Camera
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?
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| 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.
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| 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.
| Image: GoPro |
While the word “Black” in GoPro camera names signifies it is the top-of-the-line model, it has, for some time, also referenced the color of the action cams. While there were silver and white GoPros at one point, the last six generations have all exclusively featured an all-black design. Now, the white color is back for a time, since the action camera giant has announced a limited edition white version of the GoPro Hero13 Black.
While some may simply prefer white for aesthetic reasons, it also has some practical use. If your GoPro falls somewhere, white is generally more noticeable than black, making it easier to locate. Of course, the opposite is true for snow sports, but against grass, rock and other surfaces, white will stand out.
The GoPro Hero13 Black in Polar White is exactly the same as the black version but with a white exterior. The durable action camera offers 5.3K60 video, HyperSmooth 6.0 stabilization and a Type 1/1.9 (6.3 x 5.5mm) CMOS sensor. It uses GoPro’s long-lasting Enduro battery, providing 1.5 hours of continuous recording in 5K 30p or 4K 30p.
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| Photo: GoPro |
Like the black color, the Hero13 Black in Polar White is compatible with the new interchangeable HB-Series Lenses. These lens mods use auto detection, so you don’t have to change settings when attaching a new lens. Options include an Ultra Wide Lens Mod, Macro Lens Mod and a set of four ND filters. Additionally, the Anamorphic Lens Mod, which results in cinematic-looking 21:9 ultra-wide footage, is also available for purchase as of today. It’s been a bit of a wait for that lens, as it was initially announced in September last year.
The limited edition Polar White model is available for purchase today on GoPro’s website for $400, the same price as the original version of the GoPro Hero13 Black. If you already own the Hero13 Black but like the idea of having a white camera, you can purchase a white silicon sleeve with a lanyard to reskin your camera. That sleeve is also available in blue and black.
Buy now:
Press release:
Introducing the Limited Edition Polar White Color of the Award-Winning GoPro HERO13 Black
Best-In-Class 5.3K Video, HyperSmooth 6.0 Video Stabilization and Interchangeable HB-
Series Lenses Compatibility in a Crisp New Color
SAN MATEO, Calif., March 24, 2025 /PRNewswire/ — Today, GoPro (NASDAQ: GPRO) announced its flagship HERO13 Black camera is available in a limited edition Polar White colorway. Available today for $399.99.
Now customers can elevate their adventures and capture every moment in style. The striking new color brings a fresh look to GoPro’s flagship camera, which features best-in-class 5.3K60 video, HyperSmooth 6.0 video stabilization, legendary GoPro durability, magnetic mounting and the powerful Enduro battery.
The camera is compatible with the all-new, interchangeable HB-Series Lenses with Auto Detection. These lenses make it easy to expand the range of creative shots you can capture with HERO13 Black:
- The industry’s widest-angle, most stable, immersive POV shots with the $99.99 MSRP Ultra Wide Lens Mod
- Close-focus shots with the $129.99 MSRP Macro Lens Mod
- Easy-to-achieve motion blur using the $69.99 MSRP ND Filter 4-Pack
- Hollywood-looking cinematic 21:9 ultra wide-angle shots using the $129.99 MSRP Anamorphic Lens Mod
Combining HERO13 Black in Polar White with a GoPro Premium ($24.99 first year for new subscribers and $49.99/year thereafter) or Premium+ ($99.99/year) Subscription adds the ability to auto-upload your footage to the cloud, receive automatic highlight videos via the GoPro Quik App, save up to 30% on accessory purchases at GoPro.com, no-questions-asked damaged camera replacements and more.
HERO13 Black in Polar White is available now at retailers globally and at GoPro.com.
March Editors’ photo challenge: Water
The theme for our March Editors’ photo challenge was ‘Water’. We asked you to show us the essence of water in its many forms.
DPReview photographers rose to the occasion as usual, flooding us with stunning submissions. We were awash in incredible photos – many more than we can present here. Our top picks on the following pages are presented in random order.
Want to participate in some other photo challenges? Visit our Challenges page to see currently open or upcoming challenges or to vote in a recently closed challenge.
The underside of water
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Photographer: Thorgnyr
Photographer’s description: Often during winter, Lake Thingvallarvatn freezes. The view of the ice from below can be spectacular, especially during the thaw period; the ice has broken into flakes and then froze again. This was the case when this picture was taken. I started taking pictures without the diver but felt the scale was missing. So I got my buddy to pose for me.
Equipment: Canon EOS 5D Mark III
Frost
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Photographer: JTF MKE
Photographer’s description: On a cold winter day, there was frost on a bathroom window. Taken using a tripod in the morning with angled early sunlight. Patterns were entirely random, created by lots of humidity and the hand of Mother Nature.
Equipment: Olympus E-510 (EVOLT E-510) + Olympus Zuiko Digital ED 50mm 1:2.0 Macro
Surf paddle out for life, and a good friend
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Photographer: sundot
Photographer’s description: Surf Paddle out as we do in Hawaii when someone passes with a connection to the ocean. Friends gather for one last shout-out to send a farewell. The skies cleared, and the ocean lit up for the sendoff.
Equipment: DJI Mavic
Throwing up walls
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Photographer: owenleve
Photographer’s description: Former Olympian/US Ski Team athlete Daron Rahlves waterskiing on Bocca Reservoir in Truckee, California. “Throwing Up Walls” refers to the “wall” of water produced from each turn.
Equipment: DJI Mavic
Only four drops
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Photographer: froggy42
Photographer’s description: This picture of a water sculpture consists of only four drops of water falling in specific fractions of a second, one after the other, onto a water surface. They generate this sculpture that exists only for a fraction of a second. Our eyes are not fast enough to see the sculpture. To take this picture, a flash had to be used to achieve a very short exposure time. To achieve the correct time intervals, I used a Miops Waterdrop Kit.
Equipment: Fujifilm X-T2 + Fujifilm XF 18-135mm F3.5-5.6 R LM OIS WR
Water fields
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Photographer: 75RobinH
Photographer’s description: Red seaweed cultivation on the east coast of Zanzibar. During low tide, the “seaweed women” with their multi-colored dresses (kanga) enter these water fields similar to small gardens to tend their plantations. The seaweed is fixed to sticks connected by strings. About every two weeks, they harvest it and spread it out to dry. The seaweed is used in the production of cosmetics (soaps, creams, oils etc.), partly produced locally; most is exported. This demanding work is not only a source of income but is also very important for the social life, dignity and development of the women of Zanzibar. The warming of the ocean is seriously endangering these crops.
Equipment: Sony SLT-A58 + Sony DT 18-55mm F3.5-5.6 SAM II
Steam to water to ice: In a millisecond
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Photographer: joemellor
Photographer’s description: I’d been thinking about this fun stunt throughout our ski holiday in Norway. It needed a low sun and a very low temperature. Most of the week was cloudy and too warm. The perfect opportunity arose, but the sunny location was a several-minute walk (run) from a source of hot water. With a single vacuum flask of boiling water, there was only one opportunity to get this right. I begged my subject to stand absolutely still in front of the sun as he threw the water as I didn’t want the sun directly on the lens. Fortunately, my camera takes 20 frames per second, and I was able to select the best from around eight shots showing the development of this arc of steam/water/ice. We then returned to our cabin’s warmth and were delighted with our first-time success!
Equipment: Sony Cyber-shot DSC-RX100 VII
Strangers
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Photographer: 3rkaer
Photographer’s description: We all come from the water. We are mostly made of it, but at the same time, we are all strangers to each other in this crazy world.
Equipment: Leica SL2-S
Misty morning in Grand Teton
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Photographer: Stan Petersen
Photographer’s description: This was shot in Grand Teton National Park in early October 2006. The crowds were gone for the season, and this place along String Lake was quiet, except for the bugling of bull elk on both sides. Mists were moving along the lake, and Mount Moran started to show through as the pre-dawn magenta light hit the top.
Equipment: Canon EOS 350D (EOS Digital Rebel XT / EOS Kiss Digital N) + Canon EF-S 18-55mm F3.5-5.6
Under
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Photographer: Cliff Connell
Photographer’s description: On one of the last hot days in autumn 2011, just before our southern Australian Easter swell kicked in, I had just finished a long session of surfing some pretty big, clean waves when I decided to get back in to capture some in-water shots of the rest of the crew. Most of the shots I got that morning were pretty average, except for this one of a young guy duck diving under the closed-out section of a 5-6 foot wave. It made my day!
Equipment: Canon EOS 20D + Tamron SP AF 17-50mm F/2.8 XR Di II VC LD
Iceland highlands
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Photographer: GreenFirePhotography
Photographer’s description: Photographing Iceland felt like being inside a fairy tale at times. This image always draws a critical eyebrow or two. People throw around A.I. However, that’s just how amazing Iceland looks.
Equipment: Hasselblad L2D-20c
Waterbrella!
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Photographer: Maureeneo
Photographer’s description: I took this photograph of a moment of pure joy – one of those instances where laughter and spontaneity take over. The sun was bright, the summer air thick with warmth, and cool water was the perfect antidote. But the community swimming pool wouldn’t be open for another hour, and my granddaughter couldn’t wait that long. So, she improvised a mini water park for herself, using an umbrella exactly the opposite way an umbrella should be used! I love the contrast between the black umbrella and the cascade of sparkling water. The way the droplets catch the light. The way her hair clings to her face. Here she is, soaked but carefree, reveling in the cascade she created. I think I captured that feeling: the giddy, unstoppable energy of being a kid, where even the simplest things can bring so much joy.
Equipment: Sony Cyber-shot DSC-RX10 III
Calm summer evening
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Photographer: Lars Wara
Photographer’s description: Being on a lake when the water is dead calm, all quiet except a few birds and an occasional trout breaking the surface… Well, that’s pure therapy!
Equipment: Sony a6700 + Yonguo 11mm F1.8
Powerful wedge wave
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Photographer: vbuhay
Photographer’s description: The powerful waters of the “wedge” can be frightening for the average surfer. But for some of the strongest surfers, it is a challenge…
Equipment: Nikon D850 + Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II
Atlantic sunset
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Photographer: bravoricardo
Photographer’s description: It was a beautiful afternoon at Praia das Milícias in São Miguel, Azores, so I decided to go for a swim with my water housing. After a couple of hours on the shore break trying different water angles, I managed to position myself inside this perfectly lit barreling wave, facing the sun setting behind São Roque church.
Equipment: Canon EOS-1D X
Window frost
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Photographer: Bram Floria
Photographer’s description: Waiting for the defroster to kick in, Spokane, WA, on January 26, 2025. On a bright, cold morning following a night of ice storms, the water came out to play as leaves of crystal.
Equipment: Google Pixel 6a
Divining rod
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Photographer: morelens
Photographer’s description: This is a lovely stream in upstate NY. Believe it or not, this location is on the far end of a cemetery. I was standing in the water to take this photo, and the water and the breeze cooled me off on this hot day – one of the many advantages of photography.
Equipment: Canon EOS R + Canon EF 17-40mm F4.0L USM
A gentle touch
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Photographer: wfoto
Photographer’s description: High-speed pictures of moving water will amaze you with the small details we cannot see in real life: every bubble in the foam, tiny sprinklets coming out of each crest, and the contact of the water with sand.
Equipment: Canon EOS 6D Mark II
Frisco Pier
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Photographer: Keith Hudspeth
Photographer’s description: The goal of this photo was to show the raw, destructive power of water. Frisco Pier was built in 1962 and stood strong until Hurricanes Isabel and Earl struck the Outer Banks in the early 2000s. I took this photo in 2016 before it was finally dismantled in late 2017.
Equipment: Nikon D750 + Nikon AF-S Nikkor 24mm F1.8G ED
Shower cap
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Photographer: Anne25
Photographer’s description: The subject burst a balloon full of water above his head. The balloon was hung from a support and burst using a spike on a stick. I wish I had taken a later shot capturing the look on his face due to the cold shock.
Equipment: Canon EOS-1D Mark IV + Canon EF 400mm F5.6 L
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Out-of-camera JPEG. 50mm equiv. crop.
F4 | 1/450 | ISO 80 |
This week, Fujifilm announced the GFX100RF, a 102MP medium format camera with a fixed 28mm equiv. F4 lens. The sensor will be familiar to those who’ve seen samples from the GFX100 S II or GFX100 II, but the lens is an interesting factor – the company says it put a lot of engineering work into it in order to make it as compact as it is.
You can get a feel for what kind of results it produces from the samples we took with our pre-production unit. We were lucky enough to get to test the camera out in a variety of locals; many of the pictures are from Prague, as Fujifilm flew us out for its X Summit and Fujikina event, but there are also images from London, Paris and, of course, Washington.
We’ve added some new photos taken since our initial review went up, including ones taken using a tripod to remove hand shake as a limiting factor on resolution.
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; we do so in good faith, so please don’t abuse it.
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