After almost nine years, Sony has finally brought back the RX10 series with the new Sony RX10 V. The RX10 IV had become one of those cameras that developed a huge following over the years. Travelers loved it, wildlife photographers swore by it, and plenty of people appreciated having a single camera that could go from a wide 24mm landscape shot all the way to a 600mm telephoto without ever changing lenses. The RX10 V keeps what made the previous model so popular. It still uses the excellent 24-600mm equivalent f/2.4-4 ZEISS Vario-Sonnar T* lens together with Sony’s familiar 20.1MP 1-inch stacked Exmor RS sensor. The big difference is everything around it. Sony has essentially modernized the entire camera by bringing over technology from its latest Alpha mirrorless lineup. I’ve spent quite a bit of time going through hands-on reports, reviews, and sample galleries from dozens of photographers and reviewers to see whether this camera actually lives up to the hype + I also had some own hands on experiences myself. Here’s everything you need to know before buying it. Who Is the Sony RX10 V For? The RX10 V is still a premium bridge camera. That means you get a permanently attached lens instead of interchangeable lenses, but in return you get an incredibly versatile zoom range. The 24-600mm equivalent lens covers almost every situation you could realistically encounter. Landscapes, architecture, portraits, sports, wildlife, birds, aviation…it’s all possible without carrying multiple lenses. Unlike cheaper bridge cameras that rely on tiny sensors, Sony uses a much larger 1-inch sensor, which gives noticeably better image quality, dynamic range, and low-light performance. Sony is clearly targeting people who want one camera that can do almost everything. It’s especially suited for: Wildlife photography Bird photography Travel Sports Aviation Nature photography General outdoor shooting Hybrid photo and video creators The biggest downside is the price. At $2,299, it certainly isn’t cheap for a fixed-lens camera. However, considering inflation and everything Sony has added over the RX10 IV, the pricing isn’t quite as outrageous as it first appears. Design & Build Quality The RX10 V feels much more like one of Sony’s modern Alpha cameras than the older RX10 IV. The body is slightly larger and heavier, measuring 136.4 × 94.5 × 151.3 mm and weighing 1,111g including the battery and memory card. It’s definitely not pocket-sized, but that’s expected considering the huge zoom lens. The new grip is noticeably deeper, making the camera much more comfortable to hold, especially when you’re shooting at 600mm for longer periods. One of the biggest improvements is finally getting dust and moisture resistance, something RX10 users had been asking Sony for ever since the RX10 IV. Sony has also completely redesigned the controls. You now get: AF joystick Dedicated AF-On button Better customizable controls Improved command dials Cleaner Alpha-style button layout Sony also removed the built-in flash and the small top LCD display. Personally, I don’t think most people will miss either of them, especially considering the cleaner layout. Around the side you’ll find: USB-C Micro HDMI Microphone input Headphone jack The lens still has a 72mm filter thread, so adding ND filters or polarizers is straightforward. Viewfinder & Screen The electronic viewfinder receives a very welcome upgrade. Instead of the older EVF, you now get a 3.68-million-dot OLED finder with 0.78x magnification, making it much sharper and easier to use. The rear display is a 3-inch 1.62-million-dot touchscreen. The only disappointment here is that it still only tilts up and down. I really wish Sony had gone with a fully articulating screen, especially considering how video-focused this camera has become. Specifications 20.1MP 1-inch stacked Exmor RS CMOS sensor ZEISS Vario-Sonnar T* 24-600mm equivalent f/2.4-4 lens 25x optical zoom Optical Image Stabilization BIONZ XR processor Dedicated AI processing unit 575 phase detection AF points Real-time Recognition Autofocus Up to 30 fps electronic shooting 10 fps mechanical shooting ISO 100-12,800 3.68M-dot OLED EVF 3-inch tilting touchscreen 4K 60p full-width 10-bit recording 4K 120p (cropped) Full HD up to 240 fps Single UHS-II SD card slot NP-FZ100 battery USB-C Wi-Fi Bluetooth Dust and moisture resistance Image Quality The image quality will feel very familiar if you’ve used the RX10 IV. That’s because Sony is using essentially the same 20.1MP stacked 1-inch sensor. Thankfully, that isn’t necessarily a bad thing because it was already an excellent sensor. Photos remain detailed, sharp, and produce pleasant colors with good dynamic range for this sensor size. Where I did notice an improvement is in the JPEG processing. Thanks to the newer BIONZ XR processor: Colors look slightly more refined Skin tones appear more natural Noise reduction is less aggressive JPEGs generally look cleaner straight out of camera The biggest limitation is still the sensor size. Up to around ISO 800, image quality stays excellent. ISO 1600 is still perfectly usable. Beyond that, you start seeing noticeably more noise and softer detail as the camera’s noise reduction kicks in. RAW shooters obviously have a bit more flexibility, especially if you’re using modern AI denoise software, but don’t expect APS-C or full-frame performance in difficult lighting. Lens Performance The biggest reason people buy an RX10 remains the lens. The 24-600mm equivalent ZEISS lens is still incredibly impressive considering the enormous zoom range. Sharpness is excellent through most of the range. The sweet spot is definitely between 24mm and around 300mm, where the lens delivers consistently sharp results. At the full 600mm end, things soften a little, which is completely expected, and atmospheric haze becomes more noticeable over long distances. Even so, the lens performs remarkably well considering what it’s capable of. Macro performance is another pleasant surprise. You can focus extremely close, making it useful for flowers, insects, textures, and product photography without needing a dedicated macro lens. Autofocus Performance This is easily one of the biggest upgrades over the RX10 IV. Sony has brought over its latest Real-time Recognition Autofocus, powered by both the BIONZ XR processor and a dedicated AI chip. You now get subject recognition for: Humans Animals Birds Insects Cars Trains Airplanes The camera uses 575 phase-detection points, covering around 70% of the frame. In good light, autofocus is genuinely excellent. Subject tracking feels much closer to Sony’s current Alpha cameras than previous RX10 models, especially when photographing birds, wildlife, or sports. It’s not flawless though. Like many reviewers found, autofocus can still struggle in: Low light Busy backgrounds Small, fast-moving subjects Some insect photography One thing I also noticed is that manually zooming quickly with the zoom ring can occasionally interrupt autofocus tracking. The electronic zoom rocker tends to produce smoother results. Continuous Shooting The RX10 V is significantly faster than its predecessor. You now get: 30 fps using the electronic shutter 10 fps using the mechanical shutter The electronic shutter is blackout-free, making it much easier to follow fast-moving subjects. Sony has also added a Speed Boost function that can be assigned to a custom button, letting you instantly switch to maximum frame rate when the action starts. For wildlife and sports photographers, this is genuinely useful. Image Stabilization The optical stabilization built into the lens remains excellent. Combined with Sony’s improved processing and Active Mode for video, handheld shooting at long focal lengths is surprisingly manageable. No, there isn’t in-body image stabilization, but honestly, the optical stabilization performs well enough that I rarely found myself wishing for IBIS. Video Performance Sony made some major improvements here. The RX10 V now records: Full-width 4K 60p 10-bit 4:2:2 4K 120p (cropped) Full HD 240 fps You also get: S-Cinetone S-Log3 User LUT support Active Stabilization Auto Framing Shot Marks Time-lapse modes For audio, Sony includes: Microphone input Headphone output Multi Interface Shoe support There’s even 4K live streaming support. Compared to the RX10 IV, this is a massive step forward for anyone shooting both photos and video. Battery Life Battery life is another area where Sony made a significant improvement. Instead of the smaller battery from the RX10 IV, the new camera uses the NP-FZ100, the same battery found in many Alpha cameras. Sony rates it at approximately: 630 shots using the LCD 570 shots using the EVF In real-world use, you can often exceed those numbers depending on how you’re shooting. USB-C charging and power delivery are also supported. Real-World Performance Wildlife & Bird Photography This is where the RX10 V really shines. Having a built-in 600mm lens, fast autofocus, 30 fps shooting, and good stabilization makes it one of the easiest cameras to recommend if you don’t want to carry a massive telephoto setup. As long as you’re shooting in decent light, it performs exceptionally well. Travel Being able to shoot everything from landscapes to distant wildlife without swapping lenses is incredibly convenient. It’s not exactly lightweight, but it’s still much easier to travel with than a mirrorless body plus several lenses. Sports The combination of fast autofocus and 30 fps continuous shooting makes it a very capable sports camera, provided you’re not shooting in extremely poor lighting. Hybrid Photo & Video This is probably the biggest improvement over the RX10 IV. If you regularly switch between photos and video, the RX10 V is a much more complete package. Sony RX10 V vs RX10 IV If you already own the RX10 IV, here’s what actually changed. The lens and sensor are essentially the same. Everything else feels newer. The RX10 V offers: Much better autofocus Faster burst shooting Better battery life Improved video features Better viewfinder Better ergonomics Weather sealing New processor AI subject recognition If those improvements matter to you, it’s a very worthwhile upgrade. Pros Fantastic 24-600mm ZEISS lens Excellent autofocus with AI subject recognition Fast 30 fps shooting Great battery life Improved ergonomics Excellent electronic viewfinder Very capable video features Weather sealing Strong macro performance Cons Expensive 1-inch sensor still limits low-light performance Autofocus isn’t perfect in difficult lighting Slow startup time Rear screen only tilts No built-in flash Single SD card slot Zoom ring can occasionally interfere with autofocus Should You Buy the Sony RX10 V? If your biggest priority is versatility, I honestly don’t think there’s a better bridge camera available right now. The combination of a sharp 24-600mm lens, modern autofocus, excellent video features, solid battery life, and weather sealing makes it an incredibly capable all-in-one camera. That said, the 1-inch sensor is still the limiting factor. If you regularly shoot in very low light or you’re chasing the absolute best image quality, an APS-C or full-frame mirrorless setup will still outperform it. Likewise, if you need more than 600mm of reach, cameras like Nikon’s P1100 offer far more zoom, although with a noticeable drop in image quality, autofocus, and overall performance. For anyone who wants one camera that can comfortably handle travel, wildlife, sports, landscapes, and video without constantly changing lenses, the RX10 V is incredibly easy to recommend. Final Verdict Sony didn’t reinvent the RX10 series, they modernized it. By keeping the excellent 24-600mm ZEISS lens and proven 1-inch stacked sensor while adding the latest autofocus system, a faster processor, much stronger video features, better ergonomics, weather sealing, and a significantly larger battery, Sony has turned the RX10 V into a genuine next-generation upgrade. It’s certainly not cheap, and the sensor still has its limits in low light, but that’s really the trade-off you make for having this much versatility in a single camera.

credits: Pergear Pergear’s new 50mm f/1.4 manual focus lens for full-frame mirrorless cameras is here, offering a compact, all-metal option for Sony E, Nikon Z, Canon RF, and L-Mount users. Measuring just 66mm in diameter and 43.5mm in length, the lens weighs approximately 255g, making it one of the more compact full-frame 50mm f/1.4 lenses available. The lens features a traditional manual-focus design with a dedicated focus ring, a clicked aperture ring, and a built-in depth-of-field scale, giving you a classic hands-on shooting experience while remaining compatible with modern mirrorless cameras. On the inside, the lens uses a 6-element, 6-group optical design with AR coating to help reduce flare and improve contrast. It has an aperture range of f/1.4 to f/16, controlled by a 12-blade diaphragm that’s designed to produce smooth, rounded out-of-focus highlights. According to Pergear, the wide f/1.4 aperture is intended to deliver strong subject separation and soft background blur, especially for portraits and low-light photography. The minimum focusing distance comes in at 0.6m, and the lens uses a standard 52mm filter thread while providing a 46° angle of view. The Pergear 50mm f/1.4 is available for Sony E, Nikon Z, Canon RF, and L-Mount cameras and is priced at $129.

credits: Panasonic Panasonic has released a new Firmware Version 2.0 update for four of its Lumix S lenses, bringing a small but useful change for photographers using the latest Lumix S cameras. The update is available for the Lumix S 14-28mm f/4-5.6 Macro, S 18-40mm f/4.5-6.3, S 28-200mm f/4-7.1 Macro OIS, and S 70-300mm f/4.5-5.6 Macro OIS. Rather than improving image quality or autofocus performance, Panasonic is changing how the focus ring can be used. With the new firmware installed, you can now assign a custom function to the focus ring when shooting in autofocus mode, effectively turning it into a function ring. Panasonic also lets you change the rotation direction of the ring, making it easier to match personal preference or maintain consistency with other lenses. These new features only work on compatible camera bodies, including the Lumix S1 II, S1 IIE, S1R II, S5 II, S5 IIX, and S9. If you are using an older Lumix S camera, the focus ring will continue to work as it always has. As with previous Panasonic lens updates, the firmware cannot be installed directly onto the lens. Instead, the lens must be attached to a compatible camera body, and Panasonic recommends updating the camera firmware first before installing the lens update. The company also notes that teleconverters should be removed during the update process.

Sony has reportedly made a major offer to acquire Tamron, one of Japan’s largest lens manufacturers and the company behind more than 20 lenses for Sony’s E-mount mirrorless system. According to an exclusive report from Japanese publication Diamond, Sony Group has offered 200 billion yen to buy Tamron outright. At current exchange rates, that is roughly $1.2 billion USD. From Sony’s perspective, there are plenty of reasons why the deal would make sense. Tamron has become one of Sony’s closest partners over the years, producing a wide range of affordable, well-regarded E-mount lenses for both APS-C and full-frame cameras. That strong third-party lens ecosystem has been one of Sony’s biggest advantages in the mirrorless market, giving photographers a huge selection of lenses across almost every price range. It also lets Sony concentrate more on developing premium G and G Master lenses, while Tamron fills many of the lower and mid-range gaps. It’s a partnership that has worked well for both companies. The deal could have a much wider impact than just Sony, though. While E-mount has always been Tamron’s biggest focus, the company also develops lenses for Nikon Z, Fujifilm X, and other camera systems. On top of that, Tamron manufactures OEM lenses for several brands. Nikon’s Nikkor Z 17-28mm f/2.8, 28-70mm f/2.8, and 70-180mm f/2.8 are all widely believed to be produced by Tamron. The company has also said that nearly half of all the photographic lenses it manufactures are sold under another company’s brand name. If Sony were to complete the acquisition, it would gain considerable influence over how Tamron supports competing camera systems. Whether that would lead to fewer lenses for rival mounts or simply business as usual remains unknown. The news has already generated plenty of discussion online, and the overall reaction has been cautious. Many photographers are worried that losing Tamron as an independent company could reduce competition, lead to higher lens prices, and slow the development of affordable third-party options. Others are particularly concerned about what it could mean for Nikon, Fujifilm, and other systems that currently benefit from Tamron’s support. On the other hand, some people see a Sony acquisition as the lesser of two evils. With a private equity firm now holding the largest stake in Tamron, several people argue that Sony at least has a genuine long-term interest in keeping the company healthy and continuing to develop lenses, whereas a financial investment firm may be more focused on maximising short-term profits. For now, however, it is important to remember that nothing has been confirmed. Even if Diamond’s reporting is accurate, acquisitions of this size can still fall apart before a final agreement is signed.

photo by: @walterleung Let’s Analyse this Photo Composition & Framing What works well: The street pretty much runs perfectly through the centre, creating a very strong vanishing point that naturally pulls your eye all the way in. The person with the umbrella is placed exactly in the middle of that central corridor + the empty wet road surrounding them isolates them → all this immediately establishes them as the main subject. The rows of market stalls on both sides work like leading lines, they funnel your attention inward before the tall apartment buildings continue carrying your eye toward the bright opening in the background. Depth is my favourite part. We first have the foreground market stalls, then the person, followed by the repeating stalls stretching very deep into the distance, then the apartment blocks, the hazy hillside in the background and finally the bright overcast sky. The photo just has tremendous depth. The repeating balconies, windows and air-conditioning units add rhythm and complexity without becoming too chaotic. They also reinforce the dense look that Hong Kong is so well known for. I also like how the buildings to create a sort of canyon. They naturally frame the street and make the person feel even smaller, emphasising the scale of the city. What could be better: The brightest part of the sky is completely blown out. While yes, it helps create separation from the buildings and adds to the mood, recovering some highlight detail would make the transition between the skyline and the buildings much smoother. The subject is very centrally placed. That suits the symmetry well, but it is nothing ‘groundbreaking’ i think we have all seen this exact composition with that famous Hong Kong market, from the same vanishing point, many times before. The left building (buildings) wrapped in green construction netting catches the eye pretty fast because of its unusual colour. It fits the environment, but it also slightly distracts from the otherwise very neutral palette, so a slight desaturation there could help. Some of the darker buildings lose detail because of the heavy shadows, making parts of the architecture blend together. Light & Atmosphere What works well: The combination of rain, wet pavement and fog creates an nice cinematic mood. The wet road reflects the soft daylight beautifully, forming a natural spotlight around our subject. It, again, immediately separates them from the darker surroundings. The haze gradually reduces contrast toward the distance, making the city feel larger than it actually is. What could be better: The sky is very bright compared to the rest and slightly dominates the upper portion (that runs the risk of the viewer’s attention going up too soon). As touched on before, some shadow areas inside the buildings become very dark, hiding interesting architectural detail that could still contribute to the overall scene. Colour & Tone What works well: The colour palette suits the weather, the cool blue-grey tones reinforce the rainy atmosphere. The restrained colours allow the composition, depth and mood to become the main focus. What could be better: The colours are intentionally subdued, but some of the buildings merge together tonally because they all sit within a similar grey range. A little more local contrast could separate them better. Balance What works well: The photo is very well balanced overall, mostly thanks to the natural symmetry that is already there. The bright road acts as a visual spine running through the centre, holding the entire composition together. Although the architecture is pretty busy, the empty road gives enough breathing room, preventing the photo from feeling overwhelming. What could be better: The left side carries a bit more visual weight because of the large green construction netting. It stands out quickly compared to the more neutral right side. The bright sky also competes a little with our subject. Reducing those highlights slightly would keep even more attention on the person with the umbrella.

The 7Artisans AF 10mm f/2.5 MAX was originally expected to launch on July 28, but despite that date coming and going, the company has yet to officially announce the lens. While there has been no explanation for the delay, several leaks have surfaced over the past couple days, giving us a fairly good idea of what to expect once it finally arrives. The upcoming lens is expected to be a full-frame autofocus fisheye with an ultra-wide 10mm focal length and a bright f/2.5 maximum aperture. It will reportedly deliver a 185-degree angle of view, making it well suited for creative photography, immersive landscapes, architecture and even astrophotography. According to the leaked specifications, the optical design consists of 11 elements arranged in 8 groups, including two extra-low dispersion (ED) elements and one aspherical element to help reduce distortion, chromatic aberration, and other optical imperfections as much as possible for a fisheye design. The lens is also expected to feature a 9-blade aperture diaphragm, allowing it to produce 18-point sunstars when stopped down. Autofocus will be handled by a silent STM stepping motor, which should provide fast and quiet focusing for both still photography and video recording. The lens apparently also has a dedicated AF/MF switch, an aperture ring, and firmware update support. One particularly impressive spec is the minimum focusing distance of just 0.15 meters, allowing you to get very close to subjects while exaggerating perspective in the way fisheye lenses are known for. Despite covering a full-frame sensor, the lens is expected to remain relatively compact. Leaks talk of a full-metal construction with a weight of around 510 grams. The 7Artisans AF 10mm f/2.5 MAX will launch for Sony E, Nikon Z, and Leica L mounts. For now, though, the biggest question is when it will actually be announced.

Venus Optics has announced the new Aksen Ultra Macro Series, introducing two full-frame macro zoom lenses that push magnification well beyond what most photographers are used to. The lineup includes the Aksen 45mm f/2.8 1–5x Ultra Macro APO and the Aksen 17.5mm f/1.7 5–10x Ultra Macro APO, with the latter being the first commercially available 5-10x ultra macro zoom lens. Both lenses are designed for extreme close-up photography, but one of their biggest selling points is that they are parfocal. That means focus stays locked as the magnification changes, so you do not have to constantly refocus while zooming. The lenses also maintain a fixed working distance throughout the zoom range, with the 45mm offering 40.35mm and the 17.5mm 22.48mm, while the internal zoom mechanism keeps the physical length of the lens unchanged. Venus Optics says both lenses have been designed to deliver excellent optical quality despite operating at such high magnifications, where chromatic aberration often becomes much more noticeable. The Aksen 45mm f/2.8 1–5x Ultra Macro APO uses 13 elements in 9 groups and features an 11-blade aperture with an aperture range from f/2.8 to f/11. It accepts 56mm front filters, while the PL mount version also supports 37mm rear filters. The lens measures 70.2 × 121mm and weighs 599 grams. The more unusual Aksen 17.5mm f/1.7 5–10x Ultra Macro APO is built from 17 elements in 12 groups and also uses an 11-blade diaphragm, although its aperture range runs from f/1.7 to f/5.6. It accepts 42mm front filters, measures 70.2 × 127.5mm and weighs 570 grams. One feature unique to the 17.5mm lens is a built-in coaxial optical system, a technology more commonly found in industrial machine vision equipment. According to Venus Optics, this design provides more even, shadow-free illumination while increasing edge contrast, making it particularly useful for photographing very small subjects at extreme magnifications. Both lenses ship with a specially designed tripod collar that mounts directly to Arca-Swiss compatible tripod heads. They also include 15mm support rods for attaching additional accessories, while the 17.5mm lens comes with an 8mm Coaxial Light Adapter as standard. The new Aksen Ultra Macro Series will be available for Arri PL, Sony E, Nikon Z, Canon RF, Leica L, Canon EF, Fujifilm X, and Micro Four Thirds mounts. Both lenses can be purchased in either a photography or cinema version. The photography models are priced at $749, while the cinema versions cost $1,499. A few sample shots:

The Panasonic Lumix S9 arrived in mid-2024 as one of the most talked-about full-frame mirrorless cameras in years. Positioned as a deliberately stripped-down, social-media-first alternative to the larger S5 II, it packs the same 24.2-megapixel full-frame sensor and strong video engine into a rangefinder-style body that is dramatically smaller and lighter. Available in multiple colors and priced aggressively around $1,499 / £1,499 body-only at launch, the S9 targets content creators, travelers, vloggers, and hybrid shooters who want full-frame image quality without the bulk of traditional DSLR-shaped bodies. What Is the Panasonic Lumix S9 and Who Is It For? Panasonic designed the S9 around a simple idea: many modern creators want the shallow depth of field, low-light performance, and dynamic range of a full-frame sensor, but they do not want (or need) a large grip, electronic viewfinder, dual card slots, or mechanical shutter. The company took the core imaging and video technology from the highly regarded S5 II and placed it in a flat, compact chassis measuring roughly 126 × 74 × 47 mm and weighing about 486 g with battery and card. That makes it one of the smallest interchangeable-lens full-frame cameras on the market, comparable in size and weight to the Sony ZV-E1 but with higher stills resolution. The target audience is clear from the feature set. Real Time LUTs with a dedicated button, MP4 Lite recording optimized for fast smartphone transfer, Open Gate 6K video that can be reframed for vertical or horizontal social formats, strong in-body stabilization, and tight integration with the Lumix Lab app all point toward shoot-edit-share workflows measured in seconds rather than hours. Photographers who prioritize an electronic viewfinder, weather sealing, or long continuous stills shooting will find more suitable options elsewhere. Hybrid creators who value portability and creative color tools will find a lot to like. Design, Build Quality, and Color Options The S9 abandons the traditional DSLR form factor that defined earlier Lumix S bodies. It adopts a rangefinder-inspired, flat-front design with rounded edges and a faux-leatherette wrap available in multiple finishes (Jet Black, Crimson Red, Dark Olive, Classical/Night Blue, and later additional colors such as Sakura Pink, Mint Green, and others). The look is stylish and distinctive; many reviewers noted that it stands out from the usual black plastic cameras and feels more like a lifestyle product. Build quality is solid for the price and size, though it is primarily plastic rather than magnesium alloy. There is no weather sealing, a point repeatedly raised as a limitation for outdoor or travel use in unpredictable conditions. The top plate carries a mode dial, shutter release with surrounding control dial, exposure compensation button, and a dedicated movie record button. A cold shoe sits on top for accessories (microphones, lights, or monitors), but there are no electrical contacts or hot-shoe pins, so traditional flash units and certain dedicated mics will not communicate fully. The rear is dominated by a fully articulating 3-inch, 1.84-million-dot touchscreen. There is no electronic viewfinder of any kind, and no option to attach an optional EVF. A modest thumb rest provides some purchase, but the lack of a pronounced front grip is one of the most frequently criticized aspects. With small pancake-style or compact prime lenses the camera feels balanced and pocketable (or at least jacket-pocketable). Attach anything larger, such as the 20-60 mm kit zoom or a standard 50 mm prime, and the setup becomes noticeably front-heavy. Many reviewers recommended third-party L-shaped grips (SmallRig and similar) to improve handling for longer sessions. Overall dimensions and weight put the S9 in rare company among full-frame cameras. It is substantially smaller and lighter than the S5 II (which is roughly 50 % heavier and significantly bulkier). In practice this translates to a camera that is far more likely to be carried every day rather than left at home. Handling, Controls, and Ergonomics Ergonomics are the area where the S9 makes the biggest compromises in the name of size. Without a front grip, one-handed shooting is uncomfortable for extended periods, especially with longer or heavier lenses. The control layout is simplified: there is no joystick for AF-point selection, no second command dial on the rear in the traditional sense, and fewer customizable buttons than on higher-end Lumix bodies. A rear control wheel and the top dial handle most adjustments. The dedicated LUT button is a highlight for creators who switch looks frequently. The fully articulating screen is responsive and sharp, making it excellent for vlogging, low-angle, or high-angle work. In bright outdoor light, however, it can be difficult to see clearly, subtle differences between LUTs become hard to judge without shade or a higher-brightness setting. Touch AF and menu navigation work well, and the Q menu is customizable. Menu structure follows familiar Panasonic logic. New users coming from smartphones or simpler cameras may need a short learning period, but experienced Lumix shooters will feel at home. Firmware updates have improved subject-detection priorities and other refinements, making the interface more flexible over time. Key Specifications at a Glance Sensor: 24.2 MP full-frame BSI CMOS (same generation as S5 II) Lens mount: Leica L Image stabilization: 5-axis IBIS, up to 5 stops body-only / 6.5 stops with Dual I.S. 2 compatible lenses Autofocus: Hybrid phase-detection + contrast, 779 points, human/animal/vehicle subject detection Continuous shooting: Up to 30 fps electronic shutter (no mechanical shutter) ISO: 100–51 200 native, expandable 50–204 800 Video: 6K Open Gate 30p, 4K 60p (with crop at higher frame rates), Full HD 120p, 10-bit internal, V-Log, Real Time LUTs Screen: 3.0-inch fully articulating touchscreen, 1.84 million dots Viewfinder: None Storage: Single UHS-II SD card slot Battery: DMW-BLK22, CIPA-rated approximately 430–470 shots Connectivity: Wi-Fi (2.4/5 GHz), Bluetooth 5.0, USB-C, micro-HDMI, 3.5 mm microphone Dimensions / weight: 126 × 73.9 × 46.7 mm / ~486 g (with battery and card) Launch price: $1,499 / £1,499 body-only These numbers place the S9 as an aggressively priced full-frame option with a clear emphasis on video and creative workflows over traditional photography features. Sensor, Image Quality, and Still Photography Performance The heart of the S9 is the same 24.2 MP full-frame sensor found in the S5 II. Reviewers consistently praised the stills output for excellent detail, natural color rendition, and strong dynamic range in everyday conditions. JPEG processing is clean at low to moderate ISOs, with effective noise reduction that preserves fine detail better than many competitors at mid-range sensitivities. Raw files offer good latitude for processing, though the absence of a mechanical shutter means 12-bit readout in some scenarios and slightly higher read noise than dual-shutter designs. Shadow recovery is solid but not class-leading for high-contrast landscape work. High-ISO performance is a clear strength of the full-frame sensor. Images remain usable well into the 6400–12 800 range for social media and web use, with noise that is finer and more film-like than typical APS-C results. Dynamic range in V-Log and standard profiles is competitive; many tests showed 13–14+ stops under controlled conditions, giving creators flexibility in post or when applying LUTs in-camera. The High Resolution mode (pixel-shift composite) can produce 96 MP equivalent files for static subjects, useful for product or architectural work when a tripod is available. Continuous shooting reaches 30 fps with the electronic shutter, though buffer depth and rolling-shutter distortion limit its usefulness for fast action. For portraits, street, travel, and everyday stills the S9 delivers image quality that looks far more expensive than its size suggests. Color science is a Panasonic highlight. Standard Photo Styles are pleasant out of camera, and the expanded Real Time LUT system (up to 39 custom looks) lets users create and apply highly distinctive color grades instantly. This is one of the features most frequently praised by content-focused reviewers: the ability to preview and shoot with a finished look already applied dramatically shortens the path from capture to social post. Autofocus Performance Autofocus is hybrid phase-detection with 779 points and subject recognition for humans (face/eye), animals, cars, motorcycles, and (via firmware) additional subjects such as trains and airplanes. Tracking performance is generally reliable for video and moderate stills work. Face and eye detection lock on quickly and stick well during typical vlogging or interview scenarios. For faster-moving subjects or complex scenes with multiple people, the system is competent but not quite at the level of the best Sony or recent Canon implementations. Several reviews noted occasional hunting or loss of lock in low contrast or when subjects moved rapidly across the frame. The lack of a joystick means AF-point selection relies on the touchscreen or rear dial, which is workable but slower for precise stills composition. Overall, autofocus is more than adequate for the intended content-creation and travel uses, and firmware updates have refined subject priorities and detection behavior. Image Stabilization Panasonic’s Dual I.S. 2 system is one of the strongest in the industry for video. Combined body and lens stabilization delivers up to 6.5 stops of correction. Real-world testing across multiple reviews confirmed that handheld walking shots, run-and-gun footage, and even slower shutter stills remain remarkably steady. Many creators reported that a gimbal becomes optional rather than mandatory for casual or mid-level production. The system works especially well with compatible L-mount lenses that have optical stabilization. Video Capabilities – The S9’s Strongest Suit Video is where the Lumix S9 truly shines and where most professional reviews awarded their highest marks. Key strengths include: Open Gate 6K recording at up to 30p using the full 3:2 sensor area. This allows reframing a single clip into both horizontal 16:9 and vertical 9:16 formats with maximum resolution preserved—ideal for multi-platform social content. 4K up to 60p (with APS-C crop at the higher frame rates) and Full HD up to 120p. Internal 10-bit 4:2:2 or 4:2:0 recording, V-Log with wide dynamic range, and anamorphic support. Real Time LUTs applied live to the monitoring and recorded footage via a dedicated button. Custom LUTs created or imported through the Lumix Lab app can be stored and cycled quickly. MP4 Lite codec option that produces smaller, more phone-friendly 4K files for rapid transfer and sharing. Useful monitoring tools: waveform, zebras, shutter angle, focus peaking, and more. Early firmware imposed relatively short continuous recording limits (often around 10–15 minutes depending on resolution and ambient temperature) due to the lack of an active cooling fan. Later firmware updates significantly improved or removed hard limits in many scenarios, allowing longer takes limited primarily by battery or heat in extreme conditions. Overheating behavior is better than some compact rivals in moderate temperatures but still requires awareness during extended outdoor summer shoots. Audio is handled via built-in stereo microphones or an external mic through the 3.5 mm jack. There is no headphone monitoring jack, a consistent criticism for anyone who needs to check levels critically. The cold shoe accepts many third-party mics and wireless systems. Stabilization, autofocus tracking, and color tools combine to make the S9 an excellent run-and-gun and social-first video camera. Open Gate flexibility and the LUT workflow are genuine differentiators that reduce post-production time. Battery Life, Storage, and Connectivity The DMW-BLK22 battery is rated for roughly 430–470 shots under CIPA standards. Real-world stills use often exceeds this with conservative settings; video recording typically yields around 60–100 minutes depending on resolution, temperature, and screen use. USB-C charging is supported (including from power banks), which is convenient for travel. A second battery is highly recommended for full-day shoots. Storage is limited to a single UHS-II SD card slot. This is sufficient for most creators but removes redundancy that professionals often prefer. Wireless connectivity (Wi-Fi + Bluetooth) pairs with the Lumix Lab app for fast image and video transfer, LUT creation and management, remote control elements, and direct social sharing workflows. The app has improved since launch; early reviews noted occasional connection quirks, but later versions are more reliable. Automatic transfer of MP4 Lite files to a phone is particularly useful for the intended audience. Lens Ecosystem and Recommended Pairings The L-mount alliance (Panasonic, Leica, Sigma) offers a wide range of optics, but the S9’s tiny body highlights a mismatch with larger traditional full-frame lenses. The camera feels best with compact primes and the newer collapsible zooms. Popular pairings are: The original 20-60 mm kit zoom for versatility. The 18-40 mm f/4.5-6.3 collapsible zoom (introduced later) that keeps the overall package extremely portable. Compact Sigma I-series primes (20 mm, 24 mm, 35 mm, 45 mm, 65 mm, etc.). The Panasonic 26 mm f/8 pancake (manual focus, fixed aperture) for ultimate minimalism. Newer compact options such as the 40 mm f/2. Larger zooms and fast primes work optically but compromise the handling and portability that define the S9. Hybrid Zoom and Crop Zoom features help extend the reach of shorter lenses digitally with usable quality for social media output. Real-World Use Cases Travel and Everyday Carry The size and weight make the S9 one of the most practical full-frame cameras for travel. With a compact zoom or prime it disappears into a day bag. Image quality and stabilization support both stills and video without packing a larger body. Vlogging and Social Content Articulating screen, strong IBIS, subject detection, Open Gate, and Real Time LUTs form a powerful combination. Many reviewers described the “shoot to share in under a minute” workflow as transformative for frequent posters. Street and Documentary Silent electronic shutter, discreet size, and good high-ISO performance suit street photography. The lack of an EVF is the main drawback in bright conditions or for precise framing. Hybrid Professional Work As a second or B-camera alongside an S5 II or S5 IIX, the S9 is excellent. As a primary body for event or commercial stills work it is less ideal due to missing features. Comparisons Versus Panasonic Lumix S5 II The S5 II is larger, heavier, has an excellent EVF, mechanical shutter, dual card slots, better ergonomics, longer recording times with cooling, and more professional connectivity. The S9 wins on size, weight, price, color options, and streamlined creator tools. Many buyers choose the S9 as a compact complement rather than a full replacement. Versus Sony ZV-E1 Similar size and creator focus. The S9 offers higher stills resolution (24 MP vs 12 MP), Open Gate 6K, and a lower launch price. The ZV-E1 generally has superior autofocus tracking, a headphone jack, and different audio features. Choice depends on whether resolution and Open Gate or AF and audio monitoring matter more. Versus Canon EOS R8 The R8 is stills-oriented with an EVF and mechanical shutter but lacks IBIS. The S9 is stronger for video and stabilization; the R8 is better for traditional photography. Versus Fujifilm X100VI or fixed-lens compacts Those offer unmatched pocketability and film simulations but lack interchangeable lenses and full-frame depth of field. The S9 sits in a different category. Pros and Cons Pros Exceptionally compact and lightweight for full-frame Excellent image quality from the 24.2 MP sensor Outstanding video feature set including Open Gate 6K and Real Time LUTs Strong in-body + Dual I.S. stabilization Competitive pricing at launch Attractive color options and lifestyle design Effective Lumix Lab app workflow for creators Good battery life for the class Cons No electronic viewfinder Minimal front grip and unbalanced with many lenses No mechanical shutter (electronic only) No headphone jack Single card slot No weather sealing Limited dedicated compact L-mount lenses at launch (improving over time) Screen visibility in bright light Early recording time limits (improved by firmware) Who Should Buy the Lumix S9? Buy it if you want full-frame quality in the smallest practical interchangeable-lens package, prioritize video and social workflows, value Real Time LUTs and Open Gate flexibility, and are willing to accept the absence of an EVF and traditional grip. It is especially compelling for travelers, vloggers, hybrid creators, and anyone moving up from a phone or APS-C system who wants more cinematic results without bulk. Skip it (or choose the S5 II / another body) if you need an EVF for precise composition, shoot primarily stills in bright outdoor conditions, require weather sealing or dual cards, need headphone monitoring, or prefer a more substantial grip for long sessions with heavier lenses. Firmware Updates and Longevity Panasonic has continued to support the S9 with firmware that improved subject detection, recording behavior, and other refinements. The core sensor and processing engine remain competitive years after launch, and the growing availability of compact L-mount lenses has addressed one of the early criticisms. Used prices have become attractive, making the S9 a strong value proposition in 2026. Frequently Asked Questions Does the Lumix S9 have a viewfinder? No. Composition is exclusively via the rear articulating screen. Can it record unlimited video? Early units had short clip limits. Later firmware largely removed hard limits; practical recording time is now governed by heat and battery. Is the autofocus good enough for video? Yes for most creator and hybrid uses. It is reliable for faces, eyes, and moderate motion but not the absolute class leader for unpredictable action. What is Open Gate video? Recording using the full height and width of the 3:2 sensor so you can reframe the same clip for different aspect ratios with maximum resolution. How does Real Time LUT work? A dedicated button cycles through or applies custom color looks that are visible in live view and baked into the recorded file (or available as a monitoring aid). Is it weather sealed? No. Best lenses for keeping it compact? 18-40 mm collapsible zoom, Sigma compact primes, 26 mm f/8 pancake, and similar small optics. Battery life in practice? Typically 400+ stills or 60–90+ minutes of video depending on settings and temperature. Carry a spare. How does it compare to a smartphone? Dramatically better low-light performance, depth of field control, dynamic range, and creative flexibility, at the cost of size and complexity. Final Verdict The Panasonic Lumix S9 is a highly specialized but successful camera. It does not try to be everything to everyone. Instead it delivers full-frame image quality, excellent stabilization, and a creator-focused feature set (Open Gate, Real Time LUTs, MP4 Lite, app integration) in one of the smallest interchangeable-lens bodies available. The compromises being no EVF, limited grip, electronic shutter only, single card slot, are real and will disqualify it for some users. For the intended audience of content creators, travelers, and hybrid shooters who value portability and fast creative workflows, those compromises are acceptable and often worthwhile. Overall score: approximately 8.0–8.5 / 10

credits: Canon Even though the current temperatures make autumn feel a long way off, September, traditionally one of the busiest months of the year for camera announcements, is now just around the corner. Canon is widely expected to introduce several new products ahead of the holiday shopping season, and recent rumours are beginning to paint a clearer picture of what could be on the way. At the moment, Canon has three registered but still unannounced cameras, DS126947, DS126973, and DS126965. The DS126947 registration is widely believed to be the Canon EOS R8 Mark II, which sources say will be announced around September 10. Canon’s PowerShot lineup is also expected to grow in September. Recent reports suggest Canon is preparing a photography-focused compact camera featuring a particularly fast zoom lens, with many expecting it to become a spiritual successor to the hugely popular PowerShot G7 X Mark III. While Canon has not confirmed anything officially, compact cameras have become an increasingly important part of the company’s business again, making a September announcement seem very plausible. Looking a little further ahead, attention then changes to Canon’s next APS-C cameras. The registration DS126973 probably belongs to the EOS R10 Mark II, although judging by current reports it will not arrive until early 2027, despite earlier rumours pointing to a late 2026 launch. Meanwhile, DS126965 is thought to be Canon’s next APS-C flagship, most likely the long-rumoured EOS R7 Mark II. Multiple reliable sources have already indicated that Canon is developing an APS-C camera with a stacked sensor, but exactly when it will be announced remains unclear. At this stage, 2027 appears to be the most likely timeframe for that.

credits: Mitakon Zhongyi Mitakon Zhongyi’s new Pittura 30mm f/2.4 lens is here, giving Fujifilm GFX and Hasselblad XCD photographers another wide-angle option. The lens is designed specifically for medium format cameras and offers an 84.5° angle of view, roughly equivalent to a 24mm lens on full frame. Despite covering such a large image circle, it is still fairly compact, measuring 81 × 80mm for the GFX version and 73 × 84mm for the XCD version, with a weight of around 550g. Inside, the lens features a 13-element, 12-group optical design, including two ED elements and one aspherical element to help keep chromatic aberrations under control while maintaining good sharpness across the frame. It also uses a dual-group floating focusing system, which is designed to maintain image quality when focusing at closer distances. The aperture ranges from f/2.4 to f/22 with an 11-blade diaphragm, along with a clicked aperture ring. Other specs include a minimum focusing distance of 0.2m, 0.31x maximum magnification, and a standard 58mm filter thread. The Mitakon Zhongyi Pittura 30mm f/2.4 is priced at $500.

credits: Sony Sony has reportedly made a major offer to buy Tamron, one of Japan’s biggest lens manufacturers and one of Sony’s closest partners in the camera industry. According to an exclusive report from Japanese outlet Diamond, Sony has offered around 200 billion yen (roughly $1.2 billion USD) to acquire the company outright. Nothing has been officially confirmed yet, but the report has gained credibility because Sony has already been closely tied to Tamron for years. Until recently, Sony was Tamron’s largest shareholder with a 15.35% stake, before investment firm Effissimo Capital Management increased its ownership to around 17.4%, pushing Sony into second place. Some believe that move may have encouraged Sony to pursue a full takeover instead. The deal would make plenty of sense from Sony’s perspective. Tamron has been one of the biggest reasons the Sony E-mount system offers such a wide range of affordable third-party lenses, with more than 20 E-mount lenses currently available under the Tamron name. The company also manufactures lenses for other brands, including Nikon, and produces OEM lenses that are sold under different company names. Bringing Tamron fully under the Sony umbrella would give Sony even greater control over one of its most important partners, while also adding valuable lens design, engineering, and manufacturing expertise. It would also allow Sony to keep focusing on its premium G and G Master lenses while Tamron continues covering the more affordable end of the market. Of course, the biggest question is what this could mean for photographers. Many people are worried that a Sony-owned Tamron could mean higher prices, less competition, or fewer Tamron lenses for competing camera systems in the future. That concern has shown up across photography forums and social media, where many people say they would rather see Tamron remain independent. Others point out that, if the alternative is a private equity takeover, Sony may actually be the better option since it has a genuine long-term interest in keeping Tamron successful instead of simply maximising short-term profits. For now, however, it is still just a report. No deal has been announced, and acquisitions of this size can still fall apart before anything becomes official.

credits: Fujifilm Fujifilm’s long-rumoured XF 400mm telephoto lens now looks to be almost certain. According to multiple sources, the company is getting ready to unveil a new XF 400mm prime alongside the Fujifilm X-T6, giving X-mount photographers another high-end telephoto option. Fujifilm has been expected to launch two new lenses with the X-T6 for quite some time. One is almost certainly the XF 50-140mm f/2.8 MK II, while the second was only known to be a telephoto prime. Now, presentation leaks have reportedly confirmed that it will indeed be a 400mm lens. If the rumours are correct, everything should become official during the first week of September, with September 3 currently looking like the most likely announcement date. The biggest unknown is still the maximum aperture. So far, no one has been able to confirm whether Fujifilm is preparing an f/4 version or the even faster f/2.8 model. Interestingly, photographers have been asking for both for years. Back in 2018, a FujiRumors survey found that the two most requested wildlife lenses were an XF 400mm f/4 R LM OIS WR and an XF 400mm f/2.8 R LM OIS WR. Either one would fill a big gap in the current X-mount lineup, although an f/4 version would likely be the more compact and practical option.