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The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
In addition to the auto white balance mode the FZ3 offers four presets (daylight, cloudy, incandescent and flash). There is no preset for fluorescent lights (unfortunate given the rather poor performance of the AWB in such situations), but there is a manual white balance mode that allows you to point the camera at a white or gray card and create a custom setting.
In use - especially outdoors - the FZ3 delivers consistently accurate color. Under artificial lighting the results are more patchy. You'll need to use manual white balance under mixed lighting (especially fluorescents), though the results from auto white balance under incandescent (tungsten) lighting are good - as long as it's bright enough. When light levels drop (indoors at night) you'll get very orange results unless you switch to manual WB.
Outdoor - Auto WB
|Fluorescent - Auto WB
Red: -1.91%, Blue -9.1%
|Incandescent - Auto WB
Red: 0.7%, Blue -2.0%
No real complaints here. The range is good (around 1 to 15 feet with auto ISO), and color and exposure very reliable.
|Skin tone Cool color cast, good exposure||Color chart
Virtually no color cast, excellent exposure
The FZ3 has a dedicated macro mode, accessed via the main exposure mode dial - this means you cannot combine macro focus with manual or semi-automatic exposure, which is a pity. The macro mode works throughout the zoom range, but - as is usual on this type of camera - only gets really close when used at the widest setting. There is inevitably some distortion when you get really close - less expected (and less forgivable) is the slight vignetting (darkening of corners). To be fair this is far less visible in real life shots.
|Wide macro - 40 x 30 mm coverage
50 px/mm (1270 px/in)
Corner softness: Average
Equiv. focal length: 35 mm
|Mid Zoom macro - 181 x 136 mm coverage
11 px/mm (282 px/in)
Distortion: Very low
Corner softness:Very low
Equiv. focal length: 230 mm
The wide end of the FZ3's zoom is marginally wider (35mm equiv.) than most of its competitors (which tend to start at around 38mm equiv.), and the range - 12x - is greater. So it is a tribute to the designers at Leica (who presumably had some say in the design of the lens) that distortion is kept fairly low. The 1.6% barrel distortion is certainly enough to be visible in wideangle shots, but not enough to be a problem, whilst there is no measurable distortion once you start to move into the middle and long end of the zoom.
|Barrel distortion - 1.6% at Wide angle
Equiv. focal length: 35 mm
|Pincushion distortion - 0.0% at Telephoto
Equiv. focal length: 420 mm
It is hard not to be impressed with the images produced by the FZ3 - sharp, full of detail and with admirably natural (i.e. not over-saturated) colors. In our extensive real-world testing we only found a few minor problems - the occasional focus error when shooting quickly at full zoom, some mild exposure problems, and some flare in very bright light (mostly solved by the use of the supplied hood). It should be noted, however, that the 'hit rate' is very high; I would guess only 1 in 100 shots had a problem serious enough to ruin the shot, and nearly all these were when shooting at the 420mm extreme of the zoom or when shooting in very high contrast situations (when highlight and shadow detail tends to get clipped).
Vignetting (darkening of the corners of the image) is visible in many wideangle shots - specifically those with large expanses of blue sky and in macro images. The amount varies according to the aperture used and the brightness of the scene, but it is noticeable in many of our test shots to some degree. As is to be expected it is worst at the wide (35mm equiv.) end of the zoom, but can also be seen in some shots at slightly longer focal lengths. The vignetting can, of course, be removed using software, and in truth it only really becomes a problem with very close macro shots, but it is a pity given the overall excellence of the results the FZ3 produces.
|100% crop||35 mm equiv., F4.6|
|100% crop||35 mm equiv., F2.8|
We found virtually none of the purple fringing we've come to expect from long zooms and small sensors - perhaps because one of the functions of the new Venus II engine is the removal of chromatic aberrations (CA). The rare occasions we did see it - maybe two shots out of 300 - were at the edges of areas of extreme overexposure, such as here.
|100% crop||35 mm equiv., F2.8|
A different type of color fringing - which to our eyes looks to be an optical, rather than digital problem, can occasionally be seen in telephoto shots. It only happens when using the long end of the zoom with IS enabled for handheld shots at relatively low shutter speeds. This would imply we're seeing the optical degradation caused by the most extreme movement of the moving element in the image stabilization system. It must be pointed out that this fringing should be viewed in context; without the IS system all you would see is a blurred image.
|100% crop||420 mm equiv., F2.8, 1/100th sec|
The only time the FZ3's sensor/processor system seems to struggle to capture the full range of tones in a scene is when the dynamic range is very high - contrasty scenes on bright days containing extremes of highlight and shadow. The result is either clipped shadows or (more commonly), burnt-out highlights, or, occasionally, both. Again, these are situations where most cameras with small sensors will struggle, but it is worth experimenting with exposures when shooting on a very bright day.
|100% crop||35 mm equiv., F3.3|
The MEGA O.I.S image Stabilization system used on the FZ3 (and many other recent Panasonic models) works, and it works well. There are two modes: Mode 1 (IS on all the time) and Mode 2 (IS is activated at the moment the exposure is made). Mode 1 makes framing easier - the IS system steadies the preview image (in the same way as, for example, the Canon S1 IS), but is less than 100% effective when it comes to actually taking the pictures. Mode 2, which minimizes the amount of movement needed by waiting until the actual moment you press the shutter, is considerably more effective. I certainly found the 3 or 4 shutter speed steps gain claimed by Panasonic to be justified - and was able to shoot at 420mm equiv. at speeds as low as 1/60th second successfully. Impressive stuff. The 100% crops below show the effectiveness of the IS system - especially in Mode 2 - when shooting at 420mm equiv. at 1/50 sec (top row) and 1/15 sec, both examples were handheld (the lower example I was resting on my elbows, thus the slower shutter speed was possible). Although we've no definitive test for IS systems in real-world use, I was very impressed with the FZ3's system, which seems as good as, if not better than that used in the similarly specified Canon PowerShot S1 IS. Excellent stuff.
|IS off||IS mode 1||IS mode 2|
|1/50 sec, 420mm equiv.|
|IS off||IS mode 1||IS mode 2|
|1/15 sec, 420mm equiv.|
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|Abstract bokeh by Minas_Eye|
from Your City - Bokeh in the City (Rerun)
|Green Tree Frog by BruceRH|
|Custom Red Roadster by Mitchmeister|
from Car Shows 2018
At Sony's press conference at Photokina the company announced that 12 more E-mount lenses will be arriving over the next two years. In addition, the company is working to utilize artificial intelligence in its technologies, with one application being Eye AF trained to detect animal eyes.
Sigma has said it will create a full-frame Foveon camera and will adopt the Leica L mount for its system. It will be able to adapt or convert SA mount lenses to the L mount, for existing users.
Hasselblad is expanding their X System with their announcement of three new lenses: the XCD 80mm F1.9, XCD 65mm F2.8 and XCD 135mm F2.8, along with a teleconverter. The 80mm F1.9 is the fastest in the system. Get all the details and check out Hasselblad's official sample images here.
Sigma has announced give new lenses at Photokina, including a 'Sport' series 70-200mm F2.8 and a 56mm F1.4 for Micro Four Thirds and Sony E mounts.
Sigma has announced the 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport lenses for several full frame lens mounts, including Canon, Nikon and, in the first two instances, Sony E.
ON1 has announced the impending launch of ON1 Photo RAW 2019. The new version, due out in November, brings a handful of new tools and features in a revamped interface.
Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $10,000.
Leica has announced the S3 medium-format camera – an S2 successor with a 64MP sensor capable of 4K video.
The GFX 50R is a 50MP rangefinder-style mirrorless camera. It borrows heavily from the existing 50S model but in a smaller body and at a lower price. How does it differ?
Fujifilm has announced its GFX 50R, a rangefinder-styled version of the company's GFX 50S medium-format camera. The 'guts' of the two cameras are the same, with the difference being the design, weight and Bluetooth, all at a considerably lower price.
In this episode of DPReview TV, we get our hands on Fujifilm's GFX 50R which hides a medium-format sensor in a new, more compact body. Watch to get Chris and Jordan's first impressions on image quality, video and more.
Fujifilm is adding a trio of new medium-format lenses to its G-mount roadmap. GFX owners will soon be able to get their hands on 100-200mm F5.6, 45-100mm F4 and compact 50mm F3.5 lenses. Pricing and availability have not been announced.
Micro Four Thirds users will soon get a super fast, constant aperture wide angle zoom.
Panasonic has announced it is developing two full frame mirrorless cameras: the 47MP S1R and the 24MP S1. We've been shown fairly advanced-looking but non-functional prototype cameras, and have been able to squeeze a few details from Panasonic.
Panasonic is developing a pair of full-frame mirrorless cameras that use Leica's L-mount. The S1R will feature a 47MP sensor, while the S1 will be 24MP. Both cameras will support Dual IS shake reduction 4K/60p video capture and will have XQD and SD card slots.
Leica, Panasonic and Sigma are teaming up. Expect L-mount cameras from Panasonic as well as L-mount glass from Sigma.
Ricoh has announced the development of the GR III enthusiast compact, due to ship in early 2019. The camera gains sensor-shift image stabilization and an updated 24MP sensor with phase-detection. The 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added.
The 'I'm Back' is now available for a range of old film-SLRs, such as Nikon's F-Series, the Olympus OM10 or the Canon AE-1.
IRIX has announced its latest lens, the 150mm F2.8 Macro 1:1. IRIX claims the lens features 'close to zero' distortion and stands out with its 150mm telephoto focal length.
The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon's new full-frame mirrorless system, and it boasts the longest reach of the range. Take a look at some of the samples we've gathered thus far as our EOS R testing continues.
Nikon's Sendai factory in the Tōhoku region North of Japan has been churning out cameras and lenses since 1971. We had the opportunity recently to visit Sendai during events to mark the launch of Nikon's new Z mount.
There's no mistaking the Nikon Coolpix P1000 – with a 24-3000mm equivalent zoom, it really is in a class of its own. It's a conspicuous-looking superzoom with one main job: getting you really close to far away subjects. We've put together a gallery showing the kind of results you can expect from it.
A new report from The Verge claims Instagram is currently testing a feature that allows users to re-share posts to their own account feeds.
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.