its own in terms of video is when you attach external devices to it. If you connect an external SSD you can output 10 or 12-bit CinemaDNG Raw video. Alternatively, you can output a Raw video stream over HDMI that can be encoded as either ProRes RAW or Blackmagic Raw, depending on the external recorder you connect (though this appears to be less detailed than the CinemaDNG footage). Even if you don’t want to go down the Raw video shooting route, HDMI output also unlocks the option to output DCI 4K video (the wider, 4096 x 2160 format).
The fp L also expands the number of aspect ratios available in the ‘Director’s Viewfinder’ mode, used to simulate the coverage that various camera systems and their modes will give, were you to use the same lens on those cameras. This allows the use of the fp L as a means of previewing framing for directors using the Sigma alongside pro cinema cameras from Arri, Red or Sony.
Optional EVF-11 viewfinder
 |
The EVF-11 (not to be confused with the LVF-11 loupe-style magnifier for the LCD screen) is an electronic viewfinder that screws into the side of the fp L’s body. It requires you to remove the HDMI port cover and hold the USB port door open, then plugs into both ports as you screw it on.
It provides a 3.69M-dot OLED finder with a large, comfortable eyepiece cushion, and it tilts upward at up to 90 degrees. On the side of the finder is a large LCD/EVF switch, which does exactly what you might expect (there’s no sensor to auto-switch as you bring the camera to your eye).
Just below this switch is a 1/4-20 (tripod-style) mounting point, which can be used to attach a camera strap and below this are a headphone socket and USB-C passthrough that means you can continue to output data to an external SSD. However, there’s no HDMI pass-through. The microphone input remains available since the EVF does not block it.
The rear screen of the camera continues to operate as an AF touchpad when you’re using the finder. It uses absolute, rather than relative, positioning so you’ll need to tap in the top left corner of the screen to position the AF point at the top left (rather than swiping, relative to the point’s current position).
The viewfinder will cost $699 if purchased on its own, but only adds $500 to the cost of the camera when bought as a kit.
Battery
 |
The fp L uses the same BP-51 battery as the original fp. It’s a 8.7Wh unit that Sigma rates as being good for 240 shots per charge. This isn’t a lot, especially if you’re shooting video, but thankfully, the fp L can be operated and charged using power over its USB-C connector. This allows use for extended periods if you use an external power source, whether that’s for shooting video or using it as a webcam.
How it compares…
The fp L is a little difficult to compare to anything else. Without a mechanical shutter its high resolution but slow readout sensor ends up being a little limiting in terms of what you can shoot with it (artificial lighting risks banding and any significant movement will be distorted by the rolling shutter effect). These same factors also count against it in terms of its video, even relative to its 24MP sibling.
That said, it’s comfortably the smallest, lightest full-frame camera on the market, and priced lower than other cameras with such high resolution output. In situations where that’s valuable, there’s nothing like it.
| Sigma fp L | Sony a7R IV | Sigma fp | Sony a7C | |
|---|---|---|---|---|
| MSRP at launch | $2499 ($2999 w/ EVF) |
$3499 | $1899 | $1799 |
| Pixel count | 61MP | 61MP | 24MP | 24MP |
| Auto focus | Hybrid | Hybrid | Contrast-detection | Hybrid |
| Shutter type |
|
|
||
| Image Stabilization | Lens only | Yes | Lens only | Yes |
| Viewfinder | Optional 3.69M-dot OLED, tilting 0.83x mag. |
5.76M-dot OLED fixed 0.78x mag. |
Optional 3.69M-dot OLED, tilting 0.83x mag. |
3.69M-dot OLED fixed 0.59x |
| 3.2″ 2.1M dot fixed | 3″ 1.44M-dot tilting | 3.2″ 2.1M dot fixed | 3″ 1.44M-dot tilting | |
| Video internal | UHD 4K/30p FF to 1:1 in 19 steps. 8-bit gamma encoded or Cinema DNG |
UHD 4K/30p FF or S35 8-bit gamma encoded |
UHD 4K/30p FF or S35. 8-bit gamma encoded or Cinema DNG |
UHD 4K/24p FF, 30p with 1.2x crop 8-bit gamma encoded |
| Video external | DCI 4K/24p Up to 12-bit CinemaDNG or Raw out to ext. recorder |
UHD 4K/30p 4:2:2 8-bit gamma encoded |
DCI 4K/24p Up to 12-bit CinemaDNG or Raw out to ext. recorder |
UHD 4K/24p 4:2:2 8-bit gamma encoded |
| Battery rating LCD/EVF |
240/- shots | 670/530 shots | 280/- shots | 740 / 680 shots |
| Dimensions |
113 x 70 x 45 mm |
129 x 96 x 78 mm | 113 x 70 x 45 mm | 124 x 71 x 59 mm |
| (with finder) | 157 x 92 x 56 mm | – | 157 x 92 x 56 mm | – |
| Weight | 427g (15.1oz) | 665g (23.5oz) | 422g (14.9oz) | 509g (18.0oz) |
Body and handling
 |
The fp L has the same diminutive body as its sister model. It’s a fairly simple box-shaped design onto which you can attach different accessories, depending on what you’re trying to achieve. The new viewfinder module significantly increases the available options.
The design makes a lot of use of a large command dial that encircles the shutter button, a second dial on the rear of the camera and the QS, AEL and Menu buttons above and below it.
The QS menu is a user-customizable quick menu that’s navigated by pressing the cardinal points of the rear dial/four-way controller, with settings being changed by turning either dial.
The menus are a rather Canon-style affair with pages arranged in horizontal tabs. Navigating them also uses Canon logic: main dial jumps between tabs and the rear dial scrolls up and down. This starts to break down a little as several menu option have their own sub-menus that are very visually similar to the top-level menu (they still show your position in the main menu structure even though you’re off in a sub-menu that you need to hit ‘Menu’ to back out of).
 |
But, once you’ve overcome the occasionally fiddly button/dial interactions (when in doubt, try hitting AEL to see if there are more options), the fp L is full of well-thought-out little touches. For instance, video mode not only offers a (tiny) waveform display, it also lets you specify exposure in terms of shutter angle. Similarly there’s a good Auto ISO implementation with an ‘auto’ shutter speed threshold that takes focal length into account and can be adjusted to use faster or slower multiples of focal length.
No manufacturer that lets you pause live view to adjust the highlight and shadow response of the tone curve in one of its cameras can be accused of lacking attention to detail. But a little more thought about how to get to all these options would help. For instance, you can’t assign Auto ISO shutter speed threshold to a button, with the result that it takes between six and eleven button presses to access that function.
Initial impressions
The Sigma fp L certainly doesn’t fit into any obvious product category. It’s not a wannabe DSLR for landscape shooters but, with its 61MP sensor, neither is it obviously the video/still module that the 24MP fp can be.
 |
| You can’t fault the fp L for its level of detail capture. Panasonic Lumix 85mm F1.8 | F8 | 1/160 sec | ISO 100 Image processed in ACR: straightened and cropped, highlights lifted, shadows reduced. Photo: Richard Butler |
That the 61MP sensor isn’t as well suited to video as the existing 24MP chip just draws attention to the camera’s lack of mechanical shutter. The sensor reads out very slowly (around 1/10th of a second in stills mode), which means the results are very prone to rolling shutter. This ends up having an impact on a lot of what you might want to do with the camera and is likely to end up restricting the ways in which the fp L can be used (you’ll see a LOT of banding at fast shutter speeds under any artificial light).
The viewfinder module adds a lot to the fp L’s utility, making it much more useable in bright light, especially given the fixed rear screen. The addition of a headphone socket makes it even more usable, and it’s nice to see the USB pass-through port that means you can still record CinemaDNG video to an external SSD.
 |
| Adding the EVF-11 viewfinder gives the camera a headphone socket, but takes up the HDMI port and stops you charging the camera over USB. |
However, this USB passthrough doesn’t work for charging or powering the camera, as the one on the camera’s body does. Given the camera’s rather limited battery life, this could be a problem. Also frustrating, the EVF-11 fills the HDMI port, which means you can’t use an external recorder if you prefer ProRes RAW or Blackmagic Raw output but still want to monitor audio using the headphone socket the EVF-11 provides.
It’s nice to see that the camera’s rear screen still works as a touchpad when you’re looking through the viewfinder, but it was a real shock to recognize how much I’ve become accustomed to eye sensors to activate the viewfinder. Shooting with the fp L left me feeling like I was spending half of my time manually switching back and forth between EVF and LCD. Like the menu system, I’m hoping this is something I’ll adapt to once I’ve spent more time with the camera.
Overall, the Sigma fp L is a fascinating camera, full of clever ideas, but I can’t honestly say I know who or what it’s for, yet. I’m hoping this will become clearer as we spend more time shooting with it, but for now, I’m not sure such a slow sensor makes sense in this camera.
Sample galleries
Please do not reproduce any of these images without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review).
Season’s greetings! We’ve almost reached the end of 2024, and as is our custom, the DPReview team would like to wish you all a Merry Christmas, Happy Hanukkah, Happy Boxing Day, Happy Kwanzaa, Joyous Festivus, and Happy Holiday to all. We’re incredibly grateful you’ve stuck with us for yet another orbit around the sun.
2024 was an important year for DPReview symbolically. One year ago today, on December 25, 2023, we celebrated the site’s 25th anniversary. For the past 12 months, we’ve been looking back at some of the moments and milestones from that past quarter century. We couldn’t have reached this point without your support.
2024 has also been an important chapter for DPReview as a business. Many of you know we’ve been going through a period of rebuilding. Every person at DPReview, including many folks behind the scenes, has poured their heart and soul into this effort. Why? Because at a fundamental level, we believe that an internet with DPReview is better than one without it.
The hard work is paying off. You might recall that a couple of months ago, we advertised some new editorial roles on the site, and I’m thrilled to report that we’ll have a couple of new faces joining the team early next year.
“At a fundamental level, we believe that an internet with DPReview is better than one without it.”
A huge factor in that success has been our community. Whether you’re a regular in the forums or just pop in to comment under the occasional article, we’re grateful for your contributions. Our forums are a goldmine of information, crowd-sourced from knowledgeable people for over 25 years. Our homepage may get a lot of attention, but the forums are where the magic happens: exchanging ideas, forming communities, and forging personal connections.
In fact, we’re planning to ramp up support for our online community in 2025. Remember those new staff members I mentioned? One of them will be focused on supporting our forums, including our team of volunteer moderators. This will be the first time we’ve had a person on our team dedicated to this task, and to be candid, it’s overdue.
Before you leave today, we’d love it if you’d take a moment to leave a comment and let us know what made 2024 at DPReview memorable for you. Or, if you’re feeling prophetic, please tell us what you’d like to see in the coming year.
From all of us at DPReview – the editors who craft the stories, the tech wizards who keep the lights on, and the business team who keep us on solid footing – we wish you all a happy and healthy holiday season. We’re genuinely excited about what the future holds and look forward to having you by our side as we embark on the next 25 years.
2024 In Review
2024 is just about over, so we thought it’d be a good time to look back and identify some trends that started emerging or kept going strong throughout the year. This isn’t a recap of all the news that happened – we’ll be releasing one of those soon enough – but rather a broad look at the direction the industry is going, which may give us an idea of what to expect throughout 2025.
Global Shutter
 |
Photo: Richard Butler
It’s hard to say that global shutter was a trend in 2024; in terms of consumer mirrorless cameras, there was only one with the tech, the Sony a9 III. Given the benefits it brings, though – the ability to sync with full-power flash at almost any speed, the ability to shoot stills at 120fps, and to use shutter speeds up to 1/80,000 sec to capture the fastest subjects without any blur – we fully expect to see it come to more high-end sports / action cameras.
That’s not to say that the a9 III’s sensor is perfect. Compared to its rolling shutter counterparts, it takes a hit to absolute image quality with its 250 base ISO, which means it has about a stop more noise than most of its competitors.
However, if you need the performance a global shutter offers, it’s likely none of those caveats will be deal breakers. We just mention them to say that we don’t expect to see global shutters in cameras that are focused on image quality above all else, such as the Sony a7R series or a follow-up to the Nikon Z8 – at least not in 2025 or even 2026.
Physical color mode controls
 |
Photo: Mitchell Clark
This year, it felt like every other camera had a physical control for color modes. Fujifilm’s Film Simulation dial, included on the X-T50 and X-M5, feels like the obvious example, but it was far from the only one: Panasonic put a LUT button on the creator-focused S9 – and then gave its users the option to backport one onto other cameras – and Nikon included a button to bring up its Picture Control menu on the Z50II.
Physical color mode controls aren’t a brand-new thing. We saw one on the Olympus Pen-F in 2016. But this is the year they definitively became a trend.
Only time will tell if they stick around. Camera manufacturers will likely be paying very close attention to whether consumers actually value being able to easily change the look of their photos and videos using a physical button or dial. If it turns out they do, this year’s crop of cameras likely won’t be the last we see with a color mode control.
APS-C shooters have more options than ever
 |
Image: Sigma
2024 was the year that Canon and Nikon started allowing more and more third-party APS-C lenses onto their systems. At the beginning of the year, you only had a handful of options if you wanted a third-party autofocus lens for RF or Z-mount. Now, you have significantly more.
The change came from some of the usual suspects, as well as some smaller companies. Sigma and Tamron were the first to announce they’d be bringing their lenses to RF mount, but Samyang slid in under the wire with an announcement that it, too, would start producing lenses for the system.
Most of Sigma’s DC DN primes have been available on Z-mount since early 2023, but this year, we’ve seen a slew of autofocus primes become available for the system from brands like Siuri and Viltrox.
There are still holes in the lineup for each brand, though – neither has a great telephoto option, and there aren’t any fast zoom Z-mount lenses – which is why we’d like to see this trend continue into 2025. If we’re really dreaming, maybe Canon and Nikon will allow more third-party full-frame glass, but we’ll save our fantasies for a different article.
The rise of smaller full-frame lenses
 |
Image: Sony
Speaking of full-frame glass, this year we’ve also seen a trend of smaller, lighter full-frame lenses. Panasonic’s 18-40mm F4.5-6.3 for L-mount is the most obvious example – the company says it’s the “smallest and lightest interchangeable zoom with autofocus for full-frame mirrorless cameras” – but Sony’s FE 24-50mm F2.8 is also a great, compact new lens that makes a ton of sense on smaller bodies like the a7CR.
Even the big lenses have been getting smaller – Sigma’s second-gen 24-70 F2.8 is 10% lighter than its predecessor, a difference that’ll definitely be noticeable in hour eight of shooting a wedding. Sony’s 85mm F1.4 GM II also boasts a 20% weight reduction compared to the original.
Again, this trend isn’t exactly new. We’ve seen a few lenses that have been largely defined by their size; Canon’s original RF 70-200mm F2.8 from 2019 and Sony’s 70-200mm F2.8 GM II from 2022 come to mind. But with further advances in optics and manufacturing techniques, we hope to see even more full-frame lenses come out that are smaller and lighter than the ones that came before… even if they still won’t be able to out-compact Fujifilm’s XF 16-55mm F2.8 R LM WR II.
The AI age
 |
Logos: Open AI, Midjourney, Meta, Stability.ai, Google
Pretty much every industry has had its own deluge of AI-related news in 2024, and photography is no exception. The continued proliferation of AI-generated images and text has sparked near-endless debates about what place, if any, the technology has in photography, with some people even taking the extreme position that the ubiquitous ability to generate images will destroy the art form altogether (assuming those comments too, aren’t AI-generated).
It’s not all existential doom and gloom, though, as some companies have used AI to try and improve the experience of photography rather than replace it. For instance, the new Canon EOS R1 and R5 II have Action Priority AF modes, which use machine learning-based algorithms to determine which subject to focus on during key moments in certain sports. It could be thought of as context recognition, rather than the subject recognition that’s become table stakes for most cameras. The EOS R1 and R5 II also have built-in AI-derived noise-reduction and upscaling functions, should you choose to use them.
AI-powered denoising and upscaling are also making their way into photo editing software, such as Lightroom or the apps from companies like Topaz Labs. And while Adobe has added plenty of generative AI features to Photoshop, we’ve also seen other AI-powered improvements, such as its distraction removal mode and Adobe Camera Raw’s new Adaptive profile and reflection removal feature.
However you feel about the technology, it’s almost certainly here to stay. The good news is that another facet of the AI trend this year has been companies working on improving transparency around AI, creating tools to prove a photo’s authenticity or show exactly how it’s been manipulated, either by AI or through more conventional means. The tech is far from ubiquitous, but it seems likely that we’ll see it spread to more and more platforms as AI becomes even more prevalent.
Have your say: Best gear of 2024
For the past few weeks, readers have been voting on their favorite cameras and lenses released in 2024. Now that the first round of voting is over, it’s time to reveal the winners.
Remember, though, it isn’t over just yet! Now it’s time to pick an overall winner. Make sure to cast your ballot for the 2024 Reader’s Choice Product of the Year – this one’s for all the bragging rights.
Best prime lens runner-up: Nikon Z 50mm F1.4
 |
First up is the 2024 runner-up for best prime lens, the Nikon Z 50mm F1.4, a fast prime that retails for less than Nikon’s own 50mm F1.8 S model. The tradeoff? Although it’s faster than the 50mm F1.8 S, it trades some of the clinical sharpness of that lens for more ‘character’, and you’ll likely see more vignetting and longitudinal chromatic aberration at some apertures. However, it gets you a fast prime at a popular focal length for under $500.
In our poll, the Z 50mm F1.4 barely edged out its sibling, the Nikon Z 35mm F1.4, effectively splitting the vote, suggesting that Nikon’s new F1.4 optics have struck a chord with enthusiast photographers.
Best prime lens winner: Sony 85mm F1.4 GM II
 |
The 2024 Reader’s Choice Award for the best prime lens goes to the Sony 85mm F1.4 GM II, the same lens we named as the best prime lens of the year in our 2024 DPReview Annual Awards. It’s not a fancy, exotic lens, but it’s a solid workhorse that gets the job done and delivers great image quality. It’s also lighter, sharper, and has faster and smoother focus than its predecessor. As we said in our Annual Awards announcement, the Sony 85mm F1.4 GM II delivers “consistent excellence you simply take for granted.”
Best zoom lens runner-up: Nikon Z 28-400mm F4-8 VR
 |
Placing in the runner-up position for best zoom lens is the Nikon Z 28-400mm F4-8 VR, which covers a huge range of focal lengths in a single lens. This lens remains relatively compact in its retracted state, making it an option for travel or a one-lens setup for general use. It’s even dust- and drip-resistant if you get caught in the rain on vacation.
Although the lens’ maximum aperture of F8 at the long end might seem a little restrictive, you can’t beat physics; however, Nikon’s Vibration Reduction technology – along with in-body image stabilization in many camera models – can assist at slower shutter speeds. It may not be as flashy as some of the faster zooms that were on the list, but the Nikon Z 28-400mm F4-8 VR provides a lot of versatility in a single lens, which is probably why it did so well in our poll.
Best zoom lens winner: Sony 28-70mm F2 GM
 |
The 2024 Reader’s Choice Award for best zoom lens goes to the Sony FE 28-70mm F2 GM. While it doesn’t go as wide as the popular 24-70mm zoom range, the FE 28-70mm proves it’s possible to maintain a relatively compact size while sporting a fast, F2 aperture, all with an internal focusing design. Its four linear motors even allow the FE 28-70mm F2 to focus when shooting at 120fps on Sony’s fastest camera.
We had a blast shooting this lens in 2024, so we appreciate why you collectively chose it as the top zoom lens of the year. If you’d like to see this lens in action, check out our video of Richard Butler using it to shoot portraits in New York City, along with a sample gallery that includes many of the portraits featured in the video. Congrats, Sony!
Best camera runner-up: Canon EOS R5 Mark II
 |
Grabbing the runner-up position for best camera is the Canon EOS R5 Mark II. It may deliver the same 45MP resolution as its predecessor, but just about everything else has changed.
The camera’s stacked sensor brings performance improvements to both stills and video, while Eye Control AF, Action Priority AF, and improved subject recognition AF are standout features that we hope to see percolate down to other Canon models. The R5 II also highlights Canon’s efforts to unify its mirrorless cameras with its Cinema EOS line, including codecs, gamma profiles, HDR video technology, and video tools. It’s hard to imagine many things this camera can’t do.
Best camera winner: Nikon Z6III
 |
The 2024 Reader’s Choice Award for best camera goes to the Nikon Z6III, making Nikon the People’s Choice winner in this category for the second year in a row.
The third generation of the Z6 series kicks things up a level. It features what Nikon calls a “Partially Stacked” sensor to deliver some of the benefits of a Stacked CMOS sensor but at a lower cost, delivering improved performance and autofocus while retaining the Z6’s reputation for excellent ergonomics. It also features significant video upgrades with higher quality output and a useful video tool set, reinforcing Nikon’s intent to be a player in the video market.
In our 2024 Annual Awards, the Z6III walked away with two trophies: Best Enthusiast Camera and our 2024 Product of the Year. It looks like it may be trying to make a clean sweep of the Reader’s Choice Awards as well.
Have your say – vote for Product of the Year!
 |
You helped determine the winners in the individual categories, so now’s the time to cast your vote in one last poll! Choose your favorite product from this list of winners and runners-up between now and Thursday, January 2nd. Watch for an announcement of the winning products shortly after the poll closes.
As always, thanks for casting your votes and being a part of our community throughout the year.
Please note that for the best experience, we recommend voting on our desktop site.
Poll Rules:
This poll is meant to be a bit of fun. It’s not sponsored, promoted, or paid for in any way, and DPReview doesn’t care how you vote. Our Reader’s polls are run on the basis of trust. As such, we ask that you only vote once from a single account.
-
Solar Energy3 years agoDLR testing the use of molten salt in a solar power plant in Portugal
-
Camera1 year agoDJI Air 3 vs. Mini 4 Pro: which compact drone is best?
-
world news1 year ago
Gulf, France aid Gaza, Russia evacuates citizens
-
Camera1 year agoSony a9 III: what you need to know
-
world news1 year ago
Strong majority of Americans support Israel-Hamas hostage deal
-
Camera4 years agoCharles ‘Chuck’ Geschke, co-founder of Adobe and inventor of the PDF, dies at 81
-
Solar Energy1 year agoGlencore eyes options on battery recycling project
-
Indian Defense3 years ago
Israeli Radar Company Signs MoU To Cooperate With India’s Alpha Design Technologies
