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Introduction

The Sony a7R V is the company's latest high-end, high-resolution full-frame mirrorless camera. It is built around the same 60MP BSI sensor as its predecessor but with a huge increase in processing capacity that brings improvements of varying degrees across the board.

We're going to look at the main improvements and upgrades, so you can see how much they do (or don't) add for your photography, compared with the a7R IV(A).

What is the a7R V?

Before we dig into what's new, it's worth stepping back to consider what the a7R V is as a camera in its own right, rather than an upgraded model.

The a7R series is Sony's traditional high-res model line that sits alongside its video-focused a7S series and its mid-range all-rounder a7 series. (In addition, the company offers the compact, so-far-standalone a7C.) The a7R models are primarily aimed at disciplines that benefit from high-resolution images, such as landscapes, portraiture and commercial photography. While these cameras have all offered video, they aren't optimized for it. Nor are they designed to compete in speed with the sports-and-wildlife-focused a9 and a1 models.

In the case of the a7R V, the camera offers a 60MP BSI CMOS sensor, image stabilization, continuous shooting at up to 10 fps (with caveats), advanced subject-recognition AF and a host of tools allowing the camera to lend itself to a number of specific photographic niches.

Autofocus

The a7R V becomes the first Sony camera to offer a new-generation AF system. It gains a dedicated processor for crunching the complex subject recognition algorithms developed though machine learning, with the result that it promises the most sophisticated subject recognition yet offered in an Alpha camera.

To begin with, the a7R V has a more advanced human-recognition system that, in addition to recognizing eyes, faces, heads and bodies, has been trained to recognize a variety of body parts and even poses, all enabling it to track a person more reliably through changing postures and greater distances. Sony also says its eye detection is better at focusing on the surface of the eye, rather than eyelashes.

Beyond this, the camera can recognize the eyes, faces and heads of animals and birds, as well as the heads and bodies of insects. It can also identify and track cars, trains and planes. You need to manually select which of these subjects the system looks for, and each has an array of fine-tuning options to maximize your hit-rate with the specific subject you're shooting.

Unlike previous Sony models, all these recognition capabilities are available in video mode, not just stills. The AF system is also rated to work in lower light (down to -4EV) than its predecessor.

The new processing hardware as well as the in-depth subject-recognition features mean that the a7R V is able to offer a more sophisticated AF system than the pro-targeted a1 (though the much faster sensor readout in the a1 is likely to translate into better performance with moving subjects).

Image stabilization

Another major improvement, this one very appropriate to a high-resolution camera, is in the image stabilization system. New gyro sensors and increased processing power allow it to achieve a rating of 8.0EV of correction, according to industry-standard tests.

These tests tend to over-state the real-world benefits (we doubt it's going to give the same stability when hand-holding a 1-second exposure that you'd get from hand-holding one 8 stops faster, or 1/250 sec), but it still marks a significant performance improvement over the 5.5EV rating of the previous model.

Raw options

The a7R V gains the option of lossless compressed Raw that was introduced after the a7R IV was released, meaning there's now a middle-ground between the vast uncompressed Raws and the (slightly) damaging lossy Compressed Raw option in the older camera.

Pertinently, though, the a7R V gains the Medium and Small sized 'Lossless' compressed Raw options that first appeared in the range-topping a1. These are either 26 or 15MP files downsampled from the sensor's full 60.2MP capture, which should be able to maintain more resolution than natively-sampled 26 or 15MP images.

Alternatively, the camera can shoot 26MP Medium-sized Raw files if you shoot in APS-C crop mode, or downsampled 15MP versions derived from the cropped region. This gives plenty of flexibility when not everything you shoot requires the full file size of a 60MP image.

Ergonomics

Most of the camera's ergonomics and handling will be very familiar to a7R IV users, as the company's body design hasn't changed dramatically between models. A few buttons have been switched around, with the main change being the addition of a dedicated Stills/Movie/Slow&Quick-video switch.

Bigger changes come to the camera's displays, though. The rear LCD is now a side-hinged, fully articulating display mounted on a tilt up/down cradle, offering a wider range of flexibility in its movements while also allowing it to be folded inward for protection when the camera's not in use.

The viewfinder gets a significant upgrade, offering an impressive 0.9x magnification and 9.44M dots of resolution. You'll need to engage its higher detail mode to get the most out of the finder while shooting (and get used to the resolution dropping as the camera focuses), but even if you just use full-res mode for playback, it's a powerful tool for checking your shots.

Menus

The new processors also mean that the a7R V gains the new, better-laid-out menus Sony has been rolling out in its recent cameras. These use a series of vertically-arranged tabs, broken down into sub-sections, that make it quicker and easier to find your way to the option you're looking for.

There's also the 'Main' settings page in a tab near the top of the menu system, that gives you quick access to all the camera's main settings. We'd love to see this as an option on the Fn button, but it's a useful addition, nonetheless.

These changes, in combination with the stills/movie switch, mean you don't have to learn and memorize the menu system before you can fully use the camera. This is particularly valuable on a model that includes such a wide array of features.

Focus bracketing and multi-shot high resolution modes

Sony has offered 4- and 16-image Pixel Shift High Resolution modes on its cameras for a while now, but these have always been limited by the need to combine the images in separate software and the fact that the merging process was very sensitive to camera or subject movement. The a7R V still requires that the images be merged in desktop software, but it gains a motion correction intelligence that does a good job of replacing moving subjects with a single, static instance. We shot examples with moving leaves, bunting and people and found that the software coped with them well.

The a7R V is also the first Alpha camera to come with Focus Bracketing. You can specify how big the focus shifts are, how many images you want to shoot and whether the camera should make smooth exposure changes between images. The output can be saved to a separate folder to make it easy to manage sequences and merge the images using desktop software.

Shutter

The shutter mechanism is the same as the one used in the a7R IV, and so offers the same maximum flash sync speed of 1/250 sec (rather than the 1/400 sec offered by the a1). This is still a usefully fast figure compared to its peers.

The shutter can be synced to the brightest point in the light cycle when shooting under conventional artificial lighting, or there's the option to make very fine-grained adjustments to the shutter speed if you're trying to avoid a speed that clashes with fast-flickering lights such as LEDs.

Those users who do need flash for studio work can fire compatible strobes at the camera's full 10 fps burst rate, if necessary.

The shutter can also be set to close when the camera is turned off, reducing the risk of getting dust on the sensor, though it's set to stay open by default, suggesting Sony is concerned about the risk of damage to the delicate shutter blades. There's also a sensor shake option to remove dust from the sensor, and an anti-static coating to reduce the risk of it collecting in the first place.

Video

The a7R V gains a wide range of video capabilities that we first saw in the video-focused a7S III, including 10-bit capture which significantly boosts the flexibility of footage shot using the S-Log 2 or 3 profiles. It also means the camera can shoot full Hybrid Log Gamma (HLG) footage for playback on compatible HDR TVs.

The camera also gains the ability to capture UHD 8K video at up to 24fps from a native 7680 x 4320 pixel region of its sensor. It can capture 4K at up to 60p from this 1.24x crop region, and can also shoot 4K footage at up to 30p either by sub-sampling the full width of the sensor or from a 6.2K APS-C region of the sensor.

Despite these promising specs – and the focus map and breathing compensation functions we've seen in recent Sonys – the a7R V isn't an especially great video camera. Many of its video modes exhibit significant rolling shutter (its high-res sensor isn't built for readout speed). It does offer plenty of separation between stills and video modes, giving you a good degree of control over which settings carry over from one mode to the other, but the main advantage of the camera's new stills/movie switch is arguably that stills shooters need not encounter the a7R V's many video features unless they want to use them.

Summary

Overall, the a7R V represents a surprisingly large advance over its predecessor, despite continuing to use the same 60MP sensor. It's still the highest-megapixel full-frame chip around, and one proven to produce excellent image quality. That could mean that plenty of people will be happy to stick with the a7R IV, or even aim their upgrade path at a IV(A) if Sony follows its usual pattern of keeping the old model on at a lower price.

We won't be able to advise on the wisdom of such a choice until we've had time to push the a7R V's AF system a little further. But even if you only shoot stills there are some appreciable advantages here over the a7R IV (and IVA):

• More advanced (though also more complex) subject recognition AF
• Much improved menus
• Downsampled Raw options for smaller file sizes
• Improved image stabilization
• Dual tilt/fully-articulating rear LCD mount
• Significantly upgraded viewfinder
• Motion correction for pixel-shift mode
• Focus Bracketing
• Option to use faster CFexpress A cards for faster buffer clearance/responsiveness
• More sophisticated 2x2 MIMO Wi-Fi and USB 3.2 Gen 2 (10 Gbps) connections for faster tethering and transfer

Whether you'll benefit from some or all of these improvements will depend on your own priorities and the type of photography you do, but as a layer of polish atop an already capable camera, these improvements definitely add up.

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We all love full-frame mirrorless camera but sometimes, the bulk of the lenses can be a real drag. That's why Nikon's 400mm F4.5 VR S might be worth a look. Not only is it smaller than competing telephoto lenses, it's lighter too. If you're into wildlife photography especially, this could be an awesome addition to your bag. Plus, it's compatible with Nikon's 1.4X and 2X teleconverters for extra reach. Take a peek at our sample gallery to see how it performs in the real world.

These samples were captured with the Nikon Z9, and the Raws were processed with Capture One 22.

View our Nikon Z 400mm F4.5 sample gallery

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DPReview's Richard Butler has been visiting family and riding his bike across the UK, because this apparently seemed like a good idea for October. Sony's new a7R V accompanied him on the trip, and has proved itself an unexpectedly amiable traveling companion.

Check out his images from the Lake District, Peak District and various disparate points around England.

View our Sony a7R V Sample Gallery

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Apple’s new M2 iPad Pro models support ProRes video recording for the first time ever in an iPad device. We know as much, because Apple proudly touted it in its product release materials. What Apple failed to mention at the time, however, is that ProRes recording isn’t capable through Apple’s native camera app, unlike in its iPhone devices.

It isn’t clear whether this is by design or a bug on Apple’s end, as reported by MacRumors, but if Apple knew ProRes wouldn’t be supported in the native camera app, it never made any indication of that in the launch materials for the new M2 iPad Pro models. It wasn’t until customers started receiving their M2 iPad Pro models they noticed it wasn’t an option in the native app, nor available to turn on in the Camera app settings.

As noted by Mac Otakara, ProRes capture is possible with M2 iPad Pro models using third-party apps such as FiLMiC Pro, but it seems strange to promote a feature users can’t use out of the box, especially considering the precedent set with recent iPhone Pro models, which can use ProRes capture out of the box with the native iPhone camera app.

We have contacted Apple to clarify whether this was intentional or is the result of a bug and will update this article accordingly when/if we receive a response.

Apple’s new M2 iPad Pro models a rather minor updates over their M1 predecessors. Aside from the updated chipset, the only notable upgrades were a new hover feature for the Apple Pencil 2 and the inclusion of ProRes video recording, the latter of which appears to not be available with iPadOS . You can read our initial coverage of the new M2 iPad Pro models below.

Apple announces new M2-powered iPad Pro and completely redesigned 10.9” iPad

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The 60.2 megapixel full frame BSI CMOS sensor of the Sony a7R V may not be brand new, but it's still one of the most impressive sensors out there. Check out our gallery to see what Chris was able to capture with what he calls 'my favorite Sony camera ever.'

View our Sony a7R V sample gallery

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ON1 has released the 2023 versions of its ON1 Professional Plugins, with its ON1 NoNoise AI and ON1 Effects plugins, in particular, getting significant updates.

Back in November 2020, ON1 announced its suite of plugins that brought its entire lineup of photo editing modules to an array of photo editing software, such as Adobe Photoshop, Adobe Lightroom, Affinity Photo, Capture One and even Apple Photos.

Over the years, ON1 has continuously added new plugin modules and updated existing ones. In addition to its major upgrades to ON1 NoNoise AI and ON1 Effects, ON1 has also updated and improved the performance within its ON1 Portrait AI, ON1 Resize AI, and ON1 HDR editing modules.

ON1 NoNoise AI is gaining a few features ON1 has teased on its YouTube channels over the past few months, including Quick Mask AI, Mask AI and Tack Sharp AI. The first two features allow you to more easily mask certain elements of an image or scene, while Tack Sharp AI uses ‘state-of-the-art sharpening and deblurring’ for ‘detect[ing] and remov[ing] motion blur’ to save out-of-focus images. ON1’s Content-Aware crop and Perfect Eraser tools are also now directly integrated into NoNoise AI.

The other major upgrade is for ON1 Effects, which is an all-in-one tool for making and applying presets and filters to images. ON1’s Super Select AI Tool, which the company first showed off back in August, is now available within ON1 Effects and should make it easier to isolate certain elements of the scene with just a few clicks.

ON1’s AI-Powered Adaptive Presets are also a new edition to the 2023 version of ON1 Effects. First shown off last month, these are presets that can automatically detect certain areas of a photograph (such as a sky, a person, etc) and apply a specific preset designed for specific subjects. One example shown off in the video below is a preset is an architectural preset that only applies edits to the buildings in a photo while leaving the sky and background alone. Likewise, there are presets designed to darken up- and saturate the sky without affecting the tones of the foreground.

You can even create your own AI Adaptive presets to suit your personal shooting style and genres.

As for ON1’s other plugins, here’s a breakdown. ON1 Portrait AI gets Mask AI, Full-Screen Preset Previews, Content-Aware Crop, enhanced Perfect Eraser, and added camera and lens support. ON1 HDR gets Super Select AI, Mask AI, and Quick Mask AI. And ON1 Resize AI gets faster, but doesn’t have any new features.

ON1 Professional Plugins are available individually for $69.99 a piece, except for ON1 Resize AI, which costs $99.99. You can get the whole suite of plugins via the ON1 Professional Plugin Bundle for $149.99. Anyone who owns a previous version of any one plugin will receive an upgrade discount price, which can be found bny logging into their ON1 accounts. You can also demo each of the plugins for free for 14 days.

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The 61 megapixel full frame BSI CMOS sensor of the Sony a7R V may not be brand new, but it's still one of the most impressive sensors out there. Check out our gallery to see what Chris was able to capture with what he calls 'my favourite Sony camera ever'.

View our Sony a7R V sample gallery

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Nikon has announced firmware version 3.0, a significant update that improves upon existing features and adds new features to Nikon’s high-end full-frame mirrorless Z9 camera system.

High-Res Zoom

New to the Z9 with firmware version 3.0 is High-Res Zoom mode when shooting 4K video. This feature starts by capturing oversampled 4K video from the full width of the 8.3K sensor and slowly crops in until it switches over to capturing the 4K APS-C 1.5x crop section of the sensor.

This will effectively provide a 2x digital parfocal zoom without having to ever touch the lens attached to the camera. The footage will be less sharp, since it’s no longer using oversampled video once you’re at the 2x zoom, but our initial tests with it show the transition is fairly seamless.

The zoom feature can be controlled using the Fn1/Fn2 buttons, left/right buttons on the multi selector, or with the Fn ring or control ring on compatible lenses. Using the buttons causes the High-Res Zoom to be done at one continuous speed, while using the control rings allow for adjusting the zoom faster or slower as needed based on the speed the ring is turned.

C60 Mode for continuous shooting

Now, in addition to the current C30 and C120 continuous capture mode options, the Z9 offers a C60 mode that will split the difference. This mode will capture roughly 19MP still images at 60fps in DX mode.

Autofocus improvements

Nikon has also updated the autofocus system on the Z9, improving low-light performance by 0.5EV compared to previous firmware. 3D-tracking mode has also been improved. Now, subject tracking will be ‘stickier’ to ensure foreground objects don’t pull focus away from the subject when it goes behind something. Focus points can also be changed to red now for better visibility against certain subjects. Tracking of fast-moving animals has also been improved when using ‘animal’ subject detection.

Other features

The High-Frequency Flicker Reduction mode Nikon brought to Z9 stills with firmware version 2.10 is now available for video, and Nikon has added Timecode synchronization and UltraSync Blue to the Z9. That means it’s now possible to use a single wireless remote to control timecode across multiple Z9 cameras, and Atomos’ UltraSync Blue is now supported over Bluetooth.

Other features include more Custom functions by allowing the remapping of more buttons on the camera (including the Record button), a new Vertical Playback Display for viewing content in vertical orientation, an Auto Series Playback function for automatically displaying multiple frames from a single burst in playback and a full format function that can completely delete data from compatible CFexpress Type B cards.

Firmware version 3.0 for the Nikon Z9 is free to download from Nikon’s website. You can see more information about the firmware update in the press release below:

Press release:

Nikon releases upgraded firmware version 3.0 for the Nikon Z 9 full-frame mirrorless camera

Firmware 3.0 Adds Nearly 20 More Features + More Powerful Performance to Nikon’s Mirrorless Flagship

MELVILLE, NY (October 26, 2022)- Nikon Inc. has announced yet another substantial update for the Nikon Z 9, bringing more powerful performance and added features to what’s widely regarded as the most capable full-frame mirrorless camera available. Now available for free download, the firmware 3.0 update is the second major update to the Z 9 this year, adding enhancements to video and photo capture, usability, operability, autofocus and so much more.

“Firmware 3.0 not only demonstrates Nikon’s commitment to addressing our customers’ needs, but also our continued support to update products to their full potential for the benefit of our users,” said Jay Vannatter, Executive Vice President, Nikon Inc.

Both video and photo shooters as well as creators will see impressive benefits from the new firmware with this update. Some of the more notable features include a new Hi-Res Zoom function¹, which provides the effect of additional optical zoom for 4K video, and a new C60 High-Speed Frame Capture+², enabling 60 fps still shooting in DX-format. Firmware 3.0 also includes enhancements to the AF as well as upgraded display and operability, such as increasing the number of buttons that can be used as custom controls.

Starting today, Z 9 owners can visit the website here to download firmware 3.0 for free. Nikon will continuously meet users’ needs through firmware updates that expand the functionality of its cameras.

Significant Updates with Firmware 3.0:

• High-Res Zoom: When capturing 4K UHD video, this feature enables the option for high-resolution zooming which effectively extends the focal range of a lens. 4K UHD footage is captured in 8K UHD resolution, and then gradually cropped to the 4K frame size in real time, effectively doubling the focal length while maintaining resolution. This is not otherwise possible with digital zoom or cropping in post. Hi-Res Zoom is available regardless of the lens used, allowing users to streamline production and take advantage of prime lenses, or the extremely shallow depth of field of a f/1.2 maximum aperture lens. This feature can be assigned to the camera’s Fn1/Fn2 buttons, a lens’ Fn ring or control ring, as well as the left/right buttons on the multi selector. The end result is a smooth, parfocal zoom transition with no loss of resolution. Using the buttons enables zooming at a constant selected speed, while use of the control ring allows users to zoom in or out as quickly or slowly as they like.
• High-Speed Frame Capture+ C60 Mode for continuous shooting: In addition to the existing C30 and C120 options, High-Speed Frame Capture+ now offers a C60³ option for bursts of continuous shooting of approximately 19-megapixel still images at approximately 60 fps. This feature is in DX mode, which increases effective focal length while satisfying the diverse needs of photographers – especially those in the fields of photojournalism, sports and bird photography who value speed and reach.
• Autofocus Enhancements: Firmware 3.0 improves upon the Z 9’s powerful AF system, enhancing performance and subject detection. The low-light limit has been extended by 0.5 EV, with accuracy improved in low light and low-contrast conditions. Multiple enhancements have been made to 3D-tracking mode; focus will be “stickier” on a subject, and less likely to shift into a foreground obstacle that momentarily obscures a subject. Users now also have the option to change the color of focus points to red, which can be useful for shooting in a variety of backgrounds. Additionally, the detection and tracking of fast-moving animals has been improved when “animal” is selected in 3D-tracking.
• High-Frequency Flicker Reduction added with firmware version 2.10 is now available for video recording.
• Timecode synchronization and UltraSync Blue: Timecode across multiple Z 9 cameras controlled by a single wireless remote control is now possible⁴. ATOMOS UltraSync BLUE is now also supported over a Bluetooth connection, enabling the syncing of recording-equipment and/or audio-device timecodes, including equipment from other manufacturers. This is extremely helpful when editing videos recorded in multiple external audio recorders.
• Vertical Playback Display: Images and the i menu can be displayed in vertical orientation during playback mode.
• More buttons for Custom functions: The number of buttons that can be used as custom controls and the extension of customizable functions has been increased for smoother access to frequently used functions. This also includes the ability to make the Record button programmable.
• Auto Series Playback function automatically displays images from the same burst of continuous shooting group after the first image in the burst is displayed in playback mode.
• Improvements to Flash workflow: The “Show effects of settings” option in View mode (Photo Lv), which reflects exposure settings in the photo live view display has been improved. This update allows users to choose whether the effects of exposure settings are reflected when a Speedlight or remote trigger is attached. This function allows the user to check background exposure prior to shooting, helping to confirm the resulting background exposure in advance.
• Display enhancements: File Info has been added to the information display, and a focus indicator is now available in camera.
• “Override other cameras” function has been added, enabling easy switching between master cameras when multiple cameras are designated as a primary.
• Support for the FTPS protocol offers faster, safer image transfer with encryption.
• Reset focus distance during [Focus shift shooting]: During focus shift shooting, the focus position at the start of shooting can be memorized and returned to the initial focus position after a series of shots has been taken.
• Full format function: When using CFexpress cards that support full formatting, this function can be used to delete data completely to help users maintain maximum performance.

Notes

¹ Hi-Res Zoom is available only with video recording in the following codecs: at ProRes 422 HQ 10-bit (MOV), H.265 10-bit (MOV), H.265 8-bit (MOV), or H.264 8-bit (MP4) -with image area set to FX (36×24). Restrictions apply to some camera features.

² With AE/AF tracking at an image quality setting of JPEG normal only. The maximum number of frames that can be captured with a single burst is fewer than that possible with high-speed continuous shooting. Use of a Nikon-recommended memory card is recommended.

³ Image area fixed at DX (24 ×16). If a DX lens is attached when C120 is selected, the high-speed frame capture setting will automatically change to C60 and image area will be fixed at DX (24 ×16). Pre-Release Capture is supported.

⁴ A signal from the shutter-release button resets device timecodes. Therefore, still images cannot be captured during video recording by pressing the shutter-release button when timecode synchronization is enabled.

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Nikon has announced a firmware version 3.0, a significant update that improves upon existing features and adds new features to Nikon’s high-end full-frame mirrorless Z9 camera system.

High-Res Zoom

New to the Z9 with firmware version 3.0 is High-Res Zoom mode when shooting 4K video. This feature starts by capturing oversampled 4K video from the full width of the 8.3K sensor and slowly crops in until it switches over to capturing the 4K APS-C 1.5x crop section of the sensor.

This will effectively provide a 2x digital parfocal zoom without having to ever touch the lens attached to the camera. The footage will be less sharp, since it’s no longer using oversampled video once you’re at the 2x zoom, but our initial tests with it show the transition is fairly seamless.

This feature can be controlled using the Fn1/Fn2 buttons, left/right buttons on the multi selector, or with the Fn ring or control ring on compatible lenses. Using the buttons cause the High-Res Zoom to be done at one continuous speed while using the control rings allow for adjusting the zoom as fast or slow as needed based on the speed the ring is turned.

C60 Mode for continuous shooting

Now, in addition to the current C30 and C120 continuous capture mode options, the Z9 offers a C60 mode that will split the difference. This mode will capture roughly 19MP still images at 60fps in DX mode.

Autofocus improvements

Nikon has also updated the autofocus system on the Z9, improving low-light performance by 0.5EV compared to previous firmware. 3D-tracking mode has also been improved. Now, subject tracking will be ‘stickier’ to ensure foreground objects don’t pull focus away from the subject when it goes behind something. Focus points can also be changed to red now for better visibility against certain subjects. Tracking of fast-moving animals has also been improved when using ‘animal’ subject detection.

Other features

The High-Frequency Flicker Reduction mode Nikon brought to Z9 stills with firmware version 2.10 is now available for video and Nikon has added Timecode synchronization and UltraSync Blue to the Z9. That means it’s now possible to use a single wireless remote to control timecode across multiple Z9 cameras and Atomos’ UltraSync Blue is now supported over Bluetooth.

Other features include more Custom functions by allowing the remapping of more buttons on the camera (including the Record button), a new Vertical Playback Display for viewing content in vertical orientation, an Auto Series Playback function for automatically displaying multiple frames from a single burst and playback and a full format function that can completely delete data from compatible CFexpress Type B cards.

Firmware version 3.0 for the Nikon Z9 is free to download from Nikon’s website. You can see more information about the firmware update in the press release below:

Press release:

Nikon releases upgraded firmware version 3.0 for the Nikon Z 9 full-frame mirrorless camera

Firmware 3.0 Adds Nearly 20 More Features + More Powerful Performance to Nikon’s Mirrorless Flagship

MELVILLE, NY (October 26, 2022)- Nikon Inc. has announced yet another substantial update for the Nikon Z 9, bringing more powerful performance and added features to what’s widely regarded as the most capable full-frame mirrorless camera available. Now available for free download, the firmware 3.0 update is the second major update to the Z 9 this year, adding enhancements to video and photo capture, usability, operability, autofocus and so much more.

“Firmware 3.0 not only demonstrates Nikon’s commitment to addressing our customers’ needs, but also our continued support to update products to their full potential for the benefit of our users,” said Jay Vannatter, Executive Vice President, Nikon Inc.

Both video and photo shooters as well as creators will see impressive benefits from the new firmware with this update. Some of the more notable features include a new Hi-Res Zoom function¹, which provides the effect of additional optical zoom for 4K video, and a new C60 High-Speed Frame Capture+², enabling 60 fps still shooting in DX-format. Firmware 3.0 also includes enhancements to the AF as well as upgraded display and operability, such as increasing the number of buttons that can be used as custom controls.

Starting today, Z 9 owners can visit the website here to download firmware 3.0 for free. Nikon will continuously meet users’ needs through firmware updates that expand the functionality of its cameras.

Significant Updates with Firmware 3.0:

• High-Res Zoom: When capturing 4K UHD video, this feature enables the option for high-resolution zooming which effectively extends the focal range of a lens. 4K UHD footage is captured in 8K UHD resolution, and then gradually cropped to the 4K frame size in real time, effectively doubling the focal length while maintaining resolution. This is not otherwise possible with digital zoom or cropping in post. Hi-Res Zoom is available regardless of the lens used, allowing users to streamline production and take advantage of prime lenses, or the extremely shallow depth of field of a f/1.2 maximum aperture lens. This feature can be assigned to the camera’s Fn1/Fn2 buttons, a lens’ Fn ring or control ring, as well as the left/right buttons on the multi selector. The end result is a smooth, parfocal zoom transition with no loss of resolution. Using the buttons enables zooming at a constant selected speed, while use of the control ring allows users to zoom in or out as quickly or slowly as they like.
• High-Speed Frame Capture+ C60 Mode for continuous shooting: In addition to the existing C30 and C120 options, High-Speed Frame Capture+ now offers a C60³ option for bursts of continuous shooting of approximately 19-megapixel still images at approximately 60 fps. This feature is in DX mode, which increases effective focal length while satisfying the diverse needs of photographers – especially those in the fields of photojournalism, sports and bird photography who value speed and reach.
• Autofocus Enhancements: Firmware 3.0 improves upon the Z 9’s powerful AF system, enhancing performance and subject detection. The low-light limit has been extended by 0.5 EV, with accuracy improved in low light and low-contrast conditions. Multiple enhancements have been made to 3D-tracking mode; focus will be “stickier” on a subject, and less likely to shift into a foreground obstacle that momentarily obscures a subject. Users now also have the option to change the color of focus points to red, which can be useful for shooting in a variety of backgrounds. Additionally, the detection and tracking of fast-moving animals has been improved when “animal” is selected in 3D-tracking.
• High-Frequency Flicker Reduction added with firmware version 2.10 is now available for video recording.
• Timecode synchronization and UltraSync Blue: Timecode across multiple Z 9 cameras controlled by a single wireless remote control is now possible⁴. ATOMOS UltraSync BLUE is now also supported over a Bluetooth connection, enabling the syncing of recording-equipment and/or audio-device timecodes, including equipment from other manufacturers. This is extremely helpful when editing videos recorded in multiple external audio recorders.
• Vertical Playback Display: Images and the i menu can be displayed in vertical orientation during playback mode.
• More buttons for Custom functions: The number of buttons that can be used as custom controls and the extension of customizable functions has been increased for smoother access to frequently used functions. This also includes the ability to make the Record button programmable.
• Auto Series Playback function automatically displays images from the same burst of continuous shooting group after the first image in the burst is displayed in playback mode.
• Improvements to Flash workflow: The “Show effects of settings” option in View mode (Photo Lv), which reflects exposure settings in the photo live view display has been improved. This update allows users to choose whether the effects of exposure settings are reflected when a Speedlight or remote trigger is attached. This function allows the user to check background exposure prior to shooting, helping to confirm the resulting background exposure in advance.
• Display enhancements: File Info has been added to the information display, and a focus indicator is now available in camera.
• “Override other cameras” function has been added, enabling easy switching between master cameras when multiple cameras are designated as a primary.
• Support for the FTPS protocol offers faster, safer image transfer with encryption.
• Reset focus distance during [Focus shift shooting]: During focus shift shooting, the focus position at the start of shooting can be memorized and returned to the initial focus position after a series of shots has been taken.
• Full format function: When using CFexpress cards that support full formatting, this function can be used to delete data completely to help users maintain maximum performance.

Notes

¹ Hi-Res Zoom is available only with video recording in the following codecs: at ProRes 422 HQ 10-bit (MOV), H.265 10-bit (MOV), H.265 8-bit (MOV), or H.264 8-bit (MP4) -with image area set to FX (36×24). Restrictions apply to some camera features.

² With AE/AF tracking at an image quality setting of JPEG normal only. The maximum number of frames that can be captured with a single burst is fewer than that possible with high-speed continuous shooting. Use of a Nikon-recommended memory card is recommended.

³ Image area fixed at DX (24 ×16). If a DX lens is attached when C120 is selected, the high-speed frame capture setting will automatically change to C60 and image area will be fixed at DX (24 ×16). Pre-Release Capture is supported.

⁴ A signal from the shutter-release button resets device timecodes. Therefore, still images cannot be captured during video recording by pressing the shutter-release button when timecode synchronization is enabled.

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There's no escaping the fact that if you're looking to process your raw photos, Adobe's Lightroom Classic is the 800-pound gorilla in the room. But in addition to its raft of paid rivals, did you know that there are quite a few open-source alternatives available completely free of charge, some of which actually predate Lightroom's own existence?

For this article we took a look at five of the most widely-recommended, open-source Lightroom alternatives, and herein present our results: the three nearest rivals we could find, plus two apps we wanted to love but which left us heartbroken.

What is open-source software and what does it mean for you?

Not familiar with the open-source software movement? Simplifying greatly, the open-source community creates and maintains software as a labor of love and a gift to the community. Not only is open-source software free to download and use, but the underlying source code is also available to modify yourself, should you have the requisite skills. Of course most of us lack those skills, but that doesn't mean we can't take advantage of the wonderful work of those who do.

Like anything free, though, open-source software can span a very wide quality gamut. Some apps are much more actively-maintained than others, and some have much stronger and more supportive userbases. At their best, open-source creations can provide an impressive level of quality, and can even prove more responsive to user-reported bugs and shortcomings than commercial software, which largely shuts end users out of the development process altogether.

Like anything free, open-source software can span a very wide quality gamut. Some apps are much more actively-maintained than others, and some have much stronger and more supportive userbases. At their best, open-source creations can provide an impressive level of quality.

But being unpaid works of love, open-source projects sometimes also suffer issues with developers who may, over time, decide to move on from their creations, as well as with infighting between developers that results in rival versions of the same program – known as forks – appearing to compete with each other.

With all of that said, the open-source software movement continues to thrive. Indeed, these days much of the commercial software we spend our hard-earned cash on builds upon the work of open-sourced developers. The famous Linux operating system, for example, underlies Google's Android OS, and not only does it compete head-on against commercial rivals, it's actually the dominant OS in its space.

Clearly, open-source software is capable of big things when done right. So, can it defeat the likes of Adobe's Lightroom Classic? Let's roll up our sleeves and take a look!

RawTherapee: Vast control over your images, but needs a long-delayed update to really shine

License: GPLv3
OS: Windows, MacOS or Linux

RawTherapee 5.8's user interface in Editor mode.

RawTherapee made its debut in 2005, but it wasn't until 2010 that its original creator, Hungarian PhD student Gábor Horváth, open-sourced the project. Initially started as a hack of Dave Coffin's dcraw, it is still based on that open-source and platform-agnostic command-line raw converter to this day. But since dcraw itself hasn't been updated in four years, the dcraw support is nowadays supplemented by custom code to deliver improved image quality and broader camera support.

There's no overall image database used here, equivalent to a Lightroom catalog; instead RawTherapee stores its edits in sidecar files you place on your drives. Raw support is surprisingly good, as long as your camera is more than a few years old. Even tricky sources like Fujifilm X-Trans and Sigma Foveon sensors are supported, as well as Canon's Dual Pixel Raw and the resolution-enhancing multi-shot modes from Olympus/OM System, Pentax, Sony and others. There are some omissions, though; for example, I discovered that images from my Canon T8i and SL3 had issues.

While the development pace is also fairly good – there are typically 2 to 4 updates per year – things have been stalled ever since the start of the pandemic. However, a major release is coming soon, that should bring Raw support up to date along with a backlog of new features.

RawTherapee also includes support for lens corrections, which can be achieved in a couple of different ways. Firstly, if your lens is supported by the third-party Lensfun library, then lens defects can be corrected automatically. Alternatively, if your camera corrects lens defects before creating the preview embedded within the raw image, RawTherapee can detect and mimic that correction during raw conversion. I found that the corrections worked pretty well, although it failed to detect the lenses built into multiple fixed-lens cameras I tried, even though they're supported by Lensfun.

Image quality comparison: RawTherapee vs. Lightroom Classic.
Click here for the full RawTherapee image or here for Lightroom Classic.

Although there's no overarching "Auto" function in RawTherapee, it will attempt to match the tone curve of the embedded preview, and I found that my images mostly showed reasonable exposures and good color by default, with plenty of detail, too. And there are a truly staggering number of manual controls with which to adjust your images. Thankfully, there's also very good (and multilingual!) documentation available on the RawTherapee website.

So what are the weak spots? The user interface can be pretty intimidating with so many tools on offer, some of them with names like "Retinex," "Wavelet Levels" or "Impulse Noise Reduction" that may leave you scratching your head. As of the current release, there are also no local editing tools, although these are promised in a future release and available already in a third-party fork called ART.

There's also no support for camera tethering, and no map view for geolocation fans. You can only export raster images too, so there's no support for printing, slideshows, and book or web gallery creation. If you find yourself using these functions of Lightroom much, you'll miss them here.

I also found overall performance to be quite modest, with RawTherapee taking around 3.5 to 4 times as long as Adobe Lightroom Classic to render final versions of my images. But if you're willing to live with the sluggish speed, and put the time into learning how to use it, there's no question that RawTherapee is a powerful and stable tool capable of delivering great results.

Darktable: Swift, powerful and very actively-developed

License: GPLv3
OS: Windows (with limitations), MacOS or Linux

Darktable 4.0.1's user interface in Darkroom mode.

The main open-source rival to RawTherapee is Darktable. Created by another PhD student, Germany's Johannes Hanika, it hit the scene in 2009 and has averaged an impressive 6–8 updates per year ever since. (It's also the only application considered for this roundup that has never gone a year or more between releases.)

Darktable's biggest selling point for me has to be its proprietary RawSpeed processing engine. It isn't used for every camera – if a given model isn't supported by RawSpeed, Darktable will fall back to relying on a newer dcraw fork called libraw – but for supported cameras, processing performance is well over double that of RawTherapee. Sure, it still takes about 2/3 longer than Lightroom, but at least it's in the right ballpark.

Like its rival, Darktable has surprisingly good, multilingual documentation, but it goes one better by also offering up a lengthy list of supported cameras. While RawTherapee is totally reliant on sidecars, Darktable stores your edits in a database and uses sidecars only as a supplemental way of communicating its edits to third-party apps. (If these apps make a change to the sidecar outside of Darktable, though, it won't be read back in and will be overwritten by its next edit.)

Lens corrections are also supported, again via the Lensfun library so the list of supported lenses should be much the same. I did, however, hit one image from a Panasonic FZ1000 II that worked fine in RawTherapee but which Darktable would close every time I tried to open it, and which would cause its processing batches to fail if included.

Image quality comparison: Darktable vs. Lightroom Classic.
Click here for the full Darktable image or here for Lightroom Classic.

At the same time, though, it happily read several images from the Panasonic ZS70, Canon T8i and Canon SL3 which RawTherapee had some issues with. And while Darktable did an okay-ish job of rendering images at default settings, it tended to yield softer, darker and more muted images than RawTherapee out of the box.

But while in my opinion most images needed some minor tweaks to luminance and saturation, not a single one was miles off, where RawTherapee was multiple stops out on the ZS70 shot's exposure, and rendered the T8i and SL3 shots with extremely low saturation.

Overall, neither app is clearly better than the other in terms of camera and lens support. The good news is that since they're free, you can try both applications on your own gear with no more expense than your own time.

There's a noteworthy difference between the two apps' features, at least if you're a MacOS or Linux user, as Darktable offers printing and tethering functionality on those platforms – sadly, the Windows version doesn't get them. And while all versions also include a map view for geotagged images, I found that this crashed the app every time I opened it. (Darktable also crashed for me once in the slideshow tab, but was otherwise stable.)

All of its extra functionality makes Darktable a more realistic alternative to Lightroom than RawTherapee (especially for Mac and Linux users). But that's not to say everything's completely on par.

The really big feature is available regardless of platform and works just fine, though. Unlike RawTherapee, Darktable's current release allows not just global, but local editing. In addition to dust and spot removal, you can create hand-drawn or parametrically-generated masks, combine the two, and create raster masks.

And while for global editing there aren't anywhere near as many tools on offer as in RawTherapee, all the basics are there to give you plenty of control over your images. They also mostly have more intuitive names, and there's a search function to help you locate the tools you need.

All of its extra functionality makes Darktable a more realistic alternative to Lightroom than RawTherapee (especially for Mac and Linux users). But that's not to say everything's completely on par.

As well as the omitted tethering and printing functionality on Windows, Darktable forgoes Lightroom's ability to create photo books and web galleries. And while it does have a slideshow tool, this only runs locally and can't export a shareable slideshow. Nor is there any overall Auto function to get you in the ballpark, although some individual tools do have auto modes.

LightZone: Promising, but development and support lag its rivals

License: BSD-3-Clause
OS: Windows, Mac or Linux

LightZone 4.2.4's user interface in Edit mode.

Where RawTherapee and Darktable started off as side-projects for PhD students, LightZone had a very different genesis. Originally launched as a commercial app exclusively for the Mac in 2005, it was withdrawn from sale by 2011. A year later, its developers decided to release the fruits of their labors to the open-source community, who've since expanded its reach to Windows and Linux computers as well.

But while historically it's been one of the top three open-source Lightroom alternatives for years, of late it seems all is not well for the project. It was never the most active, with typically as few as 1–3 updates per year. But for the past two years, we've had only one update apiece (ignoring a very minor Mac-only bugfix).

And alarmingly, the project's website – still linked to from both the app itself and its github page – vanished in the first few months of 2022. Development also seems to have completely stalled, with not a single commitment made to the project since mid-June.

With the website offline, there's no official documentation beyond the included (and rather dated-looking) help file linked from the program's Help menu. And even before it went offline, the website offered only an ancient tech wiki for "LightZombie" (the open-source project's name in its early days), which hadn't been updated in about a decade.

Image quality comparison: LightZone vs. Lightroom Classic.
Click here for the full LightZone image or here for Lightroom Classic.

Still, despite the program's user interface feeling a bit dated too, I soldiered on, as its key "selling" point remains quite interesting: a spin on Ansel Adams' famed Zone System. But where Adams' system had 10 zones, LightZone opts instead for 16. As you mouse over each zone in the ZoneMapper tool, a preview indicates which areas of the image are covered by that zone. You can then adjust the positions of each zone compared to the others to get luminance where you need it. You can also make local adjustments based on luminance and color ranges.

I felt camera and lens support to be noticeably more limited than in LightZone's nearest rivals, although I couldn't locate a full list of supported cameras or lenses. Its image quality at default settings was also the weakest of the trio, with images being quite soft and the exposure frequently out by a fair way. It did a better job with saturation, but white balance was also less-than-perfect and skin tones were poor without manual intervention.

Although it is built on a combination of the raw engines powering both RawTherapee and Darktable, it's nowhere near as swift as the latter, let alone Lightroom Classic. Performance is still a little better than RawTherapee, however.

With its lack of documentation or a website for the application LightZone was by far the least enjoyable of the three to use, in spite of its interesting zone system functionality and inclusion of local editing tools.

LightZone also has the most limited selection of global editing tools of the bunch, and lacks Lightroom features like map view, tethering, slideshows or web galleries. You can print directly from the app, though, making it the only one of this group able to do so on the Windows platform.

Also, while it never crashed on me, LightZone gave me more headaches than RawTherapee and Darktable in other ways. For one thing, unlike its rivals, it didn't detect that my Windows installation uses controlled folder access, and I had to manually let it through Windows' filtering before it could access my files.

It also has an issue with touchpads, in which I could scroll up and down lists or panels, but as soon as I let go of the touchpad it would bounce back to where I started. This was most troublesome with lists that extended beyond the edge of the screen, as you couldn't even scroll with the keyboard arrow keys.

All of these issues, coupled with the lack of documentation or a website for the application, made LightZone by far the least enjoyable of the three to use, in spite of its interesting zone system functionality and inclusion of local editing tools.

DigiKam: An inability to write data was a dealbreaker

License: GPLv2
OS: Windows, MacOS or Linux

Digikam v7.8.0's user interface in Image Editor mode.

There were two other apps that I wanted to include in this piece, but had to drop after experiencing major issues that I couldn't resolve within a reasonable amount of time. The first of these is DigiKam, which dates all the way back to 2001 and has been actively developed for all but one year ever since.

It showed quite a bit of initial promise in terms of its feature set, which mirrors that of Darktable most closely. That said, I found it completely unable to write files to disk no matter what I tried, including manually allowing it through controlled folder access. It also crashed over and over, even when running with administrator privileges, so stability is likewise a significant issue.

Given that none of the other apps I tried had any such problems and I was using the most recent release, I had to give up on it and move on.

Filmulator: Promising, but the Organize tab needs improvement

License: GPLv3
OS: Only Windows or Linux officially, although third-party MacOS betas are available

Filmulator v0.11.1's user interface in Filmulate mode.

The last piece of software I looked at was Filmulator, which is also the most recent of the bunch, having launched in 2017. The hook here is that its image processing, which is based on libraw, aims to mimic the look of film photography. While its global controls are the most limited of the bunch, I'd have to say its default image quality was second only to Lightroom Classic for me.

Unfortunately, though, its Organize tab was basically unusable. Its only possible view is a monthly one, with no other way to locate a photo, and every month is shown in the awkward-to-scroll list regardless of whether it included a single photo or not. (It's particularly fun scrolling from 1970 to today if your camera's time and date weren't set for a shot.)

Clicking to view photos from the individual days in each month is also unnecessarily difficult, and together with its more limited editing features, I decided it's just not a viable Lightroom rival at this point. It's a shame, though, as with better organizational tools it could have been quite promising, especially for photographers who just want good results right out of the box.

Conclusion

I came into this roundup seeking a viable alternative to Adobe Lightroom Classic for those who, like me, prefer to abstain from software subscriptions, and who like to support open-source software when feasible. And while nothing I found could rival Lightroom Classic for performance and features, I was honestly a little surprised by how close some apps came.

Can any of these apps completely replace Lightroom in every way? No, but arguably they don't need to, as most Lightroom users never touch half of what that app has to offer, something Adobe itself has acknowledged in its own attempt to replace it with the rather more feature-limited, mobile-friendly Lightroom CC. Darktable, in particular, gave me most of the features I use with any regularity in Lightroom.

Can any of these apps completely replace Lightroom in every way? No, but arguably they don't need to, as most Lightroom users never touch half of what that app has to offer.

Compared to its for-pay rival, Darktable isn't going to give you quite the same image quality without needing to roll your sleeves up and start tweaking, but that's perhaps to be expected with a product entirely based on its authors' goodwill. Arguably, though, it gets you close enough that it's worth taking the time to learn.

Best of all, you can try it in parallel with your existing workflow of choice – be that from Adobe or one of its rivals – without having to spend a cent. If it's not ready for your workflow yet, well…nothing ventured, nothing gained. And just perhaps, you'll find that an open-source image editing tool gives you everything you actually need, and you can ditch those spendy subscriptions for good!

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