Camera
Fujifilm X-T50 initial review: mid-range X-T goes steady
The Fujifilm X-T50 is a classically-styled mid-level APS-C mirrorless camera. It’s built around the 40MP X-Trans sensor used by the X-T5 and X-H2, and gains image stabilization.
It also gains the majority of the X-T5’s features in a smaller, less expensive body.
Key specifications
- 40MP X-Trans BSI CMOS sensor
- X-Processor 5 with majority of capabilities from X-T5
- Image stabilization rated at up to 7.0EV
- 20 Film Simulation modes, including Reala ACE
- Continuous shooting at up to 8fps (20 with E-shutter and crop)
- Subject recognition AF
- Tap to track AF in video mode
- Video capture up to 6.2K/30 in 10-bit up to 4:2:2
- Raw video out over HDMI
- 2.36M dot viewfinder with 0.62x magnification
- Tilting rear touchscreen with 3.0″ 1.62M dot LCD
- Battery life rated up to 390 shots per charge (eco mode)
- UHS-II card slot
The X-T50 will be available soon at a list price of $1399, representing a $500 increase over the X-T30 II and a $100 increase, relative to the 26MP, stabilized X-S20. It’s also available with the retractable 15-45mm power zoom for $1499 or with the new 16-50mm F2.8-4.8 for $1799.
Fujifilm highlights how many of the X-T5’s features it includes, for $300 less. The X-T50 will be available in Silver, Black or a darker silver color scheme called Charcoal.
Index:
What’s new:
Image stabilization
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| The X-T50 is still appreciably smaller than the X-T5 but finds room to add an image stabilization mechanism. This has the same rating (up to 7.0 stops of correction) as its more expensive big brother. |
The X-T50 gains image stabilization: a first for this line of cameras. Until now you’ve had to choose between the X-Sx0 cameras, which had stabilization and DSLR-style command dials or the unstabilized X-Tx0 models with a shutter speed dial, whereas now you can simply base your decision on which control system you prefer.
The system is rated as delivering up to 7.0EV of correction, using a combination of gyro data and live-view image analysis to assess and correct movement.
40MP Sensor and X-Processor 5
The X-T50 gains the 40MP X-Trans sensor and latest X-Processor from the X-T5. This combination brings not just the same image quality as the X-T5 but the bulk of that camera’s features, too. This includes the latest AF algorithms, as included in the X-T5’s f/w 2.0, along with all the subject recognition modes that camera offers.
The X-T50 also includes the Camera-to-Cloud function that lets it upload directly to the Frame.io sharing platform over a Wi-Fi network, along with features such as tap-to-track autofocus in video, recently added to the X-T5.
Film Simulation dial
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| To make the camera’s Film Simulation color modes as accessible as possible (and to remind you to experiment with them), there’s now a dedicated dial. You can choose which modes are accessed with the FS1, 2 and 3 positions. |
After the addition of image stabilization, the most significant update might be the addition of a Film Simulation dial on the camera’s left shoulder. This replaces the drive mode control that’s been present on previous X-Tx0 models.
It might seem like a small detail, given all Fujifilm models have a selection of Film Simulation color modes, but the addition of a direct control is a smart move for a camera such as this.
There’s a world of difference between knowing an option exists in a menu and having a constant reminder of its presence, every time you pick up the camera. A direct control point also significantly lowers the barrier to that feature’s use.
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| The X-T50 fits dedicated shutter speed and exposure comp dials onto its top plate, and even finds room for a customizable button. |
Every camera on the market has a series of color modes, some more attractive than others, but Fujifilm’s selection of generally subtle, attractive and memorable (thanks to their invocation of film stock names) help deliver some of the best JPEGs out there. The front-of-mind prominence and simplicity of selecting them will undoubtedly prompt more X-T50 photographers to make use of them.
It’s not perfect, in that it’s a twelve-position dial for a camera that has fourteen film simulations, on which one position passes control off to the camera’s command dials. But it’s easy enough to customize the three custom positions on the dial, with the option to specify a simulated color filter for the mono modes, once you remember this option is in the main IQ menu, not the setup section.
6.2K video
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| The X-T50 can shoot full-width (but sub-sampled) 4K, 6.2K video from a 1.23x cropped region, or ‘HQ’ 4K footage derived from this. |
The X-T50 offers essentially all the capabilities of the X-T5 on the video side of things, with the ability to shoot 6.2K video at up to 30p (or ‘HQ’ 4K video derived from it), from a 1.23x cropped region of the sensor. Alternatively it can capture sub-sampled 4K from the full width of its sensor at up to 30p, or up to 60p with a 1.14x crop. As with the X-T5, there’s a direct choice to be made between how much detail you wish to capture and how well controlled the rolling shutter is.
Tap-to-track autofocus in video (only added to the X-T5 in late April), F-Log2, a self-timer options, red frame outline when you’re recording and control of front and rear tally lamps are also present. The X-T50 can output a data stream over HDMI that can be encoded by Atomos or Blackmagic external recorders as ProRes RAW or Blackmagic Raw, respectively.
Just about the only X-T5 video feature not offered is the ability to attach an accessory fan unit to extend the camera’s recording duration.
How it compares
The X-T50 faces some impressive competition as a result of its price increase. Its price puts it directly in line with Sony’s very capable a6700 and much nearer to the cost of Canon’s image-stabilized EOS R7 than the less expensive R10 model. Nikon doesn’t really have a high-end APS-C camera in its lineup, so we’ve picked the Z fc, which doesn’t offer stabilization but comes closest to Fujifilm in terms of throw-back look and feel.
| Fujifilm X-T50 | Canon EOS R7 | Sony a6700 | Nikon Z fc | |
|---|---|---|---|---|
| MSRP | $1399 | $1499 | $1399 | $959 |
| Pixel count | 40MP | 33MP | 26MP | 20MP |
| Viewfinder (Res/Mag/Eye Point) |
2.36M dot 0.68x 17.5mm |
2.36M dot 0.72x 22mm |
2.36M dots 0.70x 22mm |
2.36M dots 0.68x 19.5mm |
| Rear Screen | 3.0″ 1.62M dot Tilting | 3.0″ 1.62M dot fully-articulated | 3.0″ 1.04M dots fully articulated | 3.0″ 1.04M fully articulated |
| Image stabilization | Up to 7.0EV | Up to 7.0EV | Up to 5.0EV | Lens only |
| Cont. shooting rate | 8fps mech 20fps elec (crop) |
15fps mech 30fps elec |
11fps mech 11fps elec |
11fps mech |
| Video resolution | 6.2K/30 4K/60p from 1.18x crop 4K/30p subsampled full-width or with 1.18x crop |
4K/30p full-width oversampled, 4K/60p subsampled full-width or with 1.81x crop |
4K/60p full-width oversampled 4K/120p with 1.58x crop |
4K/30p full-width |
| Video bit-depth | 10-bit with HLG and F-Log | 10-bit HDR and Log only | 10-bit with HLG and Log | 8-bit |
| Mic/Headphone sockets | Yes / Via USB adapter | Yes/Yes | Yes/Yes | Yes/No |
| Card slots | 1x UHS-II | 2x UHS-II | 1x UHS-II | 1x UHS-I |
| Built-in flash? | Yes | No | No | No |
| Battery life (CIPA) LCD / EVF | 305 / Not given | 660 / 380 | 570 / 550 | 400 / 360 |
| Weight | 438g (15.5oz) | 612g (21.6oz) | 493g (17.4 oz) | 445g (15.7oz) |
| Dimensions | 124 x 84 x 49mm | 132 x 90 x 92 mm | 122 x 69 x 64mm | 135 x 94 x 44mm |
On paper the Sony is the camera to beat in this company. With its excellent autofocus, its strong video capabilities and impressive battery life making it an easy choice. But there’s a lot to be said for the well-honed usability of the Canon, especially now Sigma and Tamron have been allowed to flesh-out the selection of lenses available. This makes life tougher for the Fujifilm, especially in light of its significant price hike. The main area that the Fujifilm stands out is resolution, both for stills and video, and its selection of interesting and attractive ‘Film Simulation’ color modes.
That said, we’ve not included the X-T5, one of our favorite APS-C cameras, in this table. Other than battery life, greater feeling of solidity and much nicer viewfinder, the X-T50 matches its specs in many regards. An extra axis of LCD tilt, compatibility with an external fan unit and the inclusion of a second card slot also set the more expensive camera apart though.
Body and handling
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| Part of the reason for the X-T50’s small viewfinder is that Fujifilm has left room for a small built-in flash. |
Although it maintains the same family appearance and the X-T30 II, the X-T50 is a completely new body. Rather than being essentially a rectangle with rounded corners, when viewed straight down in the plan view, the new cameras has completely curved ends and a forward-jutting extension at the top of the front grip.
It’s a wider camera than its predecessor but less deep, despite the addition of in-body stabilization. The revised grip not only helps the camera more closely resemble the X-T5, but also makes it easier to get a firm grip on.
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| The X-T50 has a mic socket but requires a USB-to-headphone adapter if you want to monitor audio. |
The camera’s AEL button has been moved around a little, with it now sitting at the top of three buttons running up the back of the camera, rather than sitting next to the rear command dial. The Q Menu button still sits out on the end of the rear thumb grip.
The X-T50 includes the same AF joystick as the X-T5, but placed a little further down the back of the body, which makes it a little more awkward to control. Its role is make a little less significant by the camera’s inclusion of subject recognition AF, though, as it means you don’t need to place the AF precisely over your chosen subject, if you want the camera to focus on it, if you’re trying to capture one of the subjects the camera can recognize.
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As with Fujifilm’s other cameras, the Face Detection and Subject Recognition modes are completely separate. This is positive in the sense that you can set a button to toggle Eye AF on and off, but means you’ll need to configure two buttons if you find yourself wanting to switch from subject mode to face detection and back (engaging one and then disengaging it puts you back in standard AF mode, not with whichever detection mode was previously active).
The viewfinder hump still features a pop-up flash but, as before, this limits the size of the viewinder panel and optics, meaning the X-T50 continues to offer one of the smallest finders in its class.
The X-T50 still uses a 2.36M dot [px] OLED viewfinder panel, which is competitive but not outstanding compared to its peers, but its 0.62x magnification marks it out as being unusually small.
The rear screen is also unchanged, with a tilt up/down read LCD that shares its 3.0″, 1.62M-dot [px] panel with the X-T30 II.
Battery
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The X-T50 uses the same NP-W126S battery as previous X-Tx0 models. This is Fujifilm’s smaller, 8.7Wh battery, which delivers up to 305 shots per charge.
These numbers tend to significantly under-represent how many photos you’ll actually be able to take (it’s not at all unusual to get twice the rated number of images or more) but they’re broadly comparable between cameras. A rating of 305 shots per charge (presumably using the rear screen: Fujifilm doesn’t specify), is low for this class, though.
Initial impressions
By Richard Butler
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| For a camera aimed at less seasoned photographers than the X-T5, the provision of quick and easy access to the camera’s Film Simulation modes strikes me as a smart move. |
From a hardware point of view, the X-T50 looks very promising. Just as the X-T30 included most of the X-T3’s capabilities in a smaller, less-expensive body, so too does the X-T50 with the bulk of the X-T5’s. If anything, the X-T50 includes more of its big brother’s feature set, with essentially all of its stills and video modes and features included.
There are still major differences: heavier-duty build, twin card slots, a larger, higher-resolution viewfinder, larger battery, compatibility with the accessory fan unit and greater monitor flexibility. But on the flip-side, the X-T50 is more compact camera that comes in at a lower price and includes a built-in flash and fun touches like a dedicated Film Simulation mode that gives easy access to one of the features that helps the camera stand apart from the competition.
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| The slightly smaller, lighter and wider 16-50mm F2.8-4.8 R LM WR lens makes an impressively capable combination, but it comes at a price. |
But, although it’s less expensive than the X-T5, the X-T50 arrives at a much higher price than previous models in its line. This might leave more room for an X-T300 to sit below it, but also means it has to compete with some extremely capable cameras.
We found ourselves favoring the X-T5 over Canon’s EOS R7 when we conducted our review, but with Canon allowing third-parties to bolster its APS-C lens availability and the X-T50 coming in at only $100 less, it’s going to be a challenging comparison. Likewise Sony’s a6700, which is an impressively capable camera in just about every regard.
We feel the X-T50’s chances will, to a great extent, hinge on the performance of the new 16-50mm F2.8-4.8. In this new lens Fujifilm has replaced one of the best kit zooms on the market, and a key factor in us recommending its cameras. The new lens loses a little length and around half a stop of brightness at the long end, but it now extends to 24mm equiv, rather than 28mm equiv at the opposite extreme. Between this wideangle expansion and the promises of faster focus and improved optical performance, it’ll probably represent a net benefit overall for most uses. It loses optical stabilization just as the X-T50 gains in-body correction and promises weather sealing but it also adds yet another $100 over the cost of previous kits.
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| The new 16-50mm F2.8-4.8 R LM WR reaches wider and fractionally less far than its predecessor, it’s also a little slower at the long end and omits optical stabilization but it moves to an internal zoom design and Fujifilm says it’ll be faster to focus and sharper. |
Sigma’s 18-50mm F2.8 DC DN is a more expensive option, as there are no kit discounts to be had, but it offers over a-stop-and-half benefit at the long end and is smaller. It will soon be available for Canon and Sony, as well as Fujifilm’s mount, meaning it’s no longer just X-mount that offers an accessible premium zoom option.
Click here to see our Fujinon XF16-50mm F2.8-4.8 R LM WR sample gallery
Promises of improved AF performance over its predecessor and a much higher pixel count sensor than its peers mean it’s too early to be think about picking winners, but the price hike that’s come with the X-T50’s feature boost means it’ll have its work cut out for it.
Sample Gallery
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| Images: Tamron |
Tamron has announced a firmware update that it says will ‘significantly’ improve the autofocus tracking performance on the Sony E-Mount versions of its 70-300mm F4.5-6.3 Di III RXD and 18-300mm F3.5-6.3 Di III-A VC VXD lenses. The company’s press release says the lenses should now ‘keep excellent track of moving subjects.’
The updates also add support for Sony’s AF Assist function, which lets you manually focus even when autofocus is enabled. That should be handy for videographers who want to use autofocus to initially grab focus but then rack focus to something else in the frame, provided they have a Sony body that supports the feature.
The firmware is now available to download from Tamron’s site.
| Image: Apple |
It’s that time of year: Apple has announced its new suite of iPhones, raising the question of whether current owners should upgrade or stick with their older model.
There are many factors to consider – those still using the Lightning port could potentially justify an upgrade for USB-C alone– but we’ll mainly focus on the cameras for this article. This year, more than ever, the price premium on the Pro phones doesn’t make much sense if you’re not using them for photography and videography, so we’ll be trying to answer a straightforward question: will upgrading let you take better pictures?
Note: unlike last year’s models, the iPhone 16 Pro and Pro Max appear to have identical camera setups. We’ll talk a lot about the ‘iPhone 16 Pro’s’ cameras in this article, but anything we say will apply to both size options.
Scenario 1: You have an iPhone 15 Pro
We’ll start by comparing the 16 Pro to the last-generation 15 Pro since it lets us talk about the brand new features that will be an upgrade over the 14 Pro and 13 Pro too. However, we’ll start by saying it’s hard to recommend the year-over-year upgrade unless you have a specific use case that requires the new features.
Even Apple quietly admits this; during the announcement, whenever it compared the iPhone 16 Pro to previous models, it was usually put up against the iPhone 14 Pro instead of its direct predecessor. The iPhone 15 Pro is also the only other phone in Apple’s lineup capable of running all the Apple Intelligence features, which are the main selling point of the iPhone 16 line.
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| Image: Apple |
However, there are still some improvements to be found in the iPhone 16 Pro’s camera system. Apple says that the 16 Pro uses a ‘second-generation’ sensor for its main camera, which can read out data two times faster, ‘enabling zero shutter lag’ even when taking Raw photos.
The 5x, 120mm equiv. camera from the 15 Pro Max is also now available on the regular-sized iPhone 16 Pro, replacing the 3x, 77mm equiv. camera from the 15 Pro. That’s not necessarily a clear win, though. The extra reach may be useful if you often shoot far-away subjects, but it makes it a little bit harder to take portraits; you’ll have to stand further away from your subject if you want to get the classic 80mm portrait framing, which will also compress the foreground and background more. However, if you want a 5x camera in a smaller phone, the 16 Pro is Apple’s first model to offer it.
iPhone 16 Pro cameras vs iPhone 15 Pro cameras
| iPhone 16 Pro / Pro Max | ||||
|---|---|---|---|---|
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 48MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 120mm equiv | 12MP | Type 1/4 (4.5×3.4mm) | F2.8 | ~10.8x |
| iPhone 15 Pro / Pro Max | ||||
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 12MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 77mm equiv / 120mm equiv. (Max) | 12MP | Type 1/3.5 (4x3mm) / Type 1/4 (4.5×3.4mm) | F2.8 | ~8.7x / ~10.8x |
There are a few other minor improvements to the 16 Pro’s camera system compared to the 15 Pro’s. It can now shoot 3D-esque Spatial Photos, and Apple has upgraded the Photographic Styles system, which lets you apply different looks to your photos straight out of camera. Previously, they were baked-in, meaning you couldn’t shoot a picture with the ‘Warm’ Photo Style and then change it to the ‘Cool’ or ‘Rich Contrast’ one – now you can.
The 16 and 16 Pro also have slightly larger screens than their predecessors, which makes taking and viewing photos nicer, and the QuickTake video that you can access from the photo mode is now 4K60p instead of 1080p30p.
The most significant changes relate to the iPhone 16’s ultrawide camera and video modes. That brings us to a few reasons you might be able to justify an upgrade.
Scenario 1a: You’re a macro/wide-angle photography enthusiast
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The ultrawide camera used for macro shots now has a much higher-resolution sensor.
Image: Apple |
The iPhone 15 Pro’s 0.5x, 13mm equiv. F2.2 ultrawide camera uses a 12MP, 5.6×4.2mm sensor and produces broadly disappointing photos. While the ultrawide camera on the iPhone 16 Pro appears to be using the same size sensor, it’s now using 48MP quad-Bayer technology.
This will allow for pixel binning, though the real-world effect remains to be seen. Given that the sensor is the same size and will likely bin down to the same resolution, it’s hard to imagine there being much of an improvement in low-light performance, which is where the previous iteration of the camera struggled.
If the 0.5x camera is your favorite, it’s probably worth waiting for the reviews to see how much of a difference the resolution bump makes. We’ll be sure to update this article as soon as we can with some wide-angle comparison shots.
Scenario 1b: You are going to shoot The Weeknd’s next music video with your iPhone
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The Weeknd’s new music video is the latest addition to the Shot On iPhone gallery.
Image: Apple |
The next-generation sensor in the iPhone 16 Pro’s main camera enables a big jump in video performance: it can now shoot 4K footage at 120fps, double the speed of the previous Pro. You can even shoot at 120fps in Apple’s ProRes codec, provided you’re recording to external storage via USB-C.
Apple also claims the 16 Pro has much-improved audio with the addition of a ‘studio-quality’ four-microphone array. The microphones allow for wind noise reduction and some fancy software tricks called ‘Audio Mix’ that enable you to fine-tune how a video’s subjects sound.
As with the iPhone 15 Pro, Apple showed off the 16 Pro’s video prowess by having a famous artist shoot a music video with it. This year, it was The Weeknd, whose video for ‘Dancing in the Flames’ (seen above) was shot with the iPhone 16 Pro, making heavy use of the new slow-motion features. Feel free to judge how the footage fares, though do keep in mind that the video was shot by top-tier professionals using thousands of dollars of lighting and grip equipment.
Scenario 1c: You can’t live without the Camera Control
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| Image: Apple |
We get it: new buttons are exciting, especially when they’re providing a new function. Apple’s new Camera Control button promises to let you launch the camera from anywhere, will act as a shutter button once you’ve opened the app, and you can slide your finger across it to adjust parameters like the focal length or aperture.
Apple also promised to improve the button via a software update that will make it act like a traditional shutter button that locks focus and exposure with a half press, and takes a picture with a full press. The Camera Control will also be available for third-party developers, so you may get some milage out of it even if the default iOS camera app isn’t your go-to.
There will be some people who call the Camera Control a gimmick, and who say that there’s no way it’d be worth upgrading from a perfectly good phone that’s only year old for it. And sure, it’s possible it won’t end up being very useful because of its placement, or its relatively complicated control scheme, which mixes gentle taps and press with swipes.
But if it actually improves the ergonomic experience of taking pictures with an iPhone, it could a real nice-to-have – though it’s up to you whether it’s ‘immediately upgrade’ compelling, or ‘look forward to it the next time you get a new phone’ compelling.
Scenario 2: You have an iPhone 14 Pro
The iPhone 14 Pro introduced the 48MP, 9.8×7.3mm quad-bayer sensor that Apple has iterated on for the iPhone 16 Pro, but that doesn’t mean that there haven’t been improvements in the past two years. The 16 Pro’s faster readout speeds should provide the same speed boost compared to the 14 Pro as they did to the 15 Pro.
The lenses on the 16 Pro’s cameras also have a variety of coatings not found on the 14 Pro, and, similar to the 13 Pro, the 14 Pro is stuck with the slower Lightning port instead of the near-universal USB-C one found on the 16 Pro.
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The 16 Pro can shoot slow-mo ProRes 4K. The 14 Pro can’t. (The 128GB 14 Pro can’t shoot ProRes 4K at all; it’s limited to 1080p.)
Image: Apple |
For the main camera, many of the iPhone 16 Pro’s upgrades lie in software, not hardware. The 14 Pro can only shoot 4K ProRes at 30fps, which rules out the possibility of using it for slow motion like you can with the iPhone 16 Pro’s 120fps 4K mode. The 16 Pro also has a ‘next-generation’ portrait mode, which Apple says offers ‘2x better low-light performance.’ Given that the iPhone 16 Pro’s camera hardware isn’t taking in any more light, that’s almost certainly down to changes in how it handles multi-shot photography.
By default, the 16 Pro will also bin images to 24MP, versus the 12MP that’s the only option for the 14 Pro. You also no longer have to shoot in ProRaw to capture a 48MP image, as the 16 Pro has a ‘HEIF Max’ mode that offers compressed images with higher resolution. (Do note that it’s not available in all modes, though; night mode and flash photos are still binned to 12MP.)
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The ultrawide camera is one of the iPhone 16 Pro’s most notable upgrades.
Image: Apple |
The iPhone 16 Pro’s other lenses have more notable improvements. The iPhone 14 Pro’s ultrawide camera is the same as the one found on the iPhone 15 Pro, so any jump in quality provided by the 48MP sensor will apply here as well.
The 16 Pro’s telephoto lens also has a larger sensor, and tighter focal length; the 14 Pro’s 3x (77mm equiv.) camera has a 4x3mm sensor, where the 16 Pro’s 5x (120mm equiv.) camera bumps that up to 4.5×3.4mm – a 27.5% increase. Both cameras produce 12MP images, and have F2.8 lenses.
iPhone 16 Pro cameras vs iPhone 14 Pro cameras
| iPhone 16 Pro / Pro Max | ||||
|---|---|---|---|---|
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 48MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 120mm equiv | 12MP | Type 1/4 (4.5×3.4mm) | F2.8 | ~10.8x |
| iPhone 14 Pro / Pro Max | ||||
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 12MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 77mm equiv | 12MP | Type 1/3.5 (4x3mm) | F2.8 | ~8.7x |
Overall, the 16 Pro’s cameras are iterative improvements over the 14 Pros. However, if you take tons of images on your phone or are serious about video, there’s probably enough there for you to notice a difference. If you’re more of an occasional shooter, though, it may be worth sitting this one out.
Scenario 3: You have an iPhone 13 Pro
If you have an iPhone 13 Pro or one of its predecessors, the 16 Pro’s cameras should be an upgrade in pretty much every way. The 13 Pro has a 12MP F1.5 main camera, while the 16 Pro bumps the resolution up to 48MP. While its F1.78 lens is slower, its 9.8×7.3mm sensor also has 65% more area versus the 13 Pro’s 7.6×5.7mm sensor – that equates to around 0.3EV more light gathering ability, even with the brighter aperture.
That extra resolution enables a lot of camera features on the 16 Pro that the 13 Pro doesn’t have. The most obvious is the pixel-binned 12MP or 24MP shots, as well as the 48MP ProRaw mode. It also allows for the 24mm, 28mm, and 35mm ‘faux-cal’ lengths for the main camera, which work by taking different crops off the sensor. The iPhone 13 Pro also lacks the ‘2x’ option, which crops in to the 12MP middle section of the sensor.
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The 16 Pro’s main camera is a notable improvement from the 13 Pro’s.
Image: Apple |
The ultrawide and telephoto cameras also use larger sensors, and the 16 Pro’s 5x camera offers a 120mm equiv. focal length compared to the 13 Pro’s 3x 77mm equiv.
The iPhone 16 Pro also includes the latest iterations of Apple’s image stabilization and HDR systems, though the company hasn’t said much about what benefits they offer over the predecessors found on the iPhone 13 Pro.
iPhone 16 Pro cameras vs iPhone 13 Pro cameras
| iPhone 16 Pro / Pro Max | ||||
|---|---|---|---|---|
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 24mm equiv. | 48MP / 24 / 12MP | Type 1/1.28 (9.8×7.3mm) | F1.78 | ~3.5x |
| 13mm equiv | 48MP | Type 1/2.55 (5.6×4.2mm) | F2.2 | ~6.2x |
| 120mm equiv | 12MP | Type 1/4 (4.5×3.4mm) | F2.8 | ~10.8x |
| iPhone 13 Pro / Pro Max | ||||
| Focal length | Pixel count | Sensor size | f/number | Crop factor |
| 26mm equiv. | 12MP | Type 1/1.7 (7.6×5.7mm) | F1.5 | ~4.6x |
| 13mm equiv | 12MP | Type 1/3.5 (4x3mm) | F1.8 | ~8.7x |
| 77mm equiv | 12MP | Type 1/3.5 (4x3mm) | F2.8 | ~8.7x |
The 16 Pro has several video features not found on the 2021 model, such as Apple Log, Spatial Video, the super-stabilized ‘Action Mode,’ and access to 60 and 120fps frame rates when shooting 4K. And if you’re shooting a lot of video and want to offload it to a computer, the iPhone 16 Pro will offer a much better experience; its USB-C port can transfer files at 10Gbit per second. That’s 20 times faster than the USB 2.0 speeds that the 13 Pro’s Lightning port provides.
Outside of the camera, the 16 Pro has a lot of quality-of-life improvements. To name a few, there’s satellite SOS, tougher front glass, faster charging, an always-on-display and both the Action button and the new Camera Control button. It’s also 5g lighter despite being physically larger because its frame is made of aluminium and titanium instead of stainless steel.
None of this is to say that you must upgrade your iPhone 13 Pro. In fact, two of the winning photos from this year’s iPhone Photography Awards were shot with an iPhone 13 or 13 Pro. If you’re happy with your phone, by all means keep using it. However, if you do feel ready for an upgrade the iPhone 16 Pro should offer enough features and camera improvements to make it well worth it.
Just five days after the arrival of first Mirrorless camera, and 16 years ago today, Canon revealed a camera that would help define the final years of DSLR dominance: the EOS 5D II.
This was no simple upgrade to the original EOS 5D, though in a move from 12.8MP to a better performing 21MP CMOS sensor, the addition of an improved viewfinder and the gain of features such as liveview, it was that, too.
What famously set the 5D Mark II apart was its ability to capture Full HD video, the first DSLR to do so. The Nikon D90 had added 720p HD capture about two weeks before but it was the Canon that caught the world’s imagination.
This was helped by the option to download the Cinestyle color preset developed by film processing company Technicolor and a successful PR stunt that involved an entire episode of the TV show ‘House’ being filmed using the camera.
In hindsight, the 5D II is a relatively basic filmmaking tool: all is footage is 8-bit, so has limited grading (an official Canon Log option wouldn’t arrive until the Mk IV), there were no tools such as focus peaking to help with focus and to monitor your sound you needed all manner of adapters to get at the audio feed from the A/V socket. It didn’t even gain full manual exposure control in video mode until a post-launch firmware update.
The 5D II became a popular video camera at colleges and schools around the world
But the 5D II became a popular video camera at colleges and schools around the world, putting the flexibility and ‘look’ of a full-frame sensor in the hands of budding film makers and letting them use relatively affordable EF lenses.
Beyond this, the Magic Lantern open source software project created an extensive array of video support tools to boost the 5D II’s capabilities way beyond those that Canon had developed for it, including focus peaking, false color and control over the A/V output level.
There are plenty of people that used the 5D II solely as a stills camera, and it certainly represented a major step forward, compared with its predecessor: it had a larger, higher resolution screen, a sensor happier to shoot at higher ISOs and could shoot 30% faster than the Mark 1, despite the much higher pixel count. It also gained features that we take for granted, such as Auto ISO.
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The newer sensor in the 5D II allowed a maximum expanded ISO of 25,600: three stops higher than on its predecessor.
Image: Don Wan |
Its top speed of 3.9fps looks disappointing once you got used to the option to capture the 30fps burst that its spiritual successor, the EOS R5 II can manage. But, even though 4K and 8K modes have become commonplace in the sixteen years since the 5D II’s launch, a well lit, well-exposed and interesting video shot with the 5D II still looks pretty great, even on a big TV.
In the original review we referred to its video capabilities as its ‘party trick.’ Well it proved to be quite the trick, and over a decade and a half later, we’re all still at that party.
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