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Join us for a live Q&A about the Sony a7 IV

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Join us for a live Q&A about the Sony a7 IV

Join us for a live Twitter Space AMA (ask me anything) about the new Sony a7 IV. DPReview editor Richard Butler, along with DPReview TV’s Chris Niccolls and Jordan Drake, will field your questions about Sony’s newest camera. Have a question that hasn’t been addressed anywhere else? This is your chance to ask the experts!

To join in, just follow the link in the Twitter post below. Make sure to follow us on Twitter to hear about future events we plan to host.

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Fujifilm X-T50 first-look video and preview samples

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Fujifilm X-T50 first-look video and preview samples


We had a chance to shoot with the Fujifilm X-T50 for quite a while, so we put together a first-look video, outlining what it can offer, as well as shooting a sample gallery using a variety of Film Simulations.

As always, all the Raw files are available to download if you wish to see how your preferred software handles them.

Please do not reproduce any of these images on a website or any newsletter/magazine 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); we do so in good faith, so please don’t abuse it.



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Got a new camera? Change these settings before you shoot!

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Got a new camera? Change these settings before you shoot!


There’s nothing like unwrapping a new camera for the first time.

You may have noticed a recent tsunami of new product launches. From camera bodies to lenses, accessories, software and computers, it seems every manufacturer has something new to hawk. With school graduations, Father’s Day, travel season and world events like the Olympic Games, there are plenty of new cameras vying for your attention.

If you’ve just bought a new camera, we have some tips on key settings to adjust so you can get the most out of your new gear. So before you head for the hills, the studio or a far-flung destination, take a look at these important camera settings first. A few tweaks and adjustments up front can mean the difference between fluid work and frustration.

Also, bookmark this guide for the future. We continually update our guides as we gather more knowledge, respond to changes in industry products, and take in questions from our readers on what you need and want. Let us know in the comments if we missed anything. We’re always here to help bring the joy of photography and video to everyone.

How you set up your menu and customize your buttons and dials is a very personal matter. It depends on what you shoot, which features you use and how you like to work. No matter what you’re focused on, there are a few common settings that all photographers need to get set right straight out of the box.

The Great Menu Expansion

Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system. As an example of this growth consider Canon’s first mainstream DSLR, the Canon D30 from the year 2000, whose menu featured a total of 31 items on one long scrolling list. Canon’s recent pro-level R3, on the other hand, offers 433 menu items organized into 8 categories or tabs.

Canon and other manufacturers have done a reasonable job (some better than others) at organizing all these features into relatively logical categories like: Image quality, Playback, AF, and Wireless. However, they give you no clue as to which items you should adjust straight out of the box – which ones are better to turn off or keep on most of the time.

Perhaps the most consistent change in cameras in the digital era is the size and complexity of the menu system.

For this reason, many photographers tweak a few items as they need them and leave the rest of the menu for a time when they have nothing better to do than read a camera instruction manual – which is likely never. They then wind up living with discomfort in their shooting experience that would be easy to fix.

This article provides a short list of must-change items for all photographers. The out-of-the-box factory settings (or worse, the previous owner’s settings) may not have these settings adjusted for your needs. While I could go on all day about this, let’s start with a few hot items you’ll want to adjust on your new camera.

Diopter

Yes, the topic of this article is on menu settings and the first item isn’t in the menu. Point noted, now let’s move on. The diopter is the focus adjustment for your camera’s viewfinder. Somewhere near the eyepiece is a small knurled knob, possibly with plus and minus labels. Turning this knob will adjust lens elements in the viewfinder to adapt the clarity of the view for people with different vision needs.

You’ll see clearly once your diopter is correctly adjusted.

When the diopter is adjusted properly, you’ll have a way better time seeing both your subject and the information displayed in the electronic viewfinder of a mirrorless camera or the focusing screen of a DSLR. If the diopter is slightly off you’ll likely still see a sharp image but your eyes will need to strain to keep everything in focus. A properly adjusted diopter will make viewing comfortable and strain-free.

These little knobs can easily be adjusted by accident and it’s not uncommon to look through your viewfinder and be suddenly shocked at how bad your eyesight has gotten. While some knobs have better locks than others, almost every camera I’ve used has needed this adjusted at the start, and again at various intervals. This is a rather unglamorous way to start the personalization of your camera, but without it the whole world could be a blur to you.

File Format

There is perhaps no setting as important as the file type. We’ll sidestep the whole Raw vs JPEG debate here, and we’ll simply state that whatever you decide is right for you is something you need to set up on your camera right away.

A Raw file, for the newbies out there, contains all the original capture information in an image, far more than the efficient subset contained in a JPEG. It allows you greater leeway in post-processing to recover details from shadows or highlights and to change fundamental aspects like white balance or color. The downside is that the file size is a bit on the big side (compared to JPEG) and requires special software to view and work on the image. While your camera manufacturer provides free software to do so, many people prefer to use popular photo-editing software from companies like Adobe or Capture One.

Whether you value the flexibility of Raw files, or the convenience of JPEG, make sure you’ve picked a file format before heading out the door.

The JPEG file is a small convenient file that can be opened and viewed by pretty much any computer or viewing device made in the last 25 years. The downside to the JPEG is that the file is processed and compressed. While convenient for sharing online and fine for printing unaltered, it lacks the information depth of color and tones that a skilled photo editor would appreciate when working in the digital darkroom.

Thankfully, most camera manufacturers know that file type is an important setting, and it’s usually located at or near the top of the menu. You’ll also often find a shortcut to this feature in the Quick or Function menu or Control grid screen.

You can shoot Raw and JPEG at the same time, but this should only be done if you truly need it. If you have a Raw file you can make a JPEG anytime you want, in any quantity, with any adjustment you like, so long as you have a computer, the right software and the time to do it. The best time to simultaneously shoot both Raw and JPEG is when you have an immediate need for the JPEG and a long-term desire for the Raw.

Thankfully, most manufacturers know that file type is important and it’s usually located at or near the top of most menus.

Get this set right first, and if you change your photography workflow from time to time be sure to come back and revisit it. The current file type status is often displayed in the viewfinder or on the rear screen for easy monitoring.

AF beep, AF lock and AF assist lamp

Cameras tend to have AF beep, AF locked to shutter and AF assist lamp set to be active by default.

There are many reasons to keep them active; perhaps they aid people with color blindness, for instance. It often comes down to how you intend to use the camera and your personal preferences.

Knowing the different ways you can control autofocus can help you adjust the camera to your habits, rather than adjusting your habits to the camera.

To fully understand what is right for you, let’s take a look at what each one does.

Autofocus (AF) beep settings allow for an audible confirmation that what you are trying to use AF on is in focus. It is an additional cue to the visual cue you’ll see when a focus box changes colors to confirm focus. Some users may like the sound or may need the sound if they have trouble seeing the visual color change. Others may feel it is a distraction. DPReview editor Richard Butler says, “Turning off the beep and AF illuminator are the first things I do,” because it’s potentially distracting to others while he’s trying to make images.

“To fully understand what is right for you, examine each setting’s function. In the end, it all comes down to your personal preference.”

The AF assist lamp is a feature that shines a light on whatever you’re framing to help the AF focus. The camera uses this light to have enough light to create enough contrast to help it focus. Here again, it comes down to your personal preference. DPReview editor Shaminder Dulai says he hates it and it’s the first thing he turns off, “I feel like the lamp is like shouting ‘Hey look at me, I’m about to take a picture,’ and it completely takes you out of the headspace of making images and is often annoying to others around you. Since I do documentary work, I aim to be a fly on the wall and earn trust to get to more ‘real’ moments and beeps and lights don’t help me get there.”

Most cameras come from the factory set to activate their AF with a half press of the shutter. Many photographers prefer using a dedicated AF button if they have that option, and we encourage you to try that as well to see if it suits you better.

With a little time spent trying it both ways, you may decide you love the shutter half-press or that you hate it, the key is to be aware of both and to try them for yourself.

Dulai says for him, “The focus being tied to the shutter leaves me fighting the camera and not focused on the story. It’s all preference at the end of the day. I sometimes leave my focus point centered and like to focus, meter and then recompose the image with a dedicated button.” On the other hand, DPReview editor Dale Baskin likes the half press, saying, “I’ve tried switching to back button focus many times over the years, and it just doesn’t work for me. I have no problem shooting fast action sports using the half press method and never miss a beat.”

So, opinions vary even among the DPReview editors. The point is to be aware of what your camera is doing, learn how to try all the options across the settings and see what works best for you.

Card Format

Photos from your camera will likely be stored on a removable memory card, and like any storage area (digital or real) it should be cleared of unnecessary clutter before use. Each camera manufacturer has a slightly different way of communicating with the card and storing images on it. To create a clean, reliable line of communication between camera and card it is highly recommended that you ‘format’ a new card inside the camera before heading out to capture photos.

Formatting your digital storage medium with a new camera ensures they’ll become fast friends.

Be advised that formatting a card will delete all the photos on it, along with any folders, seen or unseen, and will set up a new storage structure and path. Formatting is also recommended when heading out on a new shoot, so long as the photos from the last shoot have been downloaded and backed up first. There’s nothing like starting with a clean slate.

Date and Time

Mundane and trivial to some, the capture date and time of every image is stored in its metadata (extra information that can be viewed by software) and having it correct may potentially save headaches in the future. Many cameras now have simple adjustments for traveling to different time zones and adjusting for daylight saving time so that you don’t need to fiddle with the actual time setting. I’ve found that cameras are not particularly accurate in their timekeeping over the long haul, so if you’re fussy about having exactly the right time stamp on your photos you may need to revisit this feature every few months or so.

Having the correct date and time set on your camera can help you remember when you captured photos.

Copyright Info

Another item in the image metadata that may be beneficial at some point in the future is setting your name and any other pertinent personal info. Be advised that this data can be overwritten by anyone with access to your digital file. This setting is for information that may be helpful to you or others, but it is not in the realm of lock-tight security options.

Adding your name in the copyright field provides a very low level of security; think of it simply as a note that it is you who took the photo, or at the very least an image that came from your camera. This can be convenient if your images have been casually mixed with others and you need to identify the owner or creator.

Embedding copyright information can help identify your photos or even recover your camera.

You can also use this setting to put in specific copyright information like ‘All Rights Reserved,’ to let anyone else with access to the file know what your intentions are. Once again, though, be advised that this can easily be overwritten by the laziest of hackers. A potential use for this area is your contact information, usually in email form. Should your camera be lost or stolen it could provide a link back to you. True, the bad guy won’t care about this, but the honest one who does want to do the right thing will have information on how to contact you.

Firmware updates

Like everything else, today’s cameras are packed with powerful electronics, and increasingly, software is advancing faster than hardware to take advantage of improvements. We recommend looking on your manufacturer’s website to check for any new firmware update that has been issued for your camera and reading up on what they does.

Firmware updates aren’t required but they can sometimes address bugs that help you enjoy it longer.

Some updates are minor, fixing things like a typo in a menu, while others can improve camera performance or add new features. Your camera will still work without the firmware update, so it’s up to you to decide when and if you want to update. But, a word of caution from Dulai, “I never jump on new firmware updates, preferring to wait a few months if possible. This gives me time to research the firmware and time to let any potential bugs surface from the wave of early adopters.”

As an alternative to checking manufacturer websites, virtually all cameras released today have accompanying smartphone apps. These apps can be set to alert you when new firmware is released.

Registering your product and document your serial numbers

This one may seem obvious, but it’s important to call out. Registering your product with the manufacturer may grant you a warranty or other support services; just remember to opt out of any promo e-mails if you don’t want them.

More crucial is that you document your serial number, product name, purchase date and price paid. You don’t have to keep this information anywhere fancy: an e-mail, spreadsheet, or paper journal are all great options. The goal is to have everything documented and saved because if you ever are robbed and need to file a police report or an insurance claim, this is the information you’ll need.

“None of these settings will help you create great photos, but they can make the experience of shooting with your new camera a bit easier.”

Set up and head out

None of these settings will help you create great photos, but they can make the experience of shooting with your new camera a bit easier. Paging through the labyrinth of the menu system isn’t the first choice of activity for a photographer, but trust me, there’s a lot of useful stuff in there. Getting your camera set up specifically for your needs is like getting a custom-tailored suit – it will prepare you for whatever may come and give you confidence when you head out into the world.

Did we miss anything? What settings and adjustments do you make straight out of the box? Tell us in the comments.



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Leica continues compacts with D-Lux 8 featuring four thirds type sensor

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Leica continues compacts with D-Lux 8 featuring four thirds type sensor


Image: Leica

Leica has announced that it will introduce the D-Lux8 premium compact camera on July 2nd, showing a continued commitment to compacts.

The company hasn’t issued full specs yet, but the D-Lux8 appears to be an updated D-Lux7 with both physical styling cues and an updated menu system that more closely resemble the Q3 fixed-lens full frame model.

Like its predecessors, the D-Lux8 shares most of its specifications with Panasonic’s LX series of cameras, but it’s notable that there isn’t (yet) an LX100 III to correspond to the new Leica model. Until we have full specs we won’t know how much has changed, compared with the D-Lux7 and LX100 II.

Image: Leica

Leica says the D-Lux8 will be its first D-Lux model to shoot DNG Raws and that it will come bundled with a flash.

The camera is still based around a 10.9-34mm (24-75mm equiv) F1.7-2.8 zoom and offers a series of crops from a four thirds-type (17.3 x 13mm) sensor. The lens doesn’t cover the entire sensor, so you can only get up to 17MP images from the 21MP chip, but the 3:2, 4:3 and 16:9 crops are designed to maintain the same diagonal angle-of-view, so they all maintain a true 24-75mm equivalent view. As before a switch on top of the lens encourages experimentation with these crops.

The D-Lux8 will be available from July 2nd with a list price of $1595.

Image: Leica
Press Release:

Leica announces the continuation of compact digital cameras with the upcoming launch of the Leica D-Lux 8 on 2nd July 2024

Teaneck, NJ, May 23rd 2024. Leica Camera AG will launch the new Leica D-Lux 8 on July 2nd 2024. In 2003, the German premium manufacturer introduced the first D-Lux. Eight generations and numerous special editions later, the D-Lux has solidified its position in the top-quality segment of Leica’s digital compact cameras.

The new D-Lux 8 brings the quintessential Leica experience into a more compact and accessible form. The overall user experience and iconic design are a testament to the excellence of the legendary Leica brand, recognized globally as a leader in the field. For enhanced user comfort, the controls have been simplified and ergonomically repositioned, while the user interface, inspired by the popular Leica Q-Cameras, has become even more user friendly. The D-Lux 8 features a 4/3” CMOS sensor offering 21MP (effective 17 MP), the fast Leica DC Vario-Summilux 10.9–34 mm f/1.7–2.8 ASPH. lens (35mm equivalent to 24-75 mm), intuitive design and seamless connectivity with the Leica FOTOS app. The flash included with the camera further expands the versatility of the D-Lux 8.

In addition to the camera, a new range of accessories will be introduced. These include a hand grip, carrying straps, wrist straps, and leather protectors available in multiple colors. Additional accessories such as an automatic lens cap, soft release buttons, and a selection of bags, including a hip bag, crossbody bag, and equipment bag, expand the camera’s portfolio.

The Leica D-Lux 8 will be available globally on July 2, 2024 at all Leica Stores, the Leica Online Store, and through authorized dealers. The US retail price will be $1,595.



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