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The latest digital camera and digital imaging reviews from Digital Photography Review.
  1. The Sony ZV-1 Mark II is built around a 20MP Type 1 (13.2 x 8.8mm) Exmor RS Stacked CMOS sensor and an updated 18-50mm equivalent F1.8-4.0 lens. Jason Hendardy provides an overview of the camera, highlighting its capabilities as a tool for both vloggers and photographers.

    If you're a ZV-1 owner, or are looking into the ZV-1 Mark II, let us know your thoughts in the comments and tell us if this camera will make it into your kit.

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    Product photos by Shaminder Dulai

    The Leica Q3 is the latest iteration of Leica's rangefinder-style, fixed-prime, weather-sealed full-frame camera. It shares its general outline and the same stabilized 28mm F1.7 lens with macro mode as its forebears, but adopts a new 60MP BSI-CMOS sensor and a tilting rear panel, while other improvements include the autofocus and the ability to shoot 8K/30p video. For Q-series fans, it's an incremental improvement over the Q2, which itself was already a very robust and fun camera to use.

    Key specifications:

    • 60MP full-frame sensor
    • 28mm F1.7 Summilux stabilized lens
    • Crops to 35, 50, 70 and 90mm (39, 19, 8 and 6MP)
    • 5.76M dot OLED EVF with 0.79x magnification
    • 3" tilt touchscreen LCD with 1.8 million dots
    • Native ISO range of 50-100,000
    • Hybrid autofocus (PDAF + contrast AF with DFD)
    • 8K video capture in UHD or DCI ratios up to 30p (H.265)
    • Apple ProRes 422HQ support for 1080p video capture up to 60p
    • AI-assisted perspective control and dynamic range tools for JPEG mode
    • IP52-rated dust and water resistant
    • USB-C and micro-HDMI ports
    • Wireless charging via optional hand grip add-on
    • Wi-Fi and Bluetooth

    The Leica Q3 is available for a recommended price of $5995, which is $200 more than the Leica Q2. Leica plans to offer both models side-by-side until Q2 stock is fully depleted.

    What's new

    The Leica Q3, right, uses the same 28mm F1.7 lens and looks nearly identical from the top and front.

    If you're familiar with the Leica Q2, the Leica Q3 will take little adaptation: the lens, front design and top plate are nearly identical. It's not until you look at the back, sides and bottom that you start to notice something's different.

    New sensor

    Of course the biggest change is inside: Leica has upped the Q2's resolution with a 60MP BSI CMOS sensor, likely the same chip used in the M11, which performs very well (as does the similar chip in the Sony a7R IV and V). Leica's increased confidence in the new sensor's performance sees it increase the top ISO setting by one stop, to 100,000.

    The higher pixel-count sensor emboldens Leica to offer an additional crop mode. The Q3 offers 35, 50, 75 and 90mm equivalent crops (resulting in 39, 19, 8 and 6 megapixel images, respectively), rather than the 35/50/75 options on the previous model.

    Like the M11, the Q3 can also offer downsized images from its full sensor; you can shoot it at either the full 60MP, 36MP or 18MP. This downscaling can be applied to the Raws, JPEGs or both.

    Phase detection AF

    The Q3 gains phase detection, which it uses in addition to Leica's existing autofocus system that attempted to build a depth map of the scene by nudging the focus and checking how the defocused parts of the scene change. If that sounds a lot like the PDAF + Depth-from-Defocus system used by Panasonic's recent Lumix S5 II, then remember that the two companies have recently formed the L² technology-sharing partnership.

    Tilting screen

    Along the back is another difference: the Q3 becomes the first digital Leica camera to offer a tilting screen.The touchscreen is the same 3" size as the previous fixed version but sees a bump in pixels from 1.04M dot to 1.84M dot. It can fold out and rotate up to face the user from a 90-degree angle when shooting from the hip.

    Ports and weather-sealing

    Whereas the Q and Q2 had no ports at all, Leica has changed its approach for the Q3. Under a flap along the left side of the camera, it has a USB-C (3.1 Gen 2 10Gbit/s) port and a micro-HDMI port.

    The USB-C port supports camera charging with the camera switched on or off. The port can also be used for transfer of files to a computer or an iPhone (more on that in the next section). Tethered shooting with Capture One or Adobe Lightroom is supported, as is connecting to devices such as an external recorder, gimbal or power bank.

    The HDMI port supports an external display with or without recording to the SD card (format dependent), as well as capture by external display recorders in a range of codecs from 10-bit 8K H.265 files to Full HD Apple ProRes files.

    The camera has the same IP52 rating at the Q2 (limited dust resistance and resistance to water spray less than 15 degrees from vertical), and this extends to the ports as well.

    iPhone tethering

    As with the M11, Leica has packaged a Lighting-to-USB-C cable with the Q3. Using the cable, the camera can be tethered to an iPhone as one more means of connection to the LeicaFotos app. Android users can only use the Bluetooth and Wi-Fi connections.

    The direct cable connection results in faster and more dependable transfer. Leica says with the wired connection, Q3 users can expect up to 10x faster transfers speeds than the 3MB/s the Q2's wireless connection tops out at.

    The cable can also be used to download new 'Leica Looks' to the camera, which is what Leica calls their creative filters. Leica says it will periodically expand the library of these with new filters for users to download and apply.

    8K video

    The Q3 promises to shoot 8K video at up to 30p. A camera with a fixed 28mm lens isn't the obvious choice for shooting video, but Leica has squeezed all it can out of the 60MP sensor. This is slightly more than Sony managed with the a7R V (which can only manage 8K/24p), but the rolling shutter of around 33ms (UHD) is as bad as you can get, while still delivering 30p footage.

    The Q3 offers both the DCI (1.89:1) or UHD (16:9) styles of 8K, and can capture 10-bit footage with the option of L-Log or HLG profiles.

    Live perspective correction

    The Q3 comes with a function that was added to the M11 in recent firmware. The Perspective Control system analyses the scene and looks for converging or diverging verticals; it then draws a rectangle on the screen and adjusts the frame to represent a flat, perspective-corrected plane.

    When you hit the shutter the camera outputs a JPEG that has this perspective correction baked into it. The correction parameters are also written into the camera's DNG files, so they are automatically applied in Adobe Camera Raw or Lightroom (though you can also turn the effect off or adjust it there).

    Optional wireless charging grip

    New to the Q series is wireless charging via an optional hand grip. With the hand grip attached, the camera can be placed on any inductive charging mat. Or, users can opt for Leica's own charging mat to pair with the grip. Leica says using their mat with the grip will fully charge the Q3's battery in 190 minutes. We weren't given details of the accessory's cost.

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    How it compares

    Given the continued absence of a Sony RX1R III, it's hard to compare the Leica Q3 against anything in the marketplace but the Q2. And given its MSRP, it doesn't feel like comparing apples to apples when no other fixed-lens camera comes remotely close.

    We've opted to bring in a couple of significantly less expensive APS-C: models: the Ricoh GR III, which may be much cheaper but also has a 28mm equiv. lens, and the current darling of TikTok, the Fujifilm X100V, which is also much less costly but remains a popular choice in the category and is built around a 35mm equiv. lens, rather than a 28mm.

    Leica Q3 Leica Q2 Fujifilm X100V Ricoh GR III
    MSRP (body) $5995 $5795 $1399 $899
    Sensor 60 MP full frame 47MP full frame

    26MP APS-C (X-Trans)

    24MP APS-C (Bayer)
    ISO range (native) 50-100,000 50-50,000 100-25600 100-102400
    Viewfinder type 5.76M dot OLED electronic 3.68M dot OLED electronic 3.69M-dot OLED electronic / optical Optical (optional)
    LCD 3" tilting 3" fixed 3" tilting 3" fixed
    Touch-screen Yes Yes Yes Yes
    Included flash No No Built-in No
    Weather-sealing Yes Yes Yes* No
    Max. burst 15 fps 10 fps 20 fps (elec. shutter) 4 fps
    Max. shutter, mech | electronic 1⁄2000 | 1⁄16000 1⁄2000 | 1⁄40000 1/4000 | 1/32000 1/4000
    Video 8K/30p, 4K/60p, 1080/120p 4K/30p 4K/30p, 1080/120p 1080/60p
    Battery life (CIPA) 350 shots 350 shots 420 shots 200 shots
    Weight 743 g 718 g 478 g 257 g
    *The X100V claims weather-sealing when the AR-X100 adapter ring and a 49mm filter are attached to the lens.

    The Leica Q3 stands up to the test against probably its most important competitor in potential buyers' eyes: the Q2. When considering cameras north of $5000, it's hard to recommend saving $200 with a Q2 when the Q3 adds access to a tilting screen, phase detect autofocus and a 60MP sensor that squeezes even more out of the already sharp 28mm lens.

    In the end, though, it's not really about specs when users consider specialty cameras like these. There is a joy that comes from using the Q3, with its minimalist design, smooth lens and tactile manual controls. It comes down to users deciding if that joy is worth the price of admission.

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    Body and handling

    Photo by Brendan Nystedt

    In most ways the camera's body is largely the same as its predecessor. Along the Q3's top plate a shutter speed dial, thumb dial, power toggle switch, shutter release and single custom function button all occupy the same space they did on the Q2. A small cosmetic change of the shutter button being silver instead of black and the Q3 stamp on the hotshoe are the only clues here to the new model. From the front as well, since the Q2 and Q3 share the same lens and similar slightly raised leather covering, they are doppelgängers.

    The back of the camera is where we see the biggest changes to the body.

    Rear controls and tilting screen

    Q2, left, with Q3.

    In addition to the new tilting touch panel, the buttons for 'Menu' and 'Play' and a custom function button have been moved, now appearing on the right to join the four-way controller. Having used both cameras, within a few hours of shooting the new one I found the layout to be a marked improvement that let me reach all the buttons with just my right thumb while the left hand stayed on the lens ready for the next shot. It's a much faster and less cumbersome arrangement that let me get in and out of menus quicker.

    One potential stumble: there is a very slight delay when pressing the Menu button or the Play button before the screen displays anything. It's long enough to notice and at times I did find myself questioning if I really wanted to see the last shot I just took or if it was better to just carry on and look later when I download my files.

    Custom buttons

    The Q3 also converts the rear button to the left of the thumb rest into a fully customizable function button, and adds a second one next to it. This increases the Q's custom button count from 2 to 4.

    The Q2's top rear button was limited to crop modes, exposure lock or focus lock. With the Q3 this button behaves like the others: you can configure it to access just about any setting, or long-press it to bring up a scrolling menu and reassign it to something else.

    Going into the Q3 I diligently poked around in them to test how they work, then thought I would set them and forget them. Instead, I ended up returning to them over the course of my time with the Q3, either to try out more features or just for fun. Leica has made the custom buttons easy to set and use on the fly, and there's a joy to experimenting with them. Options include focus peaking, focus modes, video modes, creative filters and more. It's similar to how the Q2 functioned but with a few more options in the menu to choose from.

    Lens design

    The Q3 uses the same optically-stabilized 28mm F1.7 lens as the earlier models. Leica says the lens' optics outperform the 60MP sensor's capabilities and there was no reason to redesign or update it.

    The lens feels sturdy and well machined, and images felt very sharp. Switching the lens between manual and automatic modes is quick thanks to most of the setting changes living on the lens barrel rather than in a switch, body button or menu.

    The aperture can be set with the lens ring, which also has a setting for automatic. With machined grooves and stamped f-stops there's a tactile clue as to where your fingers are resting and the ring gives a pleasant and smooth click as it is rotated.

    A small (almost tiny) button on the manual focus tab is how you disengage AF mode to allow the ring to rotate for manual focusing. It's a quick process, but it takes a little practice to get a feel for where the button is so it can be pressed without turning the body around to visually locate it.

    Macro mode can be activated by rotating a clutch near the base; it restricts the lens to a focus distance of between 30cm to 17cm. The distance scale also swaps out to a new shorter scale to aid in focusing. When the macro clutch is not fully in the 28mm or Macro position, the camera warns you that the lens is not engaged and won't let you take any pictures.


    The Q3's 5.76M dot (1600 x 1200px) OLED EVF is a noteworthy increase from the Q2's 3.68M dot OLED panel. Like the Q2 there is no significant delay in the screen activating when the EVF eye sensor is activated, even when quickly switching back and forth between the rear screen and the EVF. The eye sensor can also be adjusted.

    The Q3 retains the diopter from the Q2. A push button design pops a dial out to adjust the EVF focus, and another push pops it back in. Having it lie flush and 'disappear' is a nice touch that helps avoid accidental nudges while also looking darn nice. In a camera nearing $6000 that also touts that it is hand-made, details matter.


    The Q3 uses a 15.8Wh Leica BP-SCL6 lithium-ion rechargeable battery. Recharging can be done either externally, via the Q3's USB-C port or with an optional wireless charging accessory.

    The new battery comes with a CIPA rating of 350 shots, which is the same CIPA rating received by the Q2's Leica BC-SCL4 battery. However, it's not uncommon to exceed CIPA ratings two-fold, depending on how you use the camera. 350 is a reasonable figure and should comfortably give a day's worth of involved shooting or a weekend of less frequent photography.

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    Initial impressions

    Shaminder Dulai

    When I first got my hands on the Q3, some of my colleagues joked that I was going to start peacocking about town, turning heads, shining the Leica's red logo like a beacon to draw extra attention (pshaw, if it came to that, that's what gaffer tape is for).

    Thankfully that was not the case. Not one person acknowledged the Leica badge on the camera while I trekked across Seattle over the course of a few days. So, if you're a person who looks at Leicas like a tech bro having a mid-life crisis at a Corvette dealership, perhaps rethink why you want a nearly $6000 camera?

    To me, getting attention isn't really the point of a Leica. These are the cameras used by the icons of photojournalism, Robert Capa, Diane Arbus, W. Eugene Smith, Henri Cartier-Bresson and others. All people who tried to disappear into the wallpaper and observe the world in pursuit of a truth. To have a camera that screams 'look at me' isn't really in keeping with this spirt.

    Leica Q3 | 28mm | ISO 100 | 1/2000 sec | F2.5

    Straight from camera JPEG

    Photo by Shaminder Dulai

    Full disclosure: I must admit, I haven't used a digital Leica since the M9and I didn't love it at the time. That camera was slow, images just felt 'meh,' and it wasn't something I felt I wanted to use. After that for the longest time I feared that maybe Leica had lost its way and become more of a status symbol than a camera company.

    After a few days with the Q3, I have to say I was pleasantly wrong. I started off resisting the Q3's charms but in the end it won me over, simply because this camera is fun to use. It can be as complicated or as simple as you want, but most of all, it can be fun.

    The film-body-inspired design choice to limit dials and buttons on the body to only a few agreed with me. Some users may find the lack of buttons limiting, but I rather enjoyed the simplicity, so much so that if I wasn't trying to run the camera through its paces and explore its menus for this initial review, I think I could have used the Q3 without entering the menu for days at a time. Perhaps the appeal of using a Leica Q3 is that it almost hides the tech to put the tactile parts of image making front and center. You can go deep into menus and custom functions, or step back and use the core adjustments of aperture, shutter speed and focus, all in manual mode (with ISO assigned to a custom function button) if you choose.

    Leica Q3 | 28mm | ISO 100 | 1/1000 sec | F4

    Straight from camera JPEG

    Photo by Shaminder Dulai

    The new tilting touchscreen is quick and responsive in live view and was something I used a lot more than I expected I would. I don't always have the best luck with touchscreens, often finding them to be too slow for my tastes or the touch points too small. On the Q3, with larger menu icons and the ability to remove visual clutter for a minimal interface, I found it to be quite useful, and I started to use it for touch focus while shooting from the hip. Similar to the experience of tech melting away on the lens, the tilt screen and responsive touchscreen allowed me to revisit what it felt like to shoot with a TLR film camera.

    There are a few small gripes I do have, however. A boot-up time of about 3 seconds can feel like an eternity when you come across the perfect photographic moment. It's a fair thing to point out on a camera built on the legacy of street photography, documentary journalism and the ethic of always being ready.

    I also noticed that in bright sunshine the AF seemed to hunt, or the camera would back-focus, and in those moments the AF wasn't especially quick. Things did fare a little better when Intelligent-AF (iAF) was activated; in this mode the camera locks onto a stationary subject and then starts to track it as it or the camera moves.

    I also must point out that I found the thumb rest too shallow and it didn't inspire confidence that I'd be able to shoot with just one hand. It's true that Leica has been offering up a solution to this for years with an optional thumb rest accessory that runs about $225, but c'mon Leica, for a nearly $6000 camera that thumb rest should be included in the box.

    In the end, I keep coming back to the 'joy' I found in the Q3 vs. the price tag. There's an enjoyable, and now more capable, camera here, but how much that joy is worth is the tough question we have before us.

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    Sample gallery

    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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    Product photos by Shaminder Dulai and Brendan Nystedt

    Fujifilm has debuted its enhanced midrange APS-C mirrorless model, the 26MP Fujifilm X-S20. This interchangeable lens camera has improved video features and a new vlog mode, but doesn't stray from the original very much. The X-S20 retains the deep grip, approachable design, plentiful ports, and in-body image stabilization of the X-S10 (though its grip hides a bigger battery), making for a well-rounded new camera for beginners and intermediate shooters alike.

    Key specifications

    • 26MP X-Trans BSI-CMOS sensor
    • 5-axis in-body image stabilization (CIPA-rated to 7 stops)
    • On-sensor phase detection
    • 3", 1.84M-dot fully articulating touchscreen
    • 2.36M-dot OLED electronic viewfinder
    • 20 fps burst shooting (up to 30 fps with a crop)
    • DCI and UHD 4K at up to 30p with 10-bit F-Log and F-Log2 support
    • External mic and 3.5mm headphone socket
    • 750 shots per charge using LCD
    • USB power delivery support
    • Single UHS-II card slot
    • Wi-Fi + Bluetooth
    • Compatibility with FAN-001

    The Fujifilm X-S20 will be available from June 29th with a recommended price of $1299 body-only. Two kit options will be available, one with the XC15-45 for $1399 and another with the XF18-55 for $1599. This is a $300 price increase from its predecessor, the X-S10.

    What's new

    A bigger mode dial makes room for a Vlog mode. Larger buttons should be easier to press without looking, too.

    A quick look at the spec sheet tells us that the Fujifilm X-S20 is a lot like its predecessor. It has the same 26MP X-Trans sensor, a slightly improved in-body stabilization system, and a very similar overall design. But look closer and the subtle changes start to pop out. Many buttons and dials are repositioned or larger to make them easier to press. The grip has grown a tad larger to fit a bigger battery. There's a flap for a headphone jack underneath the palm rest. And more differences start to appear once you dig into the menus and twist the mode dial.

    Video upgrades

    An upgraded X Processor 5 gives the biggest boost to the new model in its video capabilities. That means in-body 4K/60 4:2:2 10-bit internal is now on the table, as is open-gate (3:2 aspect) 6.2K. Fujifilm has also included is the F-Log2 color profile, giving users a Fujifilm-rated additional stop of grading potential at its base ISO of 1250. If you want to use an external HDMI recorder, the camera can now output to ProRes RAW or Blackmagic RAW if desired.

    With the right accessories, the X-S20 becomes a fully-featured video shooting machine.

    If you're thinking that this is starting to seem like a mini X-H2, then you're on the right track. The X-S20 adds compatibility with that camera's cooling fan, the FAN-001, which screws onto the back of the X-S20 with ease. Also new in this model is a headphone jack, eliminating the need for a USB-C to 3.5mm adapter.

    Continuous record time is a bit of an issue for the camera on its own, lasting only 36 minutes in the demanding 6.2K mode when tested by Fujifilm at 25°C (77°F). With the FAN-001 attached, runtime more than doubles to 78 minutes.

    A new '1080/60P LP' mode is designed to make extended recording easier on the camera. By using a 1.29x crop and thus a smaller portion of the image sensor, the processor can take a break from binning or line skipping; this mode nets you 32 minutes recording in 40°C (104°F) heat, or 78 minutes equipped with the FAN-001.

    Vlog mode and UAC webcam

    Conveniently located on the mode dial, Vlog mode brings a new video shooting interface to the Fujifilm system. This is designed to make typical kinds of content creator work easy and accessible. Tap the Vlog button on the touchscreen, and you get six quick-access buttons for common features like stabilization, the self-timer, eye/face detection, a product priority mode (that makes the autofocus snap onto objects held towards the lens), a high-speed recording toggle, and a background defocus mode (that opens the lens up as much as possible). The X-S20 also shows the user it's filming with a red box around the LCD preview, or a green one if high-speed footage is being captured.

    If you're less of an aspiring YouTuber and more of a Twitch streamer, then the X-S20 can be used as an impressive webcam. Using the USB-C port, you can output a 4K/60p live stream from the camera. And unlike older Fujifilm models, the XWebcam software isn't necessary, since the X-S20 relies on the UAC standard.

    Autofocus and subject detection improvements

    Stills shooters also get some extra help thanks to the faster X Processor 5 inside the X-S20. Fujifilm claims to have added an improved autofocus algorithm, developed originally for the high-end X-H2S model, so moving subjects and smaller subjects in particular should be captured with higher reliability.

    The X-S20 also inherits the X-H2 family's subject detection modes. In PASM or custom modes, these can be individually selected. You can pick from Animal, Bird, Automobile, Motorcycle & Bike, Airplane, and Train modes. If you shoot in full Auto mode, the camera will attempt to recognize and apply the correct mode based on the subject in the frame.

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    How it compares

    As the market of vlog-friendly cameras blossoms, hybrid shooters have a wide array of models to choose from at a surprising range of prices. Here we've compared the Fujifilm X-S20 to some of its APS-C competition. Though the X-S20 sits at the high end price-wise, it comes with a commensurate amount of features and seems like a good value overall.

    Fujifilm X-S20 Nikon Z30 Sony a6600 Canon EOS R10
    MSRP $1299 $710 $1399 $979
    Pixel count 26MP 20.2MP 24MP 24MP
    Sensor size APS-C APS-C APS-C APS-C
    Image stabilization In-body + in-lens Lens only (+ digital in video) In-body Lens only (+ digital in video)
    Max burst rate 8 fps (mech shutter)
    20 fps (elec shutter)
    11 fps (mech shutter) 11 fps (mech shutter)

    15 fps (mech shutter)
    23 fps (elec shutter)

    Viewfinder res / mag 2.36M dots
    / 0.62x
    No 2.36M dots / 0.71x 2.36M dots
    / 0.71x
    Rear screen 3.0", 1.84M-dot articulating touchscreen 3.0", 1.04M-dot articulating touchscreen 3.0", 921K-dot tilting touchscreen 3.2", 1.04M-dot articulating touchscreen
    Video capabilities Up to 6.2K/30p 3:2 (open gate), UHD/DCI/60p 4:2:2 10-bit UHD/30p UHD/30p
    (1.23x crop)
    UHD/30p full-width UHD/60p from 1.56x crop
    Log video F-Log, F-Log2 No S-Log (8-bit only) HDR PQ
    Mic/ Headphone sockets? Yes / Yes Yes / No Yes / Yes Yes / No
    Battery life
    750 330 810 350
    Card slot 1x UHS II SD 1x UHS I SD 1x UHS I SD 1x UHS II SD
    Weight 491g (17.3oz) 405g (14.3oz) 503g (17.8oz) 426g (15oz)

    We can see that although it's bested in a few minor specs, there's one standout area: its video capabilities are far beyond what most mirrorless competitors offer, which becomes doubly effective coupled with its strong battery. The Canon EOS R10, for instance, still maintains a good lead in continuous shooting, but has less than half the CIPA-rated battery life of the X-S20. The inexpensive vlog-centric Nikon Z30 might be good for those with 1080p video needs, but Fujifilm's option is in a different class altogether.

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    Body and handling

    While the X-S20 seems a dead ringer for the X-S10, it improves on the original design in subtle ways.

    The Fujifilm X-S20 is hardly a shouty camera, choosing a subdued style that focuses on functionality over visual appeal. With its compact size, DSLR-style grip, and dual control dials, it's approachable – it looks like an average camera. Appropriately, it's the functional touches that have been adjusted on the body. Compared to its predecessor, many of the controls have been enlarged, with bigger dials and more pronounced buttons, while retaining the satisfyingly clicky rear joystick. The articulated touchscreen gets a small bump in resolution, while the electronic viewfinder, with its small OLED panel, is the same as in the X-S10.

    The keen-eyed among you will recognize the two holes and small plug behind the rear LCD. Cribbing from the X-H2 models, the X-S20 can accept Fujifilm's FAN-001 accessory, which adds a cooling fan to the camera. This is a pricey accessory at around $200, but it can let the X-S20 shoot video for double the default duration and provide reliability in higher temperatures.

    Thanks to the addition of a real headphone jack on the grip, the USB-C port can be used to power the camera while you monitor the audio.

    Fujifilm has clearly tried to bolster everything photographers liked about the X-S10, including its port selection. It has a USB-C with power delivery for charging, a micro HDMI and a 2.5mm microphone jack that also can accept a wired shutter release. On the grip, there's a brand-new 3.5mm headphone terminal. In the X-S10, users needed to use a USB-C to 3.5mm adapter, but X-S20 users can plug in directly.

    The Fujifilm X-S20 has a battery that can achieve a rating of 800 shots on a single charge, in the right mode.

    Apart from the upgraded processor, the biggest internal change is shifting from the smaller, 8.7Wh NP-W126 battery to the 16Wh NP-W235 battery. This almost doubles the battery capacity: the CIPA-rated shot count on a single charge goes from 325 shots all the way to 750, or as far as 800 when using the camera's Economy power setting. In order to accommodate this bigger battery, the camera's grip is slightly larger, which makes the camera a bit more comfortable to hold. As usual, it's not uncommon to achieve twice the CIPA-rated value.

    Next to the battery is the upgraded UHS-II SD card slot. While you only get the one slot, and it's more or less in the same spot, the uprated interface will be a boon for burst shooting. With a fast SD card, Fujifilm says the X-S20 can shoot more than 1,000 JPEGs or compressed Raw files at 8 fps.

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    Initial impressions

    If you're looking at photo specs alone, you could be tricked into thinking that the Fujifilm X-S20 was a quick refresh. Same sensor, same burst speed, a few software tricks, add 10 to the model name and blammo – a new camera. And it's true that for stills shooters not much got added. Overall image quality should be very similar to the outgoing X-T4 and even close to the X-S10 (And yes, I recognize that subject detection autofocus is quite a nice add-on, but it only benefits some stills shooters some of the time).

    Subject detection modes can come in handy, like when shooting trains or airplanes. Auto mode can apply subject detection without user intervention.

    Fujinon XF 70-300mm F4-5.6 R LM | ISO 1000 | 1/1000 sec | F5.6
    Taken using a pre-production Fujifilm X-S20
    Photo: Brendan Nystedt

    That said, the uprated battery alone is a gamechanger for everyday, casual shooting. I took the X-S20 out for a multi-hour hike in Olympic National Park one day, and only used one of the five bars on the battery indicator. This thing sips power. I would easily believe Fujifilm's claim of 750 shots using the LCD, and up to 800 in Economy mode. This is near DSLR-level duration for an affordably-priced mirrorless camera.

    The 26-megapixel X-Trans sensor is a little older, but can still output gorgeous images with vivid colors.

    Fujinon XF 23mm F1.4 R LM | ISO 160 | 1/3200 sec | F1.4
    Taken using a pre-production Fujifilm X-S20
    Photo: Brendan Nystedt

    In use, the slightly higher resolution rear touchscreen works great, and I didn't even mind the OLED viewfinder. I'll admit that the viewfinder feels smaller than I'd prefer; then again I'm probably comparing it to some bigger viewfinders from model costing thousands of dollars above this price level. The button and dial layout is simple to learn and simple to master, and the slightly larger grip makes it comfortable to shoot with for extended periods. If you're new to mirrorless cameras or cameras full-stop, you'll find it an overall pleasant and usable shooting experience.

    Despite all its video advancements, this Fujifilm is still easy to use for aspiring content creators, while importantly giving you enough headroom to let you grow as your skills improve. You can shoot 4K today, and graduate to F-Log2 and 10-bit color to grade once you need them. You can happily get internal footage now, with the option to buy an Atomos Ninja later if you want to capture Raw video. You can even start vlogging with the internal microphones, knowing you can upgrade to a headphone and mic pair when you're ready to monitor your sound. Need to have the camera recording for a while? Grab the FAN-001 add-on and unlock the extra runtime. The easy-access Vlog mode and the full video mode are right next to each other on the dial, so when you're ready to dive in, the X-S20 will be too.

    They may look incredibly similar, but the X-S20 is a big upgrade from the previous generation.

    Compared to Fujifilm's more stylish, retro-inspired models, the X-S10 design always struck me as kind of conventional – good, but unexciting. I'm forced to admit that the unassuming X-S20 flips the script: what strikes me first here is an extremely exciting feature set. It may not look like much, but this new Fujifilm has got it where it counts.

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    Sample gallery

    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.

    All images shot using a pre-production Fujifilm X-S20

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  4. Sample photoSample photoSample photoSample photoSample photo

    Product photos by Richard Butler

    Nikon has announced the Z8, a mid-sized high-end full frame mirrorless camera built around the same sensor and processor as the range-topping Z9 sports camera. The Z8 offers the majority of the same features but in a smaller body.

    Key specifications

    • 45.7MP Stacked CMOS sensor
    • Up to 20fps with Raw, 30fps full-sized JPEG
    • Pre-burst capture in JPEG modes (up to 120fps for 11MP crops)
    • Subject recognition AF and 3D Tracking
    • Synchro VR combining in-body and in-lens stabilization, rated at up to 6EV
    • 8K/60p video in N-Raw, 4.1K in ProRes Raw
    • 8K/30p or up to 4K/60p from 8K
    • Choice of ProRes 422 HQ, H265, H.264
    • N-Log or HLG capture
    • 3.68M dot EVF with dedicated low-lag sensor feed
    • 2.1M dot screen on two-way hinge
    • One CFexpress Type B, One UHS II SD slot
    • Dual USB-C ports

    The Nikon Z8 will be available from late May with a recommended price of $3999.

    What's new

    In almost every respect, the Z8 is a match for the Z9, with essentially all the larger camera's features and capabilities duplicated in a smaller body.

    At the heart of it all is the same 45.7MP Stacked CMOS sensor that has parallel readout paths, one for images or video and another to provide the viewfinder feed with minimal lag.

    This means it can match the Z9's 20fps shooting rate with Raw and its 30fps full-frame / 60fps APS-C / 120fps 11MP JPEG shooting modes. The Z8 also provides the option to shoot 10-bit HEIF files (alongside Raw, if you wish), if you opt to capture HDR images using the HLG curve.

    The Z8 also offers the pre-burst option that lets it start capturing images when the shutter is half-pressed, then record up to a second's worth of images when you fully press the shutter. This is available in the 30, 60 and 120fps JPEG modes.

    We're told the Z8 has the same buffer as the Z9, meaning it can record more than 1000 JPEGs or HE* compressed Raws at 20fps. 685 of the less compressed HE Raws can be captured in a burst, or 79 of the losslessly compressed Raws files.

    Like the Z9, with its fast (~1/280sec) readout, the Z8 has no mechanical shutter. It does have a shutter shield mechanism that can be set to close when the camera is off, though, to prevent dust ingress when you change lenses.


    In terms of video the Z8 can capture 8K/30p video in the ProRes 422 HQ, H.265 or H.264 formats, or 8K/60p in the N-Raw format. 4K video can be shot at up to 120fps (subsampled), or with oversampled footage derived from 8K capture at up to 60p.

    Resolution options Bit depth Options
    N-Raw 8K/60p
    4.1K/120p (sub-sampled)
    5.4K/60p (APS-C)
    4K/120p (2.3x crop)
    12-bit SDR
    ProRes RAW HQ 4.1K/60p (sub-sampled)
    5.4K/30p (APS-C)
    12-bit SDR
    ProRes 422 HQ 4K/60p
    10-bit SDR
    H.265 8K/30p
    4K/120p (sub-sampled)
    4K/60p (from 8K)
    10-bit or 8-bit SDR
    HDR (HLG)
    H.264 1080/60p 8-bit SDR 4:2:0

    The only major difference is that the Z8 can only record for up to 90 minutes, rather than the 125 minutes offered by the Z9, presumably for reasons of heat build-up.

    Like the Z9, the camera uses a base ISO of 200 in video mode for its standard color modes. Switch to HLG and the base state becomes ISO 400, encouraging the use of one stop less exposure to ensure that an additional stop of highlights isretained. N-Log has a minimum of ISO 800, to capture and retain an extra two stops of highlights.

    Dedicated airplane subject detection mode

    The Z9 could already detect aircraft as part of its vehicle detection mode, but on the Z8 it has been separated out into its own selectable mode. Nikon says separating airplane from general vehicle tracking results in improved tracking accuracy. We've had no confirmation from Nikon but we'd be surprised if we don't see a similar feature added to the Z9 in future firmware.

    Battery grip

    For users concerned about the battery life offered by the Z8's smaller EN-EL15c battery, there will be an optional battery grip that provides capacity for two EN-EL15s. As with the grip for the Z6 II and Z7 II, the grip will displace the internal battery, meaning you get two batteries in total, not three.

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    How it compares

    The price tag of $4000 puts the Z8 in direct competition with the Canon EOS R5, and it doesn't look at all bad in comparison. It's priced somewhere around the cost of the Sony a9 II but its high resolution means it has more in common with Sony's more expensive a1.

    Nikon Z8 Canon EOS R5 Sony a1 Nikon Z7 II
    MSRP $4000 $3899 $6500 $3000
    Pixel count 45.7MP 45MP 50MP 45.7MP
    Sensor type Stacked CMOS FSI CMOS Stacked CMOS BSI CMOS
    Image stabilization In-body + in-lens* In-body + in-lens* In-body* In-body*
    Max burst rate 20 fps Raw
    30fps JPEG
    12fps (mech shutter)
    20fps (elec shutter)
    30 fps (lossy Raw)
    20 fps (lossless Raw)
    9 fps
    Readout rate ∼1/270 ∼1/60* ∼1/260 ∼1/16
    High-res mode No 9-shot JPEG only 4 or 16-shot, combined on PC No
    Viewfinder res / mag 3.68M dots
    / 0.8x
    5.76M dots / 0.76x 9.4M dots / 0.9x 3.68M dots
    / 0.8x
    Rear screen 3.2", 2.1M-dot two-way tilting touchscreen 3.2", 2.1M-dot articulating touchscreen 3.0", 1.44M-dot tilting touchscreen 3.2", 2.1M-dot tilting touchscreen
    Top-plate display Yes (OLED) Yes (OLED) No Yes (OLED)
    Video capabilities Up to DCI 8K/30p (full width), 8K/60p N-Raw, 4K/120 Up to DCI 8K/30p (full width), 4K/120 Up to UHD 8K/30p (full-width). UHD 4K 30p
    (Full width pixel-binned or oversampled APS-C)
    Log video N-Log, HLG, 4:2:2 10-bit HDR PQ, Canon Log, 4:2:2 10-bit S-Log 2, S-Log 3, HLG (10-bit) N-Log over HDMI only (10-bit)
    Ethernet socket Via USB-C adapter (not supplied) Via optional WFT grip Yes No
    USB socket(s) 2x USB-C USB-C USB-C USB-C
    Battery life
    340 / 330 320 / 220 530 / 430 420 / 360
    Card slots 1 CFe Type B/XQD, 1 UHS II SD 1 CFe Type B, 1 UHS II SD 2 CFe Type A / UHS II SD 1 CFe Type B/XQD, 1 UHS II SD
    Size 144 x 119 x 83 mm 138 x 98 x 88 mm 129 x 96 x 78 mm 134 x 101 x 68 mm
    Weight 910 g 738 g 736 g 705 g

    On paper, the Z8 doesn't look particularly impressive in this company. Its specs look a lot like those of the EOS R5, with its viewfinder seemingly leaving it lagging behind. The reality couldn't be more different: the Z8's viewfinder's minimal lag makes it feel more lifelike and better suited for shooting action, while its shooting rate is significantly faster and its quicker sensor readout means there's less rolling shutter in e-shutter mode. Its AF is some of the best we've encountered, and the Nikon has the edge in video with longer recording times and a wider selection of capture modes and codecs.

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    Body and handling

    The Z8 is significantly smaller than the Z9 but is still a pretty substantial camera. Its form factor has more in common with the D850 DSLR than the existing Z6 and Z7 models. Despite the use of magnesium alloy and carbon fiber, the body is appreciably heavier than those models, too. Nikon says it's weather sealed to the same degree as the Z9.

    The grip is very similar to the one on the D850 and the dials very similarly placed, meaning it will feel immediately familiar to existing Nikon users. There's a well-positioned AF joystick on the back of the camera and a variety of customizable buttons, including the now-standard pair of function buttons next to the lens mount on the front of the camera.

    On the camera's left shoulder is the control binnacle that's been common to high-end Nikons dating back more than two decades.

    The Z8 has Nikon's 10-pin accessory port but also an AF mode button, visible towards the bottom of this image.

    Like the Z9, the Z8 has an AF mode button on its lower left front, just where the traditional MF/AF-S/AF-C switch was on the company's DSLRs. Holding the button and nudging the front dial changes the AF drive mode whereas spinning the rear dial changes AF area mode.

    The Z8 has the same viewfinder as the Z9, which means a rather low-sounding 3.69M dots (1280 x 960px). However, the low-lag feed delivered from the parallel readout design of the Stacked CMOS chip means it gives one of the most responsive, lifelike viewfinder experiences we've yet had. Nikon says it's able to preview HLG footage, which suggests it's an panel that can achieve HDR brightness levels.

    Like many high-end Nikons, the Z8 has buttons that can illuminate for when working in low light.

    The Z8 becomes the first camera we've seen to include a pair of USB-C ports. This allows the use of one port for tethering or data transfer while the other is reserved for charging or powering the camera.

    The smaller body is in part made possible by the use of a smaller battery. In this case it's the same EN-EL15c that's used by most of Nikon's mirrorless cameras. It's a 16Wh unit, meaning it's around half the capacity of the battery used in the Z9. This sees the camera deliver CIPA ratings of 340 shots per charge, if you use the rear LCD, and 330 if you use the viewfinder. Turn on energy saving mode and these figures rise to 370 and 340 shots per charge, respectively.

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    Initial impressions

    The Z9 is one of the most impressive cameras I've ever used, and the Z8 is essentially the same camera but in a body I might be able to carry around and at a price that I could reach with the sale of fewer internal organs. All good then, yeah? Gold award and we all go home happy?

    It's not quite that simple. Yes, the Z8 offers a very impressive spec and, like the Z9, backs it up by delivering that spec: no nasty rolling shutter surprises in e-shutter mode, no dropping to 12-bit readout when shooting bursts. If anything, the Z8 and Z9 out-perform their specifications by providing such a responsive viewfinder experience, despite the seemingly middling resolution of the EVF panel.

    But while the Z8 is hugely capable, and aggressively priced for what it does, it's still hitting the market for $700 more than the Nikon D850 did, at launch. So what do D850 users get for that 20% premium?

    You may well have got by without it before, but the almost complete certainty that the Z8's subject recognition system will get the focus right frees you to concentrate on other things. I can see wedding photographers in particular learning to love it.

    Nikkor Z 24-70mm F2.8 S | ISO 110 | 1/50 sec | F4.0
    Taken using a pre-production Nikon Z8
    Photo: Richard Butler

    What we wouldn't expect is for them to get a significant improvement in image quality over their current camera. From what we saw in the Z9, the 45.7MP Stacked CMOS sensor appears to be an evolution of the BSI chip in the D850, so any IQ improvements are likely to come from the ability to use the newer Z-mount lenses. Synchro VR, which delivers up to 6.0EV of correction (per testing to the CIPA standard) should also help deliver maximum detail more often.

    But what anyone upgrading from the D850 will certainly get is a faster camera with a much more advanced AF system, with points that range much further across the frame. So if you're a wildlife shooter or wedding photographer, for instance, the Z8 will shoot much faster, nail the shot more often, and provide options such as pre-burst to make sure you get the critical moment.

    Similarly, wedding and event photographers who are expected to capture video as well as stills will find the Z8 a much more supportive companion. Even if you don't use its most advanced video modes (and it joins the Z9 in being arguably the best-specced hybrid camera on the market, at the moment), it has a series of refinements, such as a full-sized HDMI port and the option to capture flexible 10-bit Log footage internally, that haven't been available on Nikon's smaller models before.

    The use of mixed card slots (one CFexpress Type B, one UHD-II SD) means the Z8 can work with pretty much whatever cards you already have, but also entails investing in multiple media formats and compromises your ability to send all output to both slots.

    Landscape shooters might not be so readily won over by these capabilities, and may feel that, say, a Z7 II delivers just as much, if you don't need the Z8's out-and-out performance speeds.

    But, to be blunt, my initial impression of the Z8 was 'what more would anyone need?' It's a sentiment that has a habit of being out-paced by technology's continued improvement, but the all-round capability of the Z8 is hard to argue with. The fact that its specs compare favorably not just with the Canon EOS R5 but also the pro-priced Sony a1 says a lot.

    I'm sure there'll be some disquiet about the use of non-matching memory card formats and, perhaps, some griping about the viewfinder resolution by people who've not had a chance to experience it. But if those are the biggest concerns about the Z8, then I'd argue that Nikon's done an impressive job.

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    Sample gallery

    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.

    All images shot using a pre-production Nikon Z8

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  5. Sample photoSample photoSample photoSample photoSample photo

    Canon’s EOS R10 brings a sub-$1000 entry-level 24MP APS-C camera to its mirrorless RF lineup, hoping to entice a new generation of photographers and videographers to ditch the smartphone in favor of greater creative control over exposure, focal lengths and burst rates in their image making.

    The R10 is for the weekend traveler who wants a throw-in-the-bag and it-just-works camera, the family gatherings documentarian who wants to be ready for the video of their kids playing in the park as well as the family portrait with the grandparents, the vlogger who wants to create selfies and videos at arms length, and the beginner who wants to start learning with manual controls.

    Key Specifications

    • 24MP APS-C CMOS sensor with Dual Pixel AF
    • Up to 23fps shooting (15 with mech shutter)
    • Oversampled 4K up to 30p, 4K/60p with crop
    • True HDR video as 10-bit 'PQ' footage
    • 2.36M dot OLED viewfinder
    • 1.04M dot fully-articulating rear touchscreen
    • Single UHS-II SD slot
    • Built-in pop-up flash

    The EOS R10 is available body-only for a recommended selling price of $979. Kit options include bundles with the compact, collapsible 18-45mm F4.5-6.3 IS STM for $1099 or with the 18-150mm F3.5-6.3 IS STM for around $1379.

    What is it, what's new


    Canon says the sensor is a new chip it’s never used before, but has not given any details of how it's changed. We know of instances in the past where Canon has squeezed a bit more out of an existing design by moving to a new production line that uses a finer process scale (higher precision fabrication of the circuitry), but we'll have to wait to see how the sensor works in practice.

    The R10 offers faster video than before, though, which suggests faster readout, greater processing power or, more likely, a combination of both. This faster readout will, in turn, help towards autofocus performance.

    Automated modes

    The R10 has a series of automated modes to support the photographer. These are a mixture of original ideas and options we've seen on other brands' cameras.

    For instance, there's a focus stacking mode, which shoots a series of images with slight focus shifts between each one, then combines them to form a single image with everything in focus (especially valuable for close-up work). The camera lets you shoot Raw files for the individual shots but, as you might expect, only provides a JPEG version of the merged image.

    There's also a panorama mode, that shoots multiple images as you pan the camera, then merges them into a single, long image.

    The R10's panorama option functions similarly to the panoramas you create on a smartphone: line up your frame and pan from left to right (or right to left; the R10 allows you to swap direction).

    RF-S 18-45mm F4.5-6.3 IS STM @ 18mm | ISO 500 | 1/640 sec | F4.5
    Photo: Shaminder Dulai

    Beyond the multi-shot modes are interesting options such as a panning mode, for giving a blurred background as you pan the camera to match a moving subject. The camera will detect how quickly you're panning and automatically choose a shutter speed that will give you a motion-blurred background while also giving you a good chance of keeping your moving subject nice and sharp.

    True HDR stills

    As we've seen on the EOS R6, R5 and R7, the R10 can shoot 10-bit HEIF files using the HDR 'PQ' curve. These shoot wider dynamic range images that you can show in a realistic manner by connecting the camera to a high dynamic range display or TV.

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    How it compares

    The R10 sits just below $1000, or a little over if you add a kit zoom. This represents a lower/mid level category for interchangeable lens cameras that increasingly includes mid-level features such as advanced autofocus systems, but without the higher-resolution viewfinders and sophisticated video options of more expensive models. The newer, simpler EOS R50 sits in a category below this, some $300 cheaper.

    To see how the R10 stacks up to the competition, we've gathered the Fujifilm X-S10, Nikon Z fc and the Sony a6400, three entry-level interchangeable-lens hybrid mirrorless cameras that also have APS-C sensors and land near the $1000 price point.

    Each of these cameras is purpose-built for beginner to intermediate photographers who want a capable body that's quick to pick up and tool around with, and who may not need or miss the advanced video and audio features of higher-priced hybrid mirrorless cameras. (Side note: we considered including the Olympus OM-D E-M10 Mark IV, but ultimately decided not to, as it's not APS-C or near the R10's $979 MSRP.)

    Canon EOS R10 Fujifilm X-S10 Nikon Z fc Sony a6400
    MSRP (at launch) $979 $999 $960 $900
    Pixel count 24MP 26MP 20MP 24MP
    Sensor tech FSI-CMOS
    (Dual Pixel)
    Image stabilization No


    No No
    Max frame rate 15fps (mech)
    23fps (e-shutter)

    8fps (mech) 20fps (e-shutter)

    11 fps (12-bit Raw)
    9 fps (14-bit)
    11fps (mech), 8fps (e-shutter)
    Viewfinder res / mag 2.36M dot
    / 0.68x

    2.36M dot 0.71x

    Rear screen res / type 3.0" / 1.04M dot fully-articulated

    3.0" / 1.04M-dot fully-articulated

    3.0" / 921k dot tilting touchscreen
    Video UHD/30p full-width UHD/60p from 1.56x crop DCI or UHD 4K up to 30p full-width UHD 30p/24p
    UHD 24p full width, 30p with 1.22x crop
    10-bit video options HDR PQ F-Log
    (8-bit internal, 10-bit over HDMI)
    No No
    Mic / Headphone sockets? Yes / No Yes / Yes (with adapter) Yes / No Yes / No
    Battery rating (LCD / EVF) 350 / 210 325 / unspecified 360 / 310 410 / 360
    Weight 426g (15oz) 465g (16.4oz) 445g (15.7oz) 403 g (14.2oz)
    Dimensions 126 x 88 x 83 mm 118 x 83 x 47 mm 135 x 94 x 44 mm 120 x 67 x 60 mm (4.72 x 2.64 x 2.36")

    The R10 makes a strong case against its competitors, excelling with a higher burst rate, 10-bit HDR video and being the first to bring 4K/60p to a camera under $1000. What can't be captured in this table is that its AF tracking (in photo mode) is also significantly better than the Fujifilm or Nikon, and in some circumstances better than the Sony.

    For the photography student or beginner who wants a low barrier of entry to learning and is not yet in position to pour money into photography, or the casual shutterbug who is mostly interested in stills, the R10 is a formidable bang-for-your-buck proposition. It's also unique in its class in offering stills and video that are ready to show directly on an HDR TV.

    Where it sits in Canon's lineup

    In Canon's RF-mount lineup the R10 is positioned above the touchscreen-driven Canon EOS R50 and below the more advanced and expensive Canon EOS R7.

    The R10 feels like the closest modern equivalent to the classic ‘Rebel/XX0D' DSLR line, and it's no slouch. It has a completely revised AF system with algorithms derived from those in the EOS R3, full-width 4K footage at up to 30p, and quality of life improvements like the introduction of twin dial controls, all notable additions to a sub-$1000 camera from Canon.

    The EOS R10 (top left) is a relatively small camera but the EOS R50 (lower right) is smaller and simpler still.

    Whereas the R50 feels like a smartphone on steroids and is very explicitly a successor to the popular M50 (it has a distinct lean toward a touchscreen-first UX and a slew of automatic creative mode and tools), the R10 feels like a true entry-level camera that doesn't discourage switching into manual. Over the R50, the R10 adds a second command dial, joystick, additional on-body buttons, an AF/MF switch, a faster burst rate and buffer, a faster mechanical shutter and support for faster memory cards, all in a larger body.

    Moving up the line, the R10 feels closer to the R7 but is dialed down in many ways. The R10 trims its pixel count to 24MP from the R7’s 33MP, and loses some of the functions more experienced photographers and videographers are likely to expect, such as image stabilization, Log video capture, a headphone jack, a second UHS-II SD slot and larger battery. For these enhancements, the R7 also costs nearly 50% more than the R10.

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    Body, handling and controls

    On my first few trips in the field for our extended testing, I was nervous about how light and plastic the R10 feels; I worried I'd be too rough on it and break it just walking about. But I must say, after spending a few months with the R10 and having it survived unscathed, I have come away impressed.

    The R10 retains some hands-on details from the R7, such as a dedicated AF/MF switch on the front of the camera and twin control dials along the top plate. But one of the costs of keeping the size down is the use of a smaller battery.

    Also missing from the body is a headphone jack. It is not surprising for an entry level camera to skip headphone (audio monitoring) support, but it does seem like an odd omission given that the R10 touts some very capable video specs for the home movie crowd.

    As you'd expect there's not even a claim of weather-sealing. Canon has sold countless thousands of non-sealed Rebels where this hasn't been an issue, but as always it comes down to how you plan to use the camera. Generally it just means putting your camera away when it starts raining.


    The hand grip feels comfortable and sturdy and the shutter button juts out a bit over the rest of the grip with a slight groove for the middle finger to rest upon. Sometimes with small cameras I feel the need to choke up my grip to reach certain buttons or to avoid having my knuckles brush up against the lens (I was using the 18-45mm F4.5-6.3 IS STM), but here I didn't face such an issue (for reference I wear large men's gloves) and felt there was plenty of room for all fingers and the thumb to rest comfortably.

    I found it easy to reach all buttons and dials from the hand grip without having to adjust my grip.

    Dials and buttons

    The R10 is loaded with automatic settings and creative modes, but this is also a camera that encourages users to take it out of auto and learn how to make images manually thanks to its physical buttons, switches and dials. All basic exposure settings can be accessed with on-body inputs: there's a dedicated ISO button, a switch to go between AF and MF, a joystick to control AF points, a dial for the index finger behind the shutter button and another for the thumb at the rear of the top plate.

    Twin dials are becoming more common as the entry level gets more sophisticated, but their feel is important, and these feel well designed, with a nice click to their action. Across the body everything feel sturdy, firm, nice to the touch and not cheap for a mostly plastic camera. Before long I was able to switch settings on the fly without ever taking my eye off the viewfinder.

    The R10 has a 'Mode guide' that attempts to tell users what each position on the mode dial does, but its explanations aren't especially clear. For a camera aimed at beginners, the menu system isn't as inviting to newcomers as it attempts to be. For more experienced users the 'mode guide' can be turned off.

    There are a few quality-of-life hindrances, such as the odd placement of the 4-way menu buttons that sit where your palm rests. On more than one occasion I accidentally hit one of these buttons and launched the Q Menu or changed the pop-up flash settings.

    There's also a lock button directly behind the front dial and next to the video record button that I repeatedly cursed after accidentally pressing on the way back from the shutter button. When shooting through the viewfinder I also found accidental thumb taps of the rear joystick resulted in hunts to discover which odd corner I'd banished the focus box to.

    Viewfinder and touchscreen

    The R10 has a 720 x 480 pixel 3.0" fully-articulated rear touchscreen, helpful for selfie shooting or to look down and shoot from the hip. Through the touchscreen users can select focus points, change settings, enter the Q Menu, enter and exit punch-in focus preview, re-center the focus box to the center of the screen and more.

    When using AF tracking modes (people, animal or vehicles), the touchscreen becomes vital to quickly tell the camera where to focus, including selecting the left eye or right eye when available. There's also the smartphone-like option to tap to fire the shutter, but this can result in refocus or shake and felt out of place on the R10.

    In a nod to accessibility, the font size for the screen menus can be cycled between standard and large.

    The viewfinder is a 2.36M dot OLED panel (1024 x768px). This one has a rather small 0.95x magnification (0.59x in equivalent terms). Canon tends not to give information about refresh rates but it felt reasonably responsive in use.


    Battery life is in line with others in this price range, not as good as the Canon EOS R7, but also not the worst. The compact LP-E17 battery has been used both in Rebel DSLRs and M-series mirrorless cameras before. It's rated to deliver 350 shots per charge using the rear screen and 210 via the viewfinder. These numbers are based on industry-standard tests and typically under-represent most people's experience but are generally comparable between cameras. We typically find we get around twice the quoted number; more if we're shooting bursts of images.

    As someone who uses the viewfinder a lot, I found I got around 200 shots per charge at first, when I was checking image focus in playback mode and exploring the menus, but this increased to nearer 400 shots once I'd set the camera up and was simply out and shooting.

    That's enough shots to use the camera for a day when you're out with family, but it's worth considering a second battery or a USB power bank or charger if you expect your needs to be more demanding.

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    Image quality

    Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

    Despite Canon's talk of a new sensor, the EOS R10's output looks a lot like that of its previous 24MP cameras, such as the EOS M50 II. This means it sits somewhere between the 26MP of the X-S10 and the 20MP of the Nikon Z fc, just as the pixel count would suggest. In (very) low light the Raw performance seems a little improved over its predecessors but still behind its immediate peers.

    As we've come to expect from Canon, the JPEG color is attractive. Pinks and reds are a little more saturated than its peers but otherwise its color is pleasing and punchy: the blues are very blue and yellows are strong without tipping towards green or orange. There are hints of oversharpening to the JPEG's default response, but it does a good job of looking detailed. Very fine detail gets a bit overwhelmed by the sharpening but you can adjust the parameters if you want a more subtle expression that shows everything the sensor is capturing (or just process the Raw file yourself).

    In lower light the noise reduction in the JPEGs smooths away a lot of the fine detail, but overall it's striking a reasonable balance between noise suppression and detail retention. If you primarily expect to use the JPEGs, the R10 does a decent job.

    Lens options

    It's worth noting that these images were shot with a very expensive prime lens, to minimize the impact of lens choice on the test images. The EOS R10 is available in kits with either a retractable RF-S 18-45mm lens or the significantly larger RF-S 18-150mm zoom with its more flexible range.

    These are some of the only RF-S lenses at present, and Canon is actively preventing other manufacturers from making RF lenses. There are some comparatively affordable RF lenses, designed for full-frame cameras, that will also work on the R10, but don't forget that the APS-C sensor in the R10 means the coverage of all lenses gets 'cropped in' by 1.6x. So a 35mm lens, which would be very slightly wide-angle on full-frame, would act like a 56mm equivalent: a slightly zoomed-in short telephoto.

    There's no guarantee that Canon will introduce many lenses that are a good match for the R10 (its record of supplying EF-S and EF-M APS-C lenses wasn't extensive). There are lots of lenses you can mount on the R10, including the option to adapt EF and EF-S DSLR lenses, but don't assume this means the lenses you might want as you grow are, or will be, available.

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    Autofocus & performance

    1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

    Burst rates

    The R10 packs a notable burst rate for an entry level camera. With 15fps in mechanical shutter mode (23fps in e-shutter) the R10 isn't a 'sports' camera you'll see at the Olympics, but is a capable beast at any middle school or high school sporting event. By comparison, its nearest competitors from Fujifilm and Sony tap out at 8fps and 11fps, respectively.

    For occasional sports and what I've come to call 'spray and pray' shooting, the R10 held up well with a SDXC UHS-I Card. There is a buffer limit of 460 JPEGs, but in Raw capture the R10 reaches its buffer limit in under 2 seconds, which results in a busy warning for about 3 seconds before it lets you burst 2-3 more images with another busy warning. Waiting about 5 seconds seems to clear the buffer for another 15fps burst.

    If the Raw buffer capture concerns you, the EOS R7 has a deeper buffer for Raw shooting, plus a 30fps e-shutter mode, so is probably the better camera for action. The R10 is not a sports camera, nor is it trying to be.


    One of Canon's main advancements with the R10 is its claim of an AF system that borrows from the EOS R3's AF tracking system. Specifically, it gains subject recognition modes allowing it to reliably identify and track humans, animals or vehicles. In the case of humans and animals, the camera has been trained to focus on the eye (you can tell the camera to prioritize the left or right eye), and in vehicle mode there's a 'spot focus' option that lets you prioritize the rider of a motorbike or the helmet of a driver in open-wheel racing cars.

    You can select the AF area size/shape through the main menu or via the Q menu (shown above). Pressing the 'Info' button toggles tracking on and off. The control for selecting which subjects the camera looks for is at the lower right of the Q menu.

    Activating the AF tracking system is as simple or as complex as one chooses. At its most basic, you choose the size and shape of the AF area you wish to use, from a small, movable spot to a 'Whole Area AF' that covers essentially the entire frame (letting the camera choose the subject). You then have the choice of whether the camera should attempt to track the subject you're pointing at or keep focusing in the same place, even if the subject moves.

    The camera can detect People, Animals (including cats, dogs and birds) or Vehicles (specifically motorsports cars and motorbikes).

    Beyond this, you can decide if you want the camera to use its subject recognition modes and, if so, which type of subject to look for. With one of these engaged, the camera will still focus on the area you ask it to, but if a recognized subject is in (or immediately next to) your selected area, the camera will track it.

    There are a variety of other options to fine-tune AF behavior, including the complex system from Canon's pro bodies (which is probably best left on 'Auto' unless you know exactly what you want the camera to do), plus an option to adjust how readily the camera switches between recognized subjects.

    Autofocus performance

    In my testing I found the new system to be quick and fairly accurate. With eye, face or object tracking enabled in photo mode, I was able to let the AF quickly lock on, and for the most part it did a good job of tracking pets, people in motion and passing cars. Once I'd told the camera what to track it did an admirable job holding focus, even when the subject moved or something moved in front of or behind the subject.

    I found 'People' to be the most effective subject recognition mode, and the 'Animal' mode less dependable, particularly for birds.

    RF-S 18-45mm F4.5-6.3 IS STM @ 18mm | ISO 3200 | 1/40 sec | F4.5
    Photo: Shaminder Dulai

    Generally I found 'People' AF to work best. Bird detection, in contrast, worked less well, especially if the bird in question was in profile.

    When photographing people, I can attest that the AF, in photo mode at least, held focus and tracked the selected subject, even when they turned their head away to break eye contact, walked toward or away from the camera and had other people cross in front of them at the same time they looked away. This left me confident it would do well with children at birthday parties or soccer (/football) matches.

    AF in video

    As great as I found the new AF system to be, it does come with a large asterisk: it doesn't hold focus nearly as well in video mode.

    AF in video mode worked well when there was little to no motion and a clear point of contrast, but it struggled in low light, in scenes with low contrast, when there was motion from the subject or the camera, when others entered and exited the frame or when the subject (people or animal) isn't looking at the camera. In other words, it might be fine for recording yourself in selfie mode (your arm's length is a constant focal distance even if you are moving), but it quickly becomes unreliable when asked to track a moving subject.

    In animal detection mode the video AF tracking got worse. I tested it on my cat in our kitchen, and animal AF struggled to follow him when he looked away or when he moved around the room, bouncing from his face to a round water bowl to a chair before just giving up, until I tapped the touch screen on his face again to reset the AF on the right thing.

    AF conclusion

    Overall, the AF system is simple and easy to use with the touchscreen, and it performs reliably in stills mode. Video and stills AF tracking are typically completely different beasts, and even in different modes (animal vs. people) you'll find that video AF reliability varies.

    On the other hand, I found the AF menu(s) for settings to be a stumbling point within the system. I would have liked to see Canon implement some better UX design with these menus; it feels odd to have so many menu options and pages controlling AF tracking (Tracking On/Off, Subject to detect, Eye detection, Switching tracked subject). It would have been nice to see a single menu option for all these options, with the other items under it in sub-menus, to indicate that they all work together. This is, perhaps, a minor issue, but why make your entry level camera harder to use for beginners, (or even experienced users) given how critical AF tracking systems in cameras are?

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    The R10 is very capable with video, despite the AF reliability issues mentioned above, the lack of IBIS and some rolling shutter. The camera uses the full width of its sensor to capture UHD 4K/30p, and it is the only one in its class to offer 4K/60p, albeit with a significant (1.56x) crop down to what appears to be a native 3840 x 2160 pixel region of the sensor. That crop will make it more difficult to get a wide-angle shot and, combined with the shorter exposures you'd want to use for 60p capture, will give a significantly noisier result.

    For vloggers and social media creators, the camera touts its fully-articulated screen and one-press ability to start recording video from photo mode. The R10 is the only camera in its class to have straight-out-of-camera HDR, which can be displayed on an HDR TV over an HDMI cable or uploaded to YouTube.

    It's worth noting that the R10 has two distinct video modes with the term 'HDR' in the name, and they give very different results. The 'HDR movie' option that you are offered when you turn the mode dial to movies captures a wide dynamic range for playback on a standard display, while the 'HDR PQ' mode (that you can't access from 'HDR Movie' mode) is a 'true' HDR mode that also turns on Highlight Tone Priority to capture extra highlights, then outputs them in a 10-bit, HDR space.

    Having two wildly different modes called similar things on a beginner/intermediate camera is not ideal.

    To produce a file that HDR displays and YouTube uploads will recognize as HDR, the 'HDR PQ' setting must be activated. Setting the video to 'HDR mode' recording does not produce such a file.

    Footage is clean and crisp with attractive colors right out of camera. Only the previously mentioned issues with AF tracking and a tendency to rolling shutter present any issues.

    When locked down, or with more controlled movement, the R10 produces beautiful footage, with pretty smooth slow-motion 120fps Full HD footage played back at 24 fps. Basically, if you can resist the '80s dad' habit of quickly panning all over the place, or avoid running and gunning, and have limited interest in video post-production, then you'll be a happy camper with plenty of usable footage.

    As mentioned, the R10 doesn't include Log video capture, which is reserved for the R7. Everything about the R10 is built around the idea that footage is ready out of camera and users aren't meant to post-process and edit footage. And it actually looks pretty good (for best results, watch the above YouTube video on an HDR monitor).


    What we like What we don't
    • Beginner/casual friendly but with manual capabilities
    • Good IQ which improves with better lenses
    • 10-bit HDR PQ video and HEIF photo support, with video files viewable straight from camera via HDMI
    • AF tracking is accurate and reliable in stills modes
    • Menus attempt to remove video options from stills mode and vice versa
    • 4K/60p video in a sub-$1000 camera
    • Lack of RF-S lenses at the present time
    • AF tracking for video is unreliable
    • Significant rolling shutter in full-width 4K mode
    • Mode guides are half-baked and not friendly for the beginner audience they are designed for
    • Easy-to-confuse HDR recording modes for both stills and video
    • Menus that suffer from tech bloat

    The R10, like its mid-level peers, is trying to answer the question of how to make a dedicated camera relevant in a smartphone world. Is it worth carrying around what may be an awkward and bulky device that does what your phone already does? Having used the R10, we'd say 'Yes.'

    The ability to take control over your shutter speed, use AF tracking, or mount a telephoto lens – if you're taking pictures of wildlife or your kid's soccer game – are all reasons to embrace the R10. But more fundamentally, you're buying a device that gives you control over your images and makes you feel you are playing an active part in the creative process, rather than hitting a circle on the bottom of your phone's screen.

    The R10 is easy to use for beginners and its simplicity makes it a quick tool to start shooting and having fun. Many of its most complex menu items are presented with descriptions aimed at newcomers; for example, the AF system uses icons and short text to give information in multiple ways. In particular, the simple and dependable AF system makes the R10 easier to get results from than many of its peers.

    If you're a casual to intermediate photographer or videographer, someone who mostly makes images on vacation, birthday parties, family portraits or youth sports, the Canon EOS R10 is a very capable camera that can grow with you, offering the flexibility and potential to step up your photography game. If that sounds like you, give the R10 a good look. But if you're looking for a camera to 'grow into,' it's worth checking if the lenses you might want are available.


    Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

    Canon EOS R10
    Category: Mid Range Interchangeable Lens Camera / DSLR
    Build quality
    Ergonomics & handling
    Metering & focus accuracy
    Image quality (raw)
    Image quality (jpeg)
    Low light / high ISO performance
    Viewfinder / screen rating
    Movie / video mode
    Users looking to learn the craft of photography and video, not break the bank in the process and want a no-fuss fun camera to tool around town should give the R10 a serious look, but be aware of the availability (or otherwise) of lenses.
    Good for
    Beginners to intermediates and anyone with interest in casual HDR video
    Not so good for
    Sports photographers or for capturing video intended for editing
    Overall score

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    Sample gallery

    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.

    Pre-production sample gallery:

    All images shot using a pre-production Canon EOS R10.

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    Why should you trust us?

    Our reviews are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

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