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Why the speed of Stacked CMOS is key to Nikon’s pro mirrorless camera

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Why the speed of Stacked CMOS is key to Nikon’s pro mirrorless camera

In an interview with DPReview, Nikon announced its next pro sports camera will be mirrorless. That in itself isn’t much of a surprise, perhaps, given how much investment has clearly been made in the Z-mount system. But the detail we didn’t expect to be revealed was that the camera will be based around a Stacked CMOS sensor.

What is Stacked CMOS?

Stacked CMOS chips are the next generation of chip designs after BSI (backside-illuminated) and provide the designers with greater flexibility, which in turn allows greater capability. BSI sensors are made by fabricating the sensor, then shaving off the silicon substrate upon which it was built. In effect, this allows the sensor to be turned round, and the ‘back side’ to be used for light collection. This means all the connection wiring ends up behind the light-sensitive part of the pixel, rather than getting in the way.

Stacked CMOS takes this process a step further: layers of sensor are fabricated, shaved off the substrate and then carefully aligned and joined together. This means the chip designers can build even more complex structures behind the pixels. In the case of the stacked CMOS chips we’ve seen so far, this includes building RAM directly into the sensor: supporting super-fast readout by providing nearby storage for large amounts of data.

It is this fast data readout and handling that we believe makes Stacked CMOS the enabling technology for post-DSLR sports cameras. The news that Sony’s camera division won’t be the only one with access to this technology in future is excellent news for competition within the industry.

What does Stacked CMOS offer?

The only large Stacked CMOS sensors we’ve seen so far come from Sony Semiconductor. So the question is, how similar will the chip in Nikon’s camera be to the one used in the Sony a1?

In the examples we’ve seen so far, the benefits of stacked sensors haven’t come in the terms of image quality (where, at best, they match the already very high standard of existing BSI chips), but in terms of speed.

Sensor readout speed helps define mirrorless camera performance more than it did in DSLRs. Because the imaging sensor is totally central to the operation of mirrorless cameras (acting as both autofocus sensor and also the means of live view image composition), fast readout boosts every aspect of camera performance, and particularly those areas in which sports cameras need to excel.

There are various tricks for squeezing the most performance out of existing sensors: using a lower resolution feed to provide faster AF updates or taking a dynamic range hit by dropping to lower bit-depth readout. But ultimately, the faster your sensor’s full-resolution, full-precision readout, the faster all these other modes become, too.

How readout speed underpins every aspect of performance

At its most basic, faster sensor readout boosts the camera’s maximum shooting rate. With no mirror to constantly move in and out of the way between exposures, mirrorless cameras have been pushing burst shooting rates upward for years.

Fast readout also means the camera’s autofocus system can be run faster. The more often the camera can take measurements from the scene, the more effectively it can react to changes in the subject it’s trying to focus on. This is a fundamental capability of a pro sports camera.

Interestingly, while the Stacked CMOS sensors from Sony Semiconductor are the ones setting the pace for readout speed, it’s worth noting how much Canon has managed to achieve without adopting such advanced (and expensive) techniques. The EOS R5 manages 20 fps shooting and 8K capture at up to 30p, which is pretty impressive. However, measuring the output of these modes suggests although it can deliver a very respectable readout time of ~16ms, it’s having to drop to 12-bit readout to do so. In other words, it’s enough to deliver a camera with strong specifications, but doesn’t provide as much of a boost to the camera’s capabilities as we’ve seen from the latest stacked sensors.

It also means the viewfinder can be refreshed more often and with less lag between something in the scene moving and that movement being detectable to the photographer with their eye to the finder. For professional photographers who need to anticipate how the action is going to unfold, this is an essential requirement if they’re going to move away from optical viewfinders.

As Sony’s Alpha 1 showed us, fast readout also improves rolling shutter performance, meaning that fully electronic shutters can be used with flash and can be used under a wider range of artificial lighting without having to worry about clashes between the flicker rate of the lights and the speed at which an exposure can be ended.

And, of course, Nikon also said its upcoming professional camera would offer a ‘high resolution’ sensor. Given Nikon’s history of using sensors from Sony Semiconductor Solutions, this raises the possibility that it will use a similar sensor to the a1 and that on top of all these performance improvements, it may be able to match that camera’s trick of providing sports camera speed, and landscape camera detail and image quality.

How fast will the Nikon camera be?

Beyond conventional stills photography, fast readout also underpins the ability to shoot high resolution video. Nikon mentioned 8K during our interview, which would immediately put the upcoming camera in a very select group. We’ll be even more excited if it’s got the processing power to downscale this 8K into super-detailed 4K (just because it keeps file sizes down and is arguably more useful) but for now we’re going to focus on what 8K means for the camera’s sports-shooting capabilities.

We’re going to resist the temptation to start thinking in terms of sideline shooters grabbing their best shots from video clips and argue that delivering 8K doesn’t tell us much about the camera’s prowess as a sports camera.

Canon achieved 8K video capture from the frontside-illuminated sensor in its EOS R5, but it had to drop to 12-bit readout to do so and it can’t match the readout speeds of the latest Stacked CMOS sensors.

The most basic 8K capture demands a sensor that can read-out at least 33 million pixels in 41ms or less and under 33ms to deliver 30p footage. But those numbers only equate to readout rates of 1/24 and 1/30 sec, which is a long time in which a lot can change, if you’re shooting sports. The distortion created by rolling shutter could still be quite significant at those speeds

What Nikon’s camera is capable of will depend on how much quicker than this its sensor can go. Sony’s a1 uses groups of readout channels to read out its whole sensor in under 5ms (proven by its ability to sync with flashes at up to 1/200 sec). This sets the benchmark for what’s currently possible in terms of readout and all the performance benefits that come from it.

Consequently the key specification we’ll be looking for, once Nikon reveals more information, will be the flash sync speed in e-shutter mode, because that’s primarily limited by how quickly the sensor can be read. This single line in the spec sheet will give the clearest insight into whether the sensor is able to read out fast enough to provide the performance boosts we hope to see across the whole shooting experience.

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Our year in photos: Dale's most memorable shot of 2024

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Our year in photos: Dale's most memorable shot of 2024


When you use DPReview links to buy products, the site may earn a commission.
Pedestrians with umbrellas wander down a rainy alley in Yokohama’s Chinatown.

Panasonic S5IIX + Panasonic S 28-200mm F4-7.1 | F7 | 1/125 sec | ISO 1600
Photo: Dale Baskin

Japan is one of my favorite places to travel. I’m captivated by its culture, cuisine, and the warmth of its people. It’s also a photographer’s paradise, offering endless possibilities, from serene temples and bustling markets to breathtaking landscapes.

My favorite type of photography when traveling in Japan is street photography, especially at night. I never tire of exploring the vibrant cityscapes, from the iconic Shibuya Crossing in Tokyo to the atmospheric alleys of Yokohama’s Chinatown.

However, there’s a twist: I seek out rainy conditions. While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical. The umbrellas emerge, the city lights reflect off the wet pavement, and colors take on a vibrant intensity.

I was fortunate to visit Japan twice this year, and it rained both times. What some might consider lousy weather, I welcome as luck. Both my camera and I were thoroughly drenched during several nights of shooting, underscoring the value of weather-sealed equipment. (For the record, despite being so wet they were dripping with water, neither camera nor lens ever missed a beat.)

“While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical.”

Unsurprisingly, some of my most memorable photos of 2024 were captured during these rain-soaked adventures. It’s challenging to select just one favorite because, as many of you will surely understand, how we remember the value of an image is often intertwined with the experience of capturing it.

The photo at the top of this page is one of my favorites from these trips, captured in Yokohama’s Chinatown. Off the main street, the area is full of narrow alleys, many decorated with traditional lanterns, creating small, intimate spaces. I spied these two pedestrians with similar coats and umbrellas turn into one of these alleys and instantly knew there was a potential photo around the corner.

I managed to fire off two shots before the scene lost its magic, but that’s all I needed. I love that you can’t see the main subjects’ faces. They remain anonymous, allowing the viewer to focus on the place rather than the person.



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Our year in photos: Dale's most memorable shot of 2024

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Our year in photos: Dale's most memorable shot of 2024


When you use DPReview links to buy products, the site may earn a commission.
Pedestrians with umbrellas wander down a rainy alley in Yokohama’s Chinatown.

Panasonic S5IIX + Panasonic S 28-200mm F4-7.1 | F7 | 1/125 sec | ISO 1600
Photo: Dale Baskin

Japan is one of my favorite places to travel. I’m captivated by its culture, cuisine, and the warmth of its people. It’s also a photographer’s paradise, offering endless possibilities, from serene temples and bustling markets to breathtaking landscapes.

My favorite type of photography when traveling in Japan is street photography, especially at night. I never tire of exploring the vibrant cityscapes, from the iconic Shibuya Crossing in Tokyo to the atmospheric alleys of Yokohama’s Chinatown.

However, there’s a twist: I seek out rainy conditions. While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical. The umbrellas emerge, the city lights reflect off the wet pavement, and colors take on a vibrant intensity.

I was fortunate to visit Japan twice this year, and it rained both times. What some might consider lousy weather, I welcome as luck. Both my camera and I were thoroughly drenched during several nights of shooting, underscoring the value of weather-sealed equipment. (For the record, despite being so wet they were dripping with water, neither camera nor lens ever missed a beat.)

“While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical.”

Unsurprisingly, some of my most memorable photos of 2024 were captured during these rain-soaked adventures. It’s challenging to select just one favorite because, as many of you will surely understand, how we remember the value of an image is often intertwined with the experience of capturing it.

The photo at the top of this page is one of my favorites from these trips, captured in Yokohama’s Chinatown. Off the main street, the area is full of narrow alleys, many decorated with traditional lanterns, creating small, intimate spaces. I spied these two pedestrians with similar coats and umbrellas turn into one of these alleys and instantly knew there was a potential photo around the corner.

I managed to fire off two shots before the scene lost its magic, but that’s all I needed. I love that you can’t see the main subjects’ faces. They remain anonymous, allowing the viewer to focus on the place rather than the person.



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Godox releases V100, a 100Ws fast rechargeable flash

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Godox releases V100, a 100Ws fast rechargeable flash


Image: Godox

Godox has announced the V100, a 100Ws version of its round-headed V1 on/off camera flashgun. The V100 can deliver up to 100 Watt Seconds of power in manual mode and can shoot over 70 consecutive bursts of light at full power. Recycle times of under 1 sec are possible when used with an external power source (1.7 sec with the internal battery).

Like the existing V1 and V1Pro, the V100 is available in versions compatible with the proprietary TTL flash metering systems of Canon, Nikon, Sony, Fujifilm or Olympus/OM System, each of which comes with a small secondary flash that can be used to provide a little ‘fill.’ It also has a 2W LED modeling lamp, to help you understand how its light is going to fall.

Godox says it’s able to sync with the global shutter of Sony’s a9 III, up to shutter speeds of 1/80,000, though the company also says the V100’s minimum flash duration is 1/20,000, so presumably 1/80,000 sec shutter speeds would only experience a fraction of that output.

Godox V100 round head flash branding image with 100Ws in large letters
Image: Godox

The V100 is powered by a rechargeable Li-Ion battery that can be charged directly using a USB-C cable or in an optional multi-battery charger if you need to prepare multiple batteries before a shoot.

It’s compatible with the company’s 2.4Ghz radio frequency off-camera communication protocol either as a transmitter or receiver.


Buy now:


No details have been given about price or availability but it’s listed as “Coming Soon” on B&H Photo’s website with a price of $349. B&H is also listing a Pentax-compatible version, not listed on Godox’s website.


Godox V100 C/N/S/F/O

Introducing the epic 100Ws TTL Li-ion Round Head Camera Flash V100. The Godox V100 redefines the standards for flagship on-camera flashes, brining an era of 100Ws power to handheld lighting. This groundbreaking flash delivers global shutter sync, a vibrant 2.3-inch color touchscreen, an intuitive menu, and one-tap syn operations. It combine cutting-edge features and professional-grade performance to provide an ultimate solution for professional lighting.

100Ws, Beyond Limits

The V100 sets a new benchmark for on-camera flashes by offering an unprecedented 100Ws power at its maximum output (M mode). With adjustable power steps from 1/1 to 1/256 or from 2.0 to 10, it covers the spectrum from subtle fill light to robust lighting for diverse scenarios, pushing the boundaries of creativity in flash photography.

Intuitive Touchscreen, Effortless Control

Equipped with a 2.3” full-color, high-sensitivity touchscreen, the V100 offers a smooth and responsive interface. Paired with an intuitive menu design and logical control layout, it allows photographers to quickly adjust power levels, activate high-speed sync, switch between TTL/M modes, and pair devices with a single tap, significantly improving workflow efficiency.

Global Shutter Flash Sync

The V100 is seamlessly compatible with cameras featuring global shutter like Sony a9 III. Supporting shutter speeds up to 1/80,000 seconds and offering TTL functionality, it delivers outstanding high-speed continuous shooting with effortless precision. This makes it an ideal choice for sports photography, outdoor bright light, and other fast-paced shooting scenarios.

70 Full-Power Consecutive Flashes

Thanks to its advanced cooling system, the V100 delivers 70 to 100 consecutive flashes at 100Ws without compromising performance. This ensures enhanced shooting efficiency and flexibility, allowing you to handle complex scenarios with ease and capture every brilliant moment of your creative vision.

Zoom range (mm) 28mm 35mm 50mm 70mm 80mm 105mm
Continuous flashes
(100Ws)
75 75 80 90 100 100

Detachable Sub Flash

The V100 continues the highly praised detachable sub flash (SU-1) design from the V1 Pro. This versatile feature enables dual-light setups with a single flash, offering creative lighting solutions for portrait photography.

Wireless Sync, Streamlined Workflow

With the built-in Godox 2.4G Wireless X System, the V100 functions as both a master and receiver unit. Its one-tap pairing capability seamlessly integrates with the X3 trigger or other Godox wireless flash units, streamlining multi-flash setups and boosting productivity.

Powerful Battery, Convenient Charging

Powered by the same high-performance lithium battery as the V1 Pro, the V100 ensures uninterrupted shooting. The Type-C charging port and compatibility with the VC26T Multi-Battery Charger make recharging quick and convenient.

Enhanced Recycling with External Power

The V100 includes a port for the PB960 Lithium-Ion Flash Power Pack, reducing full-power recycling time to as fast as 0.8 seconds. This feature supports demanding, high-intensity shooting scenarios, ensuring peak performance.

Built-In LED Modeling Lamp

A 2W LED modeling lamp with 10 adjustable levels provides flexible options for previewing light effects or serving as a fill light. The lamp supports continuous or interrupt modes, catering to different creative needs.

Comprehensive Accessory Ecosystem

The V100 is compatible with a broad range of Godox accessories, including the AK-R1 Accessory Kit for Round Flash Heads, AK-R21 Projection Attachment, AK-R22 Collapsible Diffusion Dome, and the S2 Speedlite Bracket for Bowens, among others. Whether you’re fine-tuning light, exploring creative effects, or expanding functionality, the V100 is designed to meet every need.



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