Camera
Nikon Z9 initial review: We take a detailed look at Nikon’s new pro mirrorless camera
All images by DPReview
The Nikon Z9 is a 45.7MP full-frame pro sports mirrorless camera: a high speed, 8K-shooting statement of intent from one of the industry’s biggest players.
Nikon becomes the third brand to build a pro-grade mirrorless camera around a fast-readout, stacked CMOS sensor, and seems determined to show that has no intention of being an also-ran as the market moves to mirrorless.
The Z9 is the first camera in this class to abandon the mechanical shutter entirely and, particularly in terms of video, it’s by far Nikon’s most ambitious camera yet.
Key Specifications
- 45.7MP Stacked CMOS sensor
- 30 fps JPEG shooting
- 20 fps Raw shooting (for over 1000 compressed Raws)
- 120 fps JPEG shooting at 11MP resolution
- 8K/30p capture and 4K-from-8K, with ProRes 422 HQ option
- 8K/60p, 12-bit 8K N-Raw and 4K ProRes RAW to be added with f/w
- Internal 10-bit N-Log and HLG capture
- 3.69M dot OLED EVF with reduced lag and greater brightness
- XM dot rear LCD with multi-directional tilt
- Twin CFexpress Type B card slots
- Full-time electronic shutter camera
- Sensor shield to protect sensor
The Nikon Z9 will be available before the end of 2021 (in the US, at least), with a recommended price of $5500, body only.
What’s new
Stacked CMOS sensor
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Nikon had said some time ago that the Z9 would be built around a Stacked CMOS sensor, with all the speed benefits that brings for burst rate, readout speed, AF updates and video performance. But that initial reveal didn’t make clear how ambitious a sensor it would turn out to be.
The sensor delivers the fastest readout rate of any full-frame camera we can think of, resulting in a flash sync of 1/200 sec (as fast as many mechanical shutters can manage). But, just as excitingly, it has precisely the same pixel count as the sensor used in the Z7 cameras, along with the same base ISO of 64. This makes it likely that the design of the photodiodes themselves is very similar, but with more sophisticated readout circuitry. Our early impressions indicate that dynamic range is just under a stop behind the Z7 II.
Autofocus
Just as ‘Stacked CMOS’ has become the key hardware change underpinning the latest generation of pro-grade mirrorless cameras, subject recognition algorithms trained by machine learning is proving to be the defining software advance.
The Z9 has been trained to recognize a similar range of subjects to that of the Canon EOS R3, with humans, animals and vehicles all capable of being prioritized by the camera. Like the Canon, the Nikon has been trained to recognize eyes, faces and torsos, so that it can maintain focus on the same person, and focus in on the most relevant detail. In terms of animals, the algorithm can recognize cats, dogs and birds, while the vehicles setting knows how to home-in on planes, trains, bicycles and motorbikes.
Nikon says the combination of the Stacked CMOS sensor and the faster data throughput of the Z mount allows the camera to process and communicate 120 AF calculations per second.
| Auto | — | ||
|---|---|---|---|
| People | Animals | Vehicles | Off |
| Eyes | Dogs | Planes | Tracks subjects based on distance and color. |
| Faces | Cats | Trains | |
| Torsos | Birds | Motorbikes / Bicycles | |
Unlike the comparable multi-subject systems from Olympus, Canon and Sony, the Nikon system doesn’t demand that you specify which type of subject you’re shooting. It provides an ‘Auto’ subject mode that will assess the scene for any of the types of subject it can recognize. There are individual People, Animal and Vehicles settings if you want to ensure the camera doesn’t pick the wrong subject, but for much of the time, it’s ready to track whatever you point it at. There’s also an ‘Off’ option to disengage the camera’s subject recognition system.
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| 3D Tracking works in conjunction with the subject recognition system, drawing a gray box around recognized subjects near your AF point. The latest algorithms can detect eyes and faces that are smaller in the scene than any camera we’ve yet tested. |
The other major addition to the Z9 is something we’ve asked for since Nikon first launched the Z series: the arrival of ‘3D Tracking’ on a mirrorless Nikon. The Z9’s implementation looks and behaves exactly like it did on the company’s DSLRs: presenting you with a small square box that will tenaciously track anything that’s underneath it when you initiate C-AF. The only differences you’re likely to experience are that the AF point can now range across the entire scene, rather than within the confines of a central AF array, and that it’s more dependable, now it’s underpinned by your choice of subject recognition. If you have subject recognition disabled, the system will still track your chosen subject using distance and color information.
Synchro VR
Unlike previous Z-series bodies, the Z9 gains the ability to combine its in-body stabilization with the stabilization in its VR lenses. Previously the camera would pass responsibility for pitch and yaw motion off to the lens, but the Z9 is able to use both systems in a synchronized fashion (as done by Panasonic, Olympus, Canon and Fujifilm).
Initially, this ‘Sychro VR’ mode will only be available when using the Z MC 105mm F2.8 VR and the just-announced Z 100-400mm F4.5-5.6 VR S, with Nikkor Z 70-200mm F2.8 VR S support coming after a pending FW update.
Burst shooting
The Nikon Z9 can shoot bursts of JPEGs at up to 30 frames per second, putting it level with the likes of Sony’s a1 and the (lower resolution) Canon EOS R3. However, if you want to shoot Raw, the maximum frame rate drops to a still considerable 20 frames per second. As you’d expect of a Stacked CMOS camera, there’s no blackout while the camera takes an image, so instead there’s a selection of display and audio indicators that you can engage to let you know when you’re shooting.
The camera’s buffer is deep enough to let the camera shoot at this rate for over 1000 frames, if you’re shooting JPEG or using the new HE Raw compression option. On which subject…
Raw compression options
To cope with the large number of large files the Z9 will so readily produce, Nikon has added two new Raw compression options. The default option is a lossless compression mode, but alongside this are two ‘High Efficiency’ compression options. The ‘HE*’ mode delivers files around 1/2 the size of the uncompressed data, and the more compressed ‘HE’ files are typically around 1/3rd the size.
Nikon hasn’t given us any details of how the compression works, or where it might have impact on the files, so that’s something we’ll look at once we have Raw support.
Video
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The fast readout sensor was always likely to help the Z9’s video performance but Nikon has clearly put a lot of effort into making sure it offers modes that are usable, rather than just looking good on the spec sheet. For instance, it becomes the first Nikon camera to be able to capture Log footage internally.
At launch the camera will offer 8K/30p, oversampled 4K (from 8K capture) at up to 30p or less detailed 4K at up to 120p taken from the full width of the sensor (either binned or line-skipped). These capabilities will be expanded with a promised firmware update in 2022. At first, you’ll have the choice of 8 or 10-bit files with H.264, H.265 or vast, delivery-ready ProRes 422 HQ compression. But these options too will be expanded at a later date.
| Video rolling shutter rates | |
|---|---|
| Video mode | Rolling shutter time |
| 8K/30/24 | ~14.3ms |
| 4K/30/24 oversampled (from 8K) | ~14.3ms |
| 4K/120/60 subsampled | ~7.8ms |
The firmware update will enable internal Raw video capture at up to 60p. Nikon says this will include a 12-bit 8K/60 option in a new, proprietary ‘N-Raw’ format or internal ProRes Raw HQ capture at up to 4K/60.
Nikon says the camera will be able to shoot its oversampled 4K/30 for more than 2 hours (at ‘normal’ temperatures). It also says the latency over HDMI has been halved, compared with the Z6 II and previous Nikon cameras, meaning it’s much more practical to monitor the camera’s output.
Body and controls
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The Z9 has an angular design that’s consistent with the other Z cameras but has some details that will be familiar to users of the company’s DSLRs. Nikon hadn’t maintained the same level of ergonomic consistency that Canon likes to, in its high-end cameras, but the experience isn’t going to be utterly alien to existing D5 and D6 shooters.
The design change you’re most likely to notice, as an existing Nikon user, is the repositioning of the playback button from the top left to lower right of the camera body. If you find you can’t adapt, after a period of inadvertently pressing the wrong button, you can customize the ‘Protect’ button at the top left to be playback instead.
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One thing the Z9 has in common with existing high-end Nikon DSLRs is that most of its buttons are back-lit, so can be illuminated when you’re trying to operate the camera in dark conditions, and need to quickly check your hand positioning on the body.
AF Button
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| It may not look the same as the one on your Nikon DSLR, but as soon as you pick up the Z9, you’ll find the AF mode button is exactly where you expect it to be. |
Making a welcome return on the Z9 is a dedicated AF mode button on lower left of the front of the camera. There’s no AF-C/AF-S/MF switch around it, but a combination of the AF button and two control dials means it’s possible to change AF drive mode and AF area mode quickly, in a way that Nikon’s DSLR shooters will be used to.
Like Nikon’s DSLRs, you have the option to assign AF area modes (with or without AF-On then being activated) to the camera’s Fn buttons, to provide quick access in fast-changing circumstances. You can’t assign different subject recognition modes to these combinations, though.
Matched CFexpress slots
The Z9’s high-speed features are supported by the presence of a pair of CFexpress Type B slots. These are backwards-compatible with any of the older XQD cards a the user might have, but the newer, faster cards are recommended to get the longest bursts and for maintaining the highest data rates the camera will put out.
Viewfinder
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| The Z9’s viewfinder can run around twice as bright as most previous OLED finders, achieving around 760 nits for a fully white display. There’s no more-lifelike HDR viewfinder mode to exploit this, though. |
The viewfinder specs are the area in which the Z9 most obviously falls behind its competitors. It’s a 3.69M dot panel, which is relatively low resolution, compared with its immediate rivals. However, it does appear that Nikon makes full use of this resolution for the camera’s liveview, even while focusing continuously, rather than only utilizing the full detail level in playback. This means it gives a much better, and more consistent, experience than the bare specs imply.
The company also stresses that it never uses frame interpolation to give the impression of faster refresh.
Multi-directional rear LCD
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With the Z9, Nikon has resisted the urge to simply fit a fully-articulating screen, and has opted instead for something that will be a better fit for some photographers. It’s essentially a conventional pull-out up/down tilting cradle, but which has then been fitted on another hinge that lets it tilt horizontally.
The result is a somewhere between the vertical/horizontal tilting screens we like so much on several Fujifilm and Panasonic models, and the rather more elaborate telescopic workbench design of the Pentax K-1.
The important thing is that it lets you tilt the screen up to face you, whether you’re shooting in the landscape or portrait orientation, and does so while keeping the screen centered over the optical axis, making it easier to frame your shots.
Sensor shield
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| The Z9’s electronic shutter is so fast that there’s no need for a mechanical one. Which, in turn, means the camera can have a dedicated sensor protector instead. The protective curtains come down when the Z9 is turned off. |
The Nikon isn’t the first camera to cover its sensor when the camera is turned off, helping to protect it and keep dust off the sensor during lens changes, but it’s the first where the cover is solely designed for that purpose. So, although the mechanism looks like a closed shutter, it doesn’t have to be made using the super-light (low inertia), potentially fragile shutter blades.
Battery
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The Z9 uses the EN-EL18d, the latest variant of the large battery used by previous pro-grade Nikons. It will work with all previous EN-EL18 batteries but can only charge the b, c and d versions in-camera, over USB and will deliver more shots with the EN-EL18d. The charger supplied with the Z9 also only supports the three more recent variants.
The z9 is rated as delivering 740 shots per charge if you use the rear LCD and 700 if you use the viewfinder. These figures jump to 770 and 740, respectively, if you use energy saving mode. As always these numbers are not directly representative of how many shots you’re likely to achieve, partly because the CIPA standard test demands more use of playback than most photographers do.
It’s only intensive shooting of stills and video together that are likely ever cause any concern for Z9 users in terms of battery life
This discrepancy is especially acute when shooting bursts, which represents the opposite extreme of using the camera and where the amount of image review time, per image, is near zero. To illustrate this, Nikon claims the Z9 is good for 5310 shots per charge when shooting bursts. Although Nikon doesn’t specify its test method, this figure corresponds much more closely to our initial experiences of shooting fast action with the Z9. So, while we wouldn’t take this number literally, either, it does highlight that CIPA numbers can seem unrealistically low.
The standard test numbers tend to be broadly comparable between cameras, though, with a camera rated at 700 shots per charge typically delivering twice as many shots as one rated at 350. We find it hard to imagine a shooting scenario that will exhaust a camera rated at over 700 shots per charge, so it’s only intensive shooting of stills and video together that are likely ever cause any concern for Z9 users.
How it compares
The Z9 matches the Sony a1’s trick of delivering both speed and high resolution, so that’s the most immediate reference point. However, a fair chunk of its audience are likely to be existing D5 and D6 owners, seeing if the Z9 justifies a move to a world without mirrors.
It’s unlikely many people will be directly choosing between Canon’s 24MP R3 and the 45MP of the Z9, but we’ve included it here to show how each of the biggest brands’ current range-toppers compare. We’ve also included the smaller, less expensive Z7 II to illustrate where the Z9 fits, in relation.
| Nikon Z9 | Sony a1 | Canon EOS R3 | Nikon D6 | Nikon Z7 II | |
|---|---|---|---|---|---|
| MSRP at launch | $5500 | $6500 | $6000 | $6500 | $3000 |
| Sensor type | Stacked CMOS | Stacked CMOS | Stacked CMOS | FSI CMOS | BSI CMOS |
| Pixel count | 45.7MP | 50.1MP | 24MP | 21MP | 45.7MP |
| Maximum frame rate (Full res) |
30 fps (JPEG) 20 fps (Raw + JPEG) |
30 fps (lossy Raw) 20 fps (lossless Raw) |
30 fps (e-shutter) 12 fps (mech) |
14 fps (viewfinder) | 10 fps |
| E-shutter rate | 1/270 s | 1/260 s | 1/200 s | N/A | ~1/16 s |
| Image stabilization | In body (lens IS takes over pitch/yaw)1 |
In body (lens IS takes over pitch/yaw) |
In body (lens IS combines for pitch/yaw) | In lens only | In body (lens IS takes over pitch/yaw) |
| AF sensitivity2 | -5.0EV (-7.0 in Starlight AF mode) | -4 EV | -4.5 EV | -4.5 EV (center) | -3.0EV |
| HDR image format | – | 10-bit HLG HEIF | 10-bit PQ HEIF | – | – |
| Viewfinder | 3.68M-dot 0.80x |
9.4M-dot 0.90x |
5.76M-dot 0.76x |
Optical 0.72x |
3.68M-dot 0.80x |
| Viewfinder refresh rate | 60 fps | up to 240 fps3 | up to 120 fps | N/A | 60 fps |
| Video | 8K/30p 4K/120p (8K/60 via f/w) |
8K/30p 4K/120p (1.12x crop) |
DCI 4K/120p (6K/60p Raw) |
4K/30p | 4K/60p (1.08x crop) |
| Bit depth | 10-bit internal (12-bit Raw internal via f/w) |
10-bit internal 16-bit Raw over HDMI |
10-bit internal (12-bit internal Raw) |
8-bit internal | 8-bit internal 10-bit over HDMI |
| Rear screen | 3.2″ 2.1M dot-dual tilt touchscreen | 3.0″ 1.44M- dot tilting touchscreen | 3.2″ 4.2M-dot fully articulated touchscreen | 3.2″ 2.36M-dot fixed touchscreen | 3.0″ 2.1M-dot tilting touchscreen |
| Media formats | 2x CFe Type B / XQD | 2x Dual CFe Type A / UHS-II SD | 1x CFe Type B 1x UHS-II SD |
2x CFe Type B / XQD | 1x CFe Type B / XQD 1x UHS-II SD |
| Wi-Fi | 2.4GHz and 5GHz | 2.4GHz and MIMO 5GHz | 2.4GHz4 | 2.4GHz and 5GHz | 2.4GHz and 5GHz |
| GPS/ Glonass | Yes | No | Yes | No | No |
| Ethernet | Yes 1000Base-T | Yes 1000 Base-T | Yes 1000 Base-T | Yes 1000 Base-T | No |
| Battery life (CIPA) LCD/VF5 | 740 / 700 | 530 / 430 | 760 / 440 | – / 3850 | 420 / 360 |
| Weight | 1340g | 737g | 1015g | 1450g | 675g |
| Dimensions | 149 x 150 x 91mm | 129 x 97 x 81mm | 150 x 142 x 87mm | 160 x 163 x 92mm | 129 x 96 x 76mm |
1‘Synchro VR’ which combines lens and in-body IS is initially available with the Z 105mm F2.8 S and the new Z 100-400mm F4.5-5.6, with Z 70-200mm F2.8 S following via FW.
2Lowest light level at which phase-detect AF functions with an F2.0 lens. Canon and Nikon quote figures for F1.2 lenses, so we’ve adjusted by +1.5EV, for ease of comparison.
3 Viewfinder resolution and magnification reduced at 240 fps
4 5GHz and MIMO Wi-Fi available using WFT-E9 accessory
5 OVF and EVF battery figures are not directly comparable
The Nikon Z9’s specs very look strong, even compared to the most capable mirrorless cameras on the market. It can only shoot JPEG when matching the Sony a1 and Canon EOS R3 at their fastest rates, but that’s one of the few areas it falls behind. The 3.69M dot, 60 fps viewfinder could look disappointing on paper (much less so in the real world), but, while HDR photo capability would have be nice, the Z9’s video capabilities are significantly beyond those of its peers.
Initial impressions
Even if you haven’t fully subscribed to the ‘the sky is falling’ theories about Nikon, it’s still fair to say that the Z9 is an important camera for the company. Its Z6 and Z7 models have been very good, and the Z5 provides a very affordable way into the Z system, but what’s been lacking is a real ‘halo’ product. The Z9 clearly plays that role: both to convince professional shooters that there’s a future for them in the Z mount, and also to provide a little sparkle that can shine down on the rest of the lineup.
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| The Z9’s screen works just as well for portrait or landscape-orientation shooting, but without the odd off-axis hinge of a fully-articulating display, that can make composition awkward. |
Having used the Z9 in some pretty demanding circumstances, it makes a very good impression in both regards. As a pro-grade sports camera, it appears to perform just as well on the sidelines as it does on paper. It offers a combination of resolution and speed that’s previously only ever been offered by Sony’s a1. But, despite the popular assumption that the Z9 would simply borrow that camera’s sensor, there’s the exciting prospect that the Z9 could offer pro-sports speed with D850 image quality (still the high bar for full-frame, in some regards). We’ll know more when we can dig into the Raws a bit more.
The camera’s Raw shooting rate of 20 frames per second is slower than the a1 or the lower-res EOS R3, but was still enough that two afternoons of shooting left me with 3100 Raw/JPEG pairs (170 Gb) to work through. And, if the action you’re shooting requires 30 fps, you can match the Sony and Canon’s top speed, if JPEGs are sufficient for your needs (which is likely to be the only practicable way of shooting in some circumstances). If you don’t mind 11MP JPEGs, the Z9 can even shoot at up to 120fps.
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| Video is easily accessed, using a dedicated switch, at which point the Z9 reveals itself as not only Nikon’s best video shooter, but probably the best-specced full-frame mirrorless stills/video camera on the market. |
Another area where the Z9 looks extremely competitive is video, which is not something we always associate with Nikon. The last time Nikon led the market in video specs for ILCs was the D90, which offered HD video from an APS-C sensor, only to be outgunned by Canon’s full-frame, Full HD-shooting EOS 5D II, just a few weeks later. Since then it’s continued to improve both its support tools and core video specs, but nothing on the level of the Z9. Not only is the Z9 the first stills/video ILC to offer 8K/60p, but after a firmware update, may also be the first to offer internal ProRes RAW capture and 8K Raw video.
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| Nikkor Z 24-70mm F2.8 S | ISO 64 | 1/640 sec | F5.0 Photo: Dale Baskin |
The Z9 isn’t just about sheer grunt though: options such as internal ProRes HQ capture and internal Log capture suggest Nikon has been listening to the needs of videographers, rather than just pushing to deliver impressive looking spec figures. Promising a camera that can shoot 8K/30p is one thing: delivering one that can do so for over two hours suggests you want that feature to be usable.
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| The Z9’s AF tracking system is much faster and simpler to use than on previous Nikon mirrorless cameras, as well as being stickier and more dependable. Nikkor Z 70-200mm F2.8 S | ISO 1400 | 1/2000 sec | F5.0 Photo: Richard Butler |
Away from the raw specs, though, the thing that surprised all of us about the Z9 was just how DSLR-like it is. The viewfinder might not have the highest resolution or refresh rate, but it felt very responsive and consistent. This DSLR-like experience is helped greatly by the return of Nikon’s 3D AF Tracking: arguably the progenitor of modern AF tracking systems. Pre-placing your AF point and being confident that the camera will then follow your subject around the scene is something we’ve increasingly come to take for granted, but Nikon’s DSLRs were the first to do it well. The Z9’s system is now backed-up by algorithms trained by machine learning, but you don’t really need to think about that when you’re using the camera: it just works like a D6 or D850 would, only more consistently and reliably.
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| The Nikon Z9 isn’t the first camera to do without a mechanical shutter, it’s not even the first full-frame mirrorless camera to try it, but it’s the first where you’re rarely going to notice its absence. There’s no equivalent of Canon’s High Frequency Anti-Flicker mode for moments where the shutter rate clashes with fast-flickering panels, though. |
The Z9 isn’t the first mirrorless camera to do away with the mechanical shutter, but it’s the first to get away with it. The ~1/270 sec rolling shutter is faster than some mechanical shutters, which has prompted Nikon to go one stage further than just removing the mirror. And yet, with little details such as the return of the AF mode button, the Z9 will feel immediately familiar to Nikon DSLR shooters.
And that brings us to the audience for this camera. There’s a general perception that camera prices are going up all the time (a perception not always borne-out by the facts), but the Z9 is priced lower than the D6 that it effectively replaces. It’s $1000 lower than the Sony a1’s launch price (more if you add the battery grip to match the form-factor), and $500 below Canon’s current mirrorless flagship. This still makes it considerably more expensive than the D850 was, but should broaden its appeal. After all, if can deliver near-D850 image quality only much faster, with image stabilization, much better autofocus and with access to better lenses, it seems fair to assume some photographers will be willing to pay a premium for that.
Sample Gallery
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The year is coming to a close, so we thought it would be a good time to go back through the archives and pick out some of the most important stories we covered and reviews we published throughout 2024. This list will be far from exhaustive – we have one of those if you’re interested – as we’re just looking at the highlights.
January
Canon EOS R100 Review
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On January 22nd, we published our in-depth review of Canon’s EOS R100, the company’s entry-level mirrorless camera. We found that it compromises perhaps a bit too much to reach its $479 body-only price point but can produce some lovely-looking pictures nonetheless.
Sony ZV-1 Mark II Review
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Hot on the heels of the EOS R100 review was our deep-dive on the Sony ZV-1 Mark II, a compact vlogging camera based around a Type 1 Stacked CMOS sensor. It has its strengths – though it’s absolutely not the enthusiast stills compact we’ve all been hoping for – but we found that it doesn’t quite do enough to earn a recommendation compared to a modern-day smartphone.
Also in January, we published our initial review of the Sony a9 III, the first full-frame photography camera from a major manufacturer to feature a ‘global’ shutter. We’ll talk about it more in a bit when we get to the full review. We also published our initial review of the OM System OM 1 Mark II, a mild update to the company’s Micro Four Thirds flagship. And who can forget CES?
February
February is usually a busy month here at DPReview thanks to the CP+ industry expo that takes place in Japan. That means we have to cover a lot of news, but we were also able to release our initial review of the Fujifilm X100VI, a camera that would go on to become one of the most difficult pieces of tech to get in 2024. We also published a sample gallery for the OM 1 Mk. II, and added the Panasonic S5 II to our studio scene.
Finishing the Nikon Zf review
While we published the bulk of our Nikon Zf review in early January, in February, we added a sample video and video experience section, rounding out the review. The Zf may look like a vintage film camera, but we found it was surprisingly capable of filming as well.
March
Panasonic Lumix DC-G9 II Review
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In March we published our full review of the Panasonic G9 II, a high-end Micro Four Thirds camera aimed at stills photographers. We found that it accomplished that task well, and was a worthy successor to its predecessor… while also packing a surprisingly capable suite of video features as well.
Leica SL3 Initial Review
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We also took a look at the Leica SL3, a camera that takes the sensor used in the company’s flagship M11 rangefinder and put it into a more traditional mirrorless body with an L-mount and autofocus capabilities.
March was also a busy month for sample galleries; we published pictures shot with four different lenses and a selection of images from our trip to Japan in February, shot with the Panasonic S5 IIX. We also covered Nikon’s acquisition of cinema camera maker Red, and interviewed the Divisional Manager of Fujifilm’s Professional Imaging Group about the company’s future.
April
Panasonic S5 II Review
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Our review of the S5 II was definitely late to the game, as the camera was unfortunately announced right as we were learning that DPReview’s parent company intended to shut it down. This year, however, we were finally able to put some time in with it, using the new v3 firmware that added several features and enhancements.
We also looked at pixel-shift high-resolution modes and explained why we’ve had such bad luck with them in the past. Spoiler: some of it comes down to patents and the real world’s inability to hold still for too long. Also in April: we asked manufacturers what they thought some of the most influential camera gear from the past 25 years was, checked in on Ricoh’s development of a new film camera, and Sigma’s CEO gave us an update on full-frame Foveon.
May
Fujifilm X100VI Review
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In May, we published our full review of the Fujifilm X100VI, a fixed-lens camera that paired AI-derived autofocus and a stabilized sensor with an already-popular hybrid rangefinder / EVF. We found using it to be an extremely compelling experience, which is what makes it such a shame that it’s still only available on backorder or at extremely inflated prices all these months later.
Sony a9 III Review
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We also finished our in-depth look at the Sony a9 III, and found that it was an incredibly capable sports camera. Its ‘global’ shutter makes different types of photography possible, especially when it comes to shooting with high-powered flashes. The tech does come with a small downside in image quality, but if you need to shoot some of the fastest subjects on earth, it’s likely worth the tradeoff.
We also took our first look at the Fujifilm X-T50 and its new kit lens, the XF16-50mm F2.8-4.8 R LM WR. May was apparently Fujifilm month here at DPReview, though we also published an interview with Sigma’s CEO, and a celebration of physical controls on cameras. Be sure not to miss our stunning sample gallery from the Sigma 15mm F1.4 either, or the first episode of our Stories Behind the Photo podcast.
June
Pentax 17 Review
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It’s not often that we review film cameras. For one, our expertise is largely in digital photography – go figure – but more importantly, there just aren’t that many that come out. This year, though, Pentax released its first camera in 20 years that shoots to celluloid instead of a sensor. It’s definitely not cheap, despite the fact that it keeps film costs down by shooting half frames instead of full ones, but using it is a unique experience in this day and age.
We also took our first look at Panasonic’s video-focused Micro Four Thirds GH7 in June. It’s not the biggest upgrade ever, but it includes some very interesting technologies, such as 32-bit float audio.
Two more summer successes: we published an interview with Nikon, and a sample gallery for Sigma’s cutting-edge F1.8 zoom lens.
July
Leica D-Lux 8 Preview
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The D-Lux 8 is a bit of an odd camera, as it’s essentially a refresh of a years-old camera with a substantial price tag. Still, we find it compelling – not only is it one of the only enthusiast compacts to be released in years, but its interface focuses purely on the basics of photography.
Canon EOS R1 Preview
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We also got to look at Canon’s first true mirrorless sports flagship, the EOS R1. It brings a lot to the table, especially with its Action Priority AF system, which ended up being crowned with our Innovation of the Year award.
Another accomplishment in July was writing up interviews with several manufacturers, including Panasonic, Tamron, Sony and Canon, and published the final chapter in a series about a nature photography tour of Madagascar.
August
Fujifilm X-T50 Review
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In August, we published an in-depth review of Fujifilm’s then-entry-level camera – the X-M5 hadn’t been announced yet. We found that, if you can put the price aside, it’s a nice entry point into the X-mount system for someone looking to get into photography and who wants to play around with the company’s famous Film Simulation modes.
August is typically a glacial month for camera news, but we were able to spend some of it shooting sample galleries; we tested the Google Pixel 9 Pro and Pixel 9 Pro XL and Sony FE 85mm F1.4 GM II and published our gallery from the Sigma 24-70mm F2.8 II. We also told the oft-overlooked story of how Kodak’s film business ended up in the hands of the UK Government’s Pension Protection Fund, begged manufacturers for an enthusiast compact, and got to hear about the state of the camera industry from the people who actually make those cameras.
September
Canon EOS R5 II
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In September, things kicked back into gear, starting with our review of Canon’s EOS R5 II, a wildly impressive camera that we found was up to almost any task. For those that occasionally shoot sports, it also includes the Action Priority AF system that impressed us so much with the larger, more expensive EOS R1.
Leica Q3 43
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We also got to fully review Leica’s latest fixed-lens camera, a variant of its Q3 with a 43mm F2 lens instead of a 28mm lens. We thoroughly enjoyed the experience of shooting with it, and getting to use Leica’s photo-focused controls… though, obviously, it’s tough to ignore the hefty price tag, especially when you’re out and about on the streets.
September was also a big month for phones. As is tradition, Apple announced the iPhone 16 which included a dedicated camera button – we broke down exactly what changes it made to the cameras compared to previous versions here – and we got to shoot a sample gallery with Google’s Pixel 9 Pro Fold.
October
Sony ZV-E10 II Review
We started October with our review of the Sony ZV-E10 II. Appropriately for a vlogging camera, the bulk of our review was published as a video, which you can see above. Of course, there is still plenty to dig into in the written review.
Nikon Z6III Review
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Just a day after publishing the ZV-E10 II review, we were back with our in-depth look at the Nikon Z6III, a camera that impressed us with its all-around capabilities. Its ‘partially-stacked’ sensor comes with a minor hit to dynamic range, but in most circumstances, the speed improvements it brings will more than make up for that.
During October, we also published sample galleries for the Fujifilm XF16-55mm F2.8 II and Panasonic 18-40mm F4.5-6.3, as well as a review of a Lowepro backpack over a decade in the making. It was also the month we went to Adobe’s Max conference to get a sneak peak at some of what the future holds for products like Photoshop, Lightroom, Adobe Camera Raw, and Content Credentials.
A few more can’t-miss pieces: we looked back at the Fujifilm X-E series to get an idea of what a potential X-E5 might be like, saw a DIY camera, and covered why so many cameras seem to be aimed at people other than photographers these days.
November
Panasonic S9 Review
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In November, we published our review of Panasonic’s S9, an entry-level full-frame camera focused on making it fast and easy for creators to shoot and share videos and photos. We appreciated its size and Real-Time LUT system, but found that it gave up quite a lot, such as ergonomics, a mechanical shutter, a viewfinder and hot shoe, to achieve that size and price point.
We also published initial reviews of the entry-level Nikon Z50II and professional flagship Sony a1 II. While writing the latter, we also got to film our experience of using it to shoot part of a US football game, which ended up making for a great video.
We also, as part of our 25th anniversary content, wrote about the first camera DPReivew ever reviewed: the Canon PowerShot Pro70, and got the opportunity to interview a photographer who took over 100,000 portraits in a single year.
December
Fujifilm X-M5 review
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Hopefully, you’re not tired of creator-focused cameras because our last review rounding out 2024 was of the Fujifilm X-M5. We found that it packs a lot of photo and video features into a compact body that’s priced within reach of beginners, but comes with a few tradeoffs that are worth noting.
We also published an article comparing Nikon’s modern 50mm F1.4 lens, which is a budget model that trades clinical sharpness for character, and its DSLR-era 50mm F1.4 lens, which was its professional offering for a few years. It’s an interesting look at how far lenses have come over the past decade.
Of course, December was also when we put out our annual DPReview Awards, recognizing the best gear released throughout the year.
That brings us to today. The X-M5 review was our last one for the year, but we’ll be back with more in January. Be sure to check out the rest of our end-of-year articles, and let us know in the comments: what were your favorite moments of 2024?
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
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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
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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
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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
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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
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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.
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