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Sony has announced an updated license for its ZV-E1 full-frame vlogging camera that adds 4K/120 and FullHD/240 capabilities.

This upgrade was mentioned when the camera was first launched, and isn't that surprising, given the a7S III and FX3 models with which the ZV-E1 shares its sensor can also shoot this fast. As with these other cameras, the 4K/120 is taken from a slightly cropped region of the sensor. Interestingly, though, the update doesn't take the form of a firmware update that adds the code enabling the capability but is, instead, a license file that gives access to modes already contained in the current firmware.

Sony had originally said this upgrade may require payment in some regions, and we're seeking confirmation of whether this is the case. In North America, at least, the update is free of charge, but users will need to supply their camera's serial number to download the necessary files.

Sony Electronics Announces Free ZV-E1 Upgrade to Elevate Content Creation

4K 120p Upgrade Now Available for Users

SAN DIEGO, CA – June 28, 2023. ​ Sony Electronics announces an upgrade for the ZV-E1, the world’s most compact and lightweight full-frame interchangeable lens camerai, offering video creators maximum creative freedom and versatility. Announced in March of this year, the ZV-E1 is designed to offer the ultimate video creation experience.
​​
​With this new upgrade, the ZV-E1 joins a roster of Sony cameras featuring 4K 120p video recording, including the Alpha 1 and Alpha 7S III, and the FX6, FX3, and FX30 from Sony’s Cinema Line. This feature enables faster high-speed frame rate video recording, resulting in smooth slow-motion footage that is five times slower than standard 24fps, highlighting Sony's commitment to providing groundbreaking technology for all creators.

The upgrade also introduces Full HD 240p recording capability to the ZV-E1, providing even more flexibility for the video creator.

The original release of the ZV-E1 showcased impressive video performance with the ability to record high-quality 4K video at 10-bit 4:2:2 with full pixel readout, without pixel binning, and with minimized rolling shutter. This latest upgrade further enhances the camera’s video capabilities and is unlocked through Sony’s Creators’ Cloud platform.

Sony’s Creators’ Cloud, designed for content creators of all types, offers services and applications optimized for the entire creative process, from shooting to collaboration with creators worldwide. This integration includes the Creators’ App, a mobile application that facilitates seamless content transfer from camera to cloudii.

Completing the ZV-E1 upgrade via the Creators’ Cloud is a simple process. Users sign into their Creators’ Cloud account, access the Upgrade page, input their ZV-E1 model serial number, and download a free license. Installation can be performed via an SD card or with a USB plug-in. With the Creators’ Cloud platform, users can also easily manage and reinstall licenses via the License Management pageii. A Sony Creators’ Cloud account is required to access the license to upgrade.

Upgrade is available as of today, June 28, 2023, via the Creators’ Cloud application at no additional cost to Alpha ZV-E1 users.

For more information about the ZV-E1 upgrade, please visit Sony's official website: https://creatorscloud.sony.net/cameraupgrade/4k120p/.

Notes

ⁱ As of the March 2023 product announcement, based on a Sony survey of interchangeable-lens digital cameras with 35mm full-frame image sensors and optical in-body image stabilization.

ⁱⁱ Check regional availability of services and applications via the URL below: Creators’ App: https://www.sony.net/cca , Creators’ Cloud: https://www.sony.net/cc/ Download app at Google Play and the App Store. Network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.

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Nikon has announced two new telephoto zoom lenses, the Nikkor Z 180-600mm F5.6-6.3 VR and the Nikkor Z 70-180mm F2.8, both of which have been on the company's lens roadmap for a while.

Nikkor Z 180-600mm F5.6-6.3 VR

The Nikkor Z 180-600mm F5.6-6.3 VR is the spiritual successor to Nikon's F-mount 200-500mm F5.6 lens. Its optical formula includes 25 elements in 17 groups, including six ED glass elements to reduce chromatic aberration. All that glass means it's a relatively hefty lens, coming in at 1955g (4.3 lbs), or 2140 (4.7lbs) with the supplied tripod foot.

It features an internal zoom mechanism, nine aperture blades, and two custom function buttons. To better support video use, the lens includes a click-less control ring and suppresses focus breathing when shooting video. A stepping motor provides quiet autofocus.

The lens supports up to 5.5 stops of vibration reduction and has a minimum focus distance of 1.3m (4.3 ft) at the wide end. The zoom ring has a short, 70-degree throw, allowing for quick zooming between extreme focal lengths. The 180-600mm F5.6-6.3 VR is compatible with Nikon's TC-1.4x and TC-2.0x teleconverters, allowing for a reach of up to 1200mm. Nikon describes the lens as dust and drip resistant.

Nikkor Z 180-600mm F5.6-6.3 VR sample images provided by Nikon

The Nikkor Z 70-180mm F2.8

The Nikkor Z 70-180mm F2.8 is the third lens in Nikon's trio of affordable F2.8 zooms, joining the Z 17-28mm F2.8 and Z 28-75mm F2.8 zoom lenses in Nikon's lineup, and Nikon says it's optimal for applications like weddings, portraits, sports and video. On paper, like the other two lenses, it's strikingly similar to the specs of a recent Tamron lens. In this instance it's the Tamron 70-180mm F2.8 Di III VXD, though the Nikkor version uses a stepper motor, rather than the Tamron's linear actuator.

Its optical formula consists of 19 elements in 14 groups, including five ED elements, one Super ED element, and three aspherical elements. Nikon says it's about 40% smaller than its Z 70-200mm F2.8 zoom (albeit with slightly less reach at the telephoto end), and at 795g (1.75 lbs) it's about half the weight.

AF comes from a stepping motor, which also delivers quiet operation for video, and the lens has a minimum focus distance of 0.27m (10.6") at the wide end and 0.85m (33.5") at the telephoto end. It also includes features optimized for video, including suppressed focus breathing, a customizable control ring that can be programmed to control aperture, ISO, or focus, and focus position is linked to rotation angle, allowing for more precise manual focus control.

It, too, is compatible with Nikon's TC-1.4x and TC-2.0x teleconverters, providing a maximum reach of 360mm. When used with the TC-2.0x converter, it delivers a 0.96 magnification ratio. Nikon rates it as dust and drip-resistant.

Nikkor Z 70-180mm F2.8 sample images provided by Nikon

Pricing and avalaiblity

The Nikkor Z 180-600mm F5.6-6.3 VR will be available in August at a price of $1699 and the Nikkor Z 70-180mm F2.8 will be available from mid-July for $1249.

SUPER TELEPHOTO PERFORMANCE IS CLOSER THAN EVER WITH THE INTRODUCTION OF THE HIGHLY ANTICIPATED NIKKOR Z 180-600mm f/5.6-6.3 VR LENS

Also Introducing the NIKKOR Z 70-180mm f/2.8, Completing the Trio of Affordable F/2.8 Zooms

MELVILLE, NY (June 21, 2023) Today Nikon announced the release of the NIKKOR Z 180-600mm f/5.6-6.3 VR and the NIKKOR Z 70-180mm f/2.8, two new super telephoto NIKKOR Z lenses for enthusiasts that combine outstanding zoom capabilities with lightweight design. The NIKKOR Z 180-600mm f/5.6-6.3 VR has been highly requested from Z series users, especially those capturing wildlife, nature and aviation, while the NIKKOR Z 70-180mm f/2.8 completes Nikon’s trio of affordable f/2.8 zooms for enthusiasts.

“Within a relatively short time period, we have built an extensive series of lenses for our mirrorless system with a selection of lenses that differentiates itself with options for all kinds of users,” said Jay Vannatter, Executive Vice President, Nikon Inc. “We already have a collection of extremely fast pro-level super telephotos, and with these two new lenses, I firmly believe Nikon builds upon what was already the most appealing collection of telephoto lenses available on the market today for the enthusiast and professionals.”

NIKKOR Z 180-600mm f/5.6-6.3 VR – Boundless Creativity with an Extreme Focal Range

The NIKKOR Z 180-600mm f/5.6-6.3 VR is the thoroughly modernized follow-up to the immensely successful and popular F-mount AF-S 200-500mm f/5.6, a lens that won hearts worldwide for its powerful reach and attractive price. The new NIKKOR Z 180-600mm f/5.6-6.3 VR improves upon this winning formula by once again delivering a lightweight, high-performance super telephoto lens with an even more versatile focal range, sure to become a favorite for those photographing birds, planes, sports and more. With fast focus, superior handling and balance that never shifts thanks to its internal zoom, this lens enables the capture of powerful, up-close shots of fast-moving subjects. It also features a minimum focus distance of 4.3 feet (1.3 meters) at the wide-angle position, which is ideal for capturing close-up shots of flowers and insects, even at the user’s feet. The broad range of focal lengths allows users to enjoy shooting a wide variety of scenes and subjects all with this single lens.

Primary features of the NIKKOR Z 180-600mm f/5.6-6.3 VR

• Super lightweight lens that is easily hand-holdable, weighing just 1955 g (4.3 lbs).¹
• Covers an extremely broad focal range, from a versatile 180mm to an extreme 600mm. This is equivalent to 270-900mm when DX crop is engaged.
• A short minimum focus distance of 4.3 ft (1.3m) at the wide-angle and 7.9 ft (2.4m) at the telephoto position enables close-up shots of flowers, insects and more.
• Vibration Reduction (VR) image stabilization performance equivalent to a 5.5-stop increase in shutter speed effectively reduces blurring in dimly lit surroundings and/or with handheld shooting.²
• Utilization of a stepping motor (STM) ensures fast and quiet autofocusing.
• Internal zoom mechanism maintains balance, increases zooming stability and dust resistant performance.
• Customizable Fn buttons at the front end of the lens barrel are easy to use when shooting handheld.
• Designed with consideration for dust and drip resistance³, in addition to an antifouling fluorine coating on the front lens element enables easy removal of dust and dirt.
• Ideal for video recording with a click-less control ring that supports smooth operation and minimizes operational noise, as well as the effective suppression of focus breathing.
• Maintains superior resolution when using the Z TELECONVERTER TC-1.4× or Z TELECONVERTER TC-2.0× to extend the maximum focal length to as much as 840 mm or 1200 mm, respectively.⁴
• Construction of 25 elements in 17 groups, using six ED glass elements effectively compensate for chromatic aberration, with nine aperture blades for a round, natural bokeh.
• Extremely short ring throw of only 70 degrees to adjust from the widest to longest focal length.

The NIKKOR Z 70-180mm f/2.8: Nikon’s Trilogy of Affordable f/2.8 Zoom Lenses is Complete

The new NIKKOR Z 70-180mm f/2.8 is a truly compelling option for photographers and videographers looking to step up their lens collection with a fast and affordable telephoto zoom. The NIKKOR Z 70-180mm f/2.8 joins the recently released 28-75mm f/2.8 and 17-28mm f/2.8, rounding out the trio of ideal upgrade lenses for those looking to take their creativity to the next level.

The new NIKKOR Z 70-180mm f/2.8 is approximately 40% smaller when compared to the NIKKOR Z 70-200mm f/2.8, but offers a similar versatile focal range that’s perfect for weddings, portraits, sports and video event coverage. The combination of fast f/2.8 aperture and telephoto zoom range allows the user shoot in low light scenarios like at a reception or indoor gym, but also gives flattering compression and enticing bokeh that draws attention to the subject.

Primary features of the NIKKOR Z 70-180mm f/2.8

• Creative possibilities are expanded with the constant maximum aperture of f/2.8 which provides great low light ability and smooth-looking background blur.
• Extremely compact and lightweight, weighing in at only 795 g (1.75 lbs), making it an easy lens to carry all day.
• Excellent ability for close-ups with a minimum focus distance of 0.27m (at 70mm) and 0.85m (at 180mm).
• Optimized for video with suppressed focus breathing⁵ and near-silent focusing. Additionally, the customizable control ring can be programmed to gradually change aperture, ISO, and focus. Because the focus position moves in accordance with the rotation angle, regardless of how fast the focus ring is turned, videographers can also control MF as intended.
• Fast autofocus with a stepping motor (STM) that supports quick focusing on moving subjects for both stills and video.
• Dust- and drip-resistant³ design with an antifouling coating on the front-most surface of the lens.
• Lens construction consists of 19 elements in 14 groups including five ED elements, one Super ED element, and three aspherical elements which help to suppress chromatic aberration and flaring.
• Use of the Z TELECONVERTER TC-1.4× or Z TELECONVERTER TC-2.0× extends the maximum focal length to 252 mm or 360 mm, respectively⁴. When the Z TELECONVERTER TC-2.0× is attached, the maximum reproduction ratio is 0.96⨯, which is close to life-size reproduction.

Price and Availability

The new NIKKOR Z 180-600mm f/5.6-6.3 VR lens will be available in August 2023 for a suggested retail price of $1699.95.*, while the new NIKKOR Z 70-180mm f/2.8 lens will be available in mid-July for a suggested retail price of $1249.95. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire collection of Z series cameras, please visit nikonusa.com.

1. Excluding tripod collar ring.
2. Based on CIPA Standard. This value is achieved when attached to a camera with full-frame/FX-format sensor, with the camera's VR function set to "NORMAL", and when zoom is set to the maximum telephoto position.
3. Complete dust- and drip-resistance is not guaranteed in all situations or under all conditions.
4. Depending on the subject, ambient lighting conditions, and the focus point selected, the camera may be unable to focus using autofocus or the focus indicator for electronic rangefinding may flicker while a teleconverter is attached.
5. Focus breathing may be noticeable depending on the distance between the lens and the subject due to the characteristics of the lens.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

	Nikon Nikkor Z 180-600mm F5.6-6.3 VR	Nikon Nikkor Z 70-180mm F2.8
Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	180–600 mm	70–180 mm
Image stabilization	Yes	No
CIPA Image stabilization rating	5.5 stop(s)
Lens mount	Nikon Z
Aperture
Maximum aperture	F5.6–6.3	F2.8
Minimum aperture	F32–36	F22
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	25	19
Groups	17	14
Special elements / coatings	6 ED elements, 1 Aspherical element	5 ED elements, 1 Super ED, 3 aspherical elements
Focus
Minimum focus	1.30 m (51.18″)	0.27 m (10.63″)
Maximum magnification	0.25×	0.48×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes	No
Focus method	Internal
Distance scale	No
DoF scale	No
Focus distance limiter	Yes, two positions
Physical
Weight	2140 g (4.72 lb)	795 g (1.75 lb)
Diameter	110 mm (4.33″)	84 mm (3.31″)
Length	316 mm (12.44″)	151 mm (5.94″)
Sealing	Yes
Colour	Black
Zoom method	Rotary (internal)	Rotary (extending)
Power zoom	No
Zoom lock	Yes
Filter thread	95 mm	67 mm
Hood supplied	Yes
Tripod collar	Yes	No

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Photo: Phase One

Phase One has announced the XC camera, a $62,490 150MP (53.4mm x 40mm) medium format with a 23mm F5.6 (14.9mm, F3.6 equiv.) fixed-lens. Phase One's previous medium format cameras, the XF and XT cameras, have had removable digital backs as well as interchangeable lenses, but the XC is more akin to a compact camera. The manufacture said it made the decision with a goal of creating their 'most compact digitally integrated camera to date,' in order to give consumers a 'straight-forward, travel-friendly and compact design.'

Compact here is relative as the camera measures 162 x 143 x 105mm (6.4 x 5.6 x 4.1"), and weighs 1820g (4.0 lbs).

The XC has two digital back options: the IQ4 150MP and the IQ4 150MP Achromatic for black and white photography. The 53.4 x 40mm (essentially 645 format) format delivers 14,204 x 10,652 pixel images. This is 47% larger than the 44 x 33mm medium format sensors used by Ricoh, Hasselblad and Fujifilm, which should give around a 0.56EV benefit over these cameras or 1.3EV over a full-frame camera.

The Phase One XC is available now for an MSRP of $62,490.

Introducing The Phase One XC: Unveiling Unparalleled Image Quality with This New Travel-Friendly Camera

Designed for convenience, the XC is Phase One’s most compact digitally integrated camera to date.

COPENHAGEN, DENMARK, (June 27, 2023) — Phase One has announced the XC Camera, purpose built for travel photographers who demand the finest in image quality. Designed for convenience, the XC is Phase One’s most compact digitally integrated camera to date.

“We’ve designed the XC Camera to be a companion camera,” said Drew Altdoerffer, VP of Digitization, Phase One. “With its compact size, operational simplicity, and super wide angle of view, the XC Camera can be always by your side and at the ready. You can carry the camera anywhere to capture anything at any time, recording inspiration as it strikes.”

The XC Camera combines Phase One’s IQ4 150MP power and performance (built on a true full-frame medium format digital sensor of the highest quality) with a fully integrated Rodenstock HR Digaron-S 23mm f/5.6 lens.

The XC prioritizes unparalleled image quality in a simplified and compact design. It is conveniently sized and remarkably intuitive to use. Crafted for straightforward operation, the Phase One XC frees the photographer to focus on capturing the moment, less on camera settings.

“The compelling thing about the XC is that all I have to do is reach into my equipment rack and pack it into the smallest of bags, and I'm ready for any photographic adventure,” said Thomas Biasotto, Professional Photographer, Alpinist and Author

Phase One’s ability to dedicate camera designs to the demands and desires of a specific application makes the blend of sensible Danish design, advanced technology integration, exceptional image quality, and precision mechanics a superior foundation for the travel photographer.

Technology in a class of its own

The XC Camera is designed around the highest quality components available:

1. The XC Camera has been built exclusively for the Phase One IQ4 150MP (or IQ4 150 MP Achromatic) – featuring the Infinity Platform, supporting innovation, and evolving technology. It offers elegant ergonomics and straightforward controls.
2. The XC Camera includes an integrated Rodenstock HR Digaron-S 23mm f/5.6 manufactured by Phase One’s strategic partner Rodenstock. Integrated with the X-Shutter -- an intelligently controlled electromagnetic shutter -- born from Phase One’s Geospatial applications.

Availability and Pricing

The XC Camera is available now in limited quantities through Phase One Partners worldwide.

The Manufacturer Suggested Retail Price for the XC Camera is $62,490. It is sold with a 5-year limited warranty, including unlimited lens actuations for the warranty period.

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Nikon has issued a service notice recalling some Z8 cameras. When asked, the company issued a statement saying that there have been 'rare cases where a lens cannot be mounted to a camera and locked into position.'

The statement reads:

'Nikon has issued a technical service advisory for Z 8 camera users, due to rare cases where a lens cannot be mounted to a camera and locked into position. We have identified a range of serial numbers with which the issue may occur, and will service the affected cameras at no cost to the consumer. For more information and to check your serial number, please visit Nikon’s support page.'

Nikon appears to have narrowed down the problem to a specific batch of cameras and has set up a web page where users can check whether their camera is affected. If so, the company says it will rectify the issue at no cost to the user.

You can check your camera's serial number here.

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87%

Overall score

Jump to conclusion

The Canon EOS R7 is a 32.5MP APS-C mirrorless camera built around Canon's RF mount. It sits as a more expensive sister model to the EOS R10, launched alongside it. It's targeted at a similar enthusiast photographer market as the existing EOS 90D DSLR and, perhaps, the EOS M6 II.

Key Specifications

• 32.5MP APS-C CMOS sensor with Dual Pixel AF
• Up to 30 fps shooting (e-shutter), 15 fps with mechanical
• In-body image stabilization, rated at up to 7 stops
• Oversampled UHD 4K up to 30p, line-skipped or cropped 4K/60p
• 10-bit video as 'PQ' true HDR footage or C-Log
• 2.36M dot OLED viewfinder
• 1.62M dot fully-articulating touchscreen
• Twin UHS-II SD card slot
• Environmental sealing
• Mic and headphone sockets

The EOS R7 is available for a list price of $1499 body-only, or $1899 with the new 18-150mm F3.5-6.3 IS STM zoom lens.

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Jump to:

What's new | How it compares | Body & handling | Image quality | Video | Autofocus | Conclusion | Sample Gallery | Specifications

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What's new

Sensor

The EOS R7 a 'new' 32.5MP APS-C sensor which continues to offer Dual Pixel AF and Canon's Dual Pixel Raw mode.

As with the R10, Canon says the 32.5MP CMOS sensor at the heart of the EOS R7 is not the same as one used before. It strikes us as unlikely that Canon is committing a lot of money to designing entirely new front-side illuminated sensors at this point, leading us to speculate that the new version is a variation of the existing design, perhaps manufactured on a newer production line that allows finer fabrication of the sensor's circuitry.

Whatever the difference is, the sensor, combined with the latest 'Digic X' processor allows faster continuous shooting and faster video rates than we've seen from any of Canon's existing 32.5MP cameras.

In addition, this speed feeds into to a substantially reworked AF system.

Autofocus

Any of the AF areas modes can now be used to initiate AF tracking. Canon still hasn't fixed the Enable/Enabled error in the interface (This message indicates that tracking is enabled, not you should press 'Info' to enable the mode).

The EOS R7 gains the same autofocus system as the R10. This dispenses with the separate Face/Tracking focus mode and instead lets you engage tracking as an option when using any of the AF area or zone modes. This means you get the choice of how to initiate tracking, using an AF target that's a good fit for the subject you're trying to shoot.

The AF areas now include three customizable AF zones whose size and shape can be adjusted.

You can set the camera to recognize humans, animals or vehicles. The human-recognition mode is distinct from the face/eye detection that remains available, even if the recognition mode is turned off.

In addition, the EOS R7 has the subject recognition modes inherited from the EOS R3, letting you choose to prioritize people, animals or vehicles. Given the slower read-out of the R7's FSI-CMOS sensor, we don't necessarily expect the same AF performance as Canon's sporting mirrorless model, but the R7 should be just as good at identifying subjects of the type you select.

Continuous shooting

The R7's sensor readout is fast enough to offer continuous shooting at up to 30fps, using its electronic shutter. We've not had a chance to measure the rolling shutter rate, or test whether the camera is dropping to 12-bit readout (which seems likely, with an FSI sensor), but it's a decent spec to be able to promise.

Perhaps more significantly, the R7 can shoot 15 frames per second with full AF using its mechanical shutter, which means there'll be no rolling shutter concerns (and it's not so long since Canon's flagship sports model shot at a comparable rate). Notably, the EOS R7 has a larger image buffer than the R10, making it more practical for shooting bursts of action.

In our initial testing we could capture around 100 compressed Raw images when shooting at the 15 fps mode with mechanical shutter, and around 65 shots in 30fps mode, meaning around two-to-three times more images in a burst than the R10 can manage.

The shutter is able to sync with flashes at up to 1/250 sec in mechanical shutter mode or 1/320 in electronic front curtain mode. The e-shutter isn't fast enough for use with flash.

Video

The movie function is accessed by moving the power button one stage beyond the 'On' position. We found this could be a little fiddly and difficult to consistently use accurately.

The video specs of the EOS R7 are improved over the R10 and over cameras that used the previous versions of the 32.5MP Canon sensor. The biggest difference is that, as well as being able to shoot oversampled 4K at up to 30p, using the full 7K area of the sensor, it's also able to capture sub-sampled (probably line-skipped) UHD 4K at up to 60p from the full sensor width.

The EOS R7 can shoot full-width (but sub-sampled) 4K at up to 60p or you can apply a fairly major 1.81x crop and use a native 3840 x 2160 pixel region.

Alternatively, like the R10, there's the option to capture 4K/60p using a native 3840 x 2160 pixel crop of the sensor. But, because the R7's sensor is higher resolution than that of the R10, it means a bigger crop is required to get down to that native region. The R7's cropped 4K/60 applies a 1.81x crop on top of the sensor's existing 1.6x crop, relative to full-frame. This will be useful for achieving a zoomed-in look but means you're using just 1/4 of the camera's sensor, so there'll be a significant noise cost in all but the best light.

Canon says the oversampled 4K 'Fine' setting (at least in 29.97p form) can record for approximately 30 minutes, depending on camera temperature and ambient conditions. There are no thermal limits listed for the sub-sampled or cropped modes.

The EOS R7 has both microphone and headphone sockets, letting you use external mics and monitor the audio for level and background distractions, while you record.

As well as the HDR PQ option for capturing true HDR footage for HDR displays, the R7 offers the ability to capture 10-bit footage in the C-Log 3 profile, designed to retain flexibility for color (and brightness) grading. This, combined with in-body stabilization, headphone socket and pretty decent video AF (albeit not as good as in stills mode), makes the R7 a pretty competitive video machine at its price point.

True HDR stills

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

Return to index

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How it compares

We've compared the EOS R7 with its two most obvious image-stabilized enthusiast APS-C rivals: the Sony a6600 and Fujifilm's slightly more expensive X-T4.

	Canon EOS R7	Canon EOS R10	Sony a6600	Fujifilm X-T4
MSRP (at launch)	$1499	$979	$1399	$1699
Pixel count	33MP	24MP	24MP	26MP
Sensor tech	FSI-CMOS (Dual Pixel)	FSI-CMOS (Dual Pixel)	BSI-CMOS	BSI-CMOS
Image stabilization	Yes (Rated up to 7.0EV)	No	Yes (Rated up to 5.0EV)	Yes (Rated up to 6.5EV)
Max frame rate	15fps (mech) 30fps (e-shutter)	15fps (mech) 23fps (e-shutter)	11fps (mech) 8fps (e-shutter)	15fps (mech) 20fps (e-shutter)
Viewfinder res / mag	2.36M dot 0.72x	2.36M dot 0.59x	2.36M dots 0.70x	3.69M dots 0.75x
Rear screen res / type	3.0" 1.62M dot fully-articulated	3.0" 1.04M dot fully-articulated	3.0" 0.92M dot tilt up/down	3.0" 1.62M dot fully-articulated
Video	4K/30p full-width oversampled, 4K/60p subsampled full-width or with 1.81x crop	4K/30p full-width oversampled, 4K/60p from 1.56x crop	4K/24p full-width oversampled, 4K/30p with slight crop	DCI or UHD 4K up to 30p full-width, oversampled, up to 60p with 1.18x crop
10-bit video options	HDR PQ C-Log 3	HDR PQ	None	HLG F-Log
Mic / Headphone sockets?	Yes / Yes	Yes / No	Yes / Yes	Yes / via adapter
Card slots	2 x UHS-II SD	1 x UHS-II SD	1 x UHS-I SD	2 x UHS-II SD
Battery rating (LCD / EVF)	660 / 380	350 / 210	810 / 720	500 / 500
Weight	612g (21.6oz)	426g (15oz)	503g (17.7oz)	607g (21.4oz)
Dimensions	132 x 90 x 92 mm	126 x 88 x 83 mm	120 x 67 x 69 mm	135 x 93 x 84 mm

The Sony has a lower specificaton in several regards, most noticeably in terms of its video capabilities, but it also has the autofocus system that's most comparable to that of the new Canon. The X-T4's autofocus isn't as simple nor is it quite as dependable as that of the Canon or Sony, but it has a higher-resolution viewfinder and video specs that are a good match for those of the Canon (the Fujifilm's 60p footage requires a slight crop but is much more detailed than either of the R7's 60p modes).

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Body & handling

The R7 body has no immediate precedent in Canon's range: it's shaped rather like a smaller R6 but has a couple of control points we've not encountered before. The grip and feel in the hand is immediately familiar, though, with a large, comfortable grip that will make R-series or X0D users feel right at home.

The dial setup on the R7 is unusual, though. There's an upward-facing command dial immediately behind the shutter button, just as there is on the R10 and a great many Canon cameras. However, rather than the large, horizontal second dial of the R10, the R7 has a second vertical dial that encircles the AF joystick on the back of the camera. It's an unusual design and one that some of us found meant they ended up adjusting exposure when they were trying to nudge the AF point. This wasn't universal, though, so perhaps it's something we'll get used to.

Unlike the R10, the R7 is able to close its mechanical shutter when switched off, preventing dust getting on the sensor as you change lenses.

The other difference is that the cardinal points on the R10's four-way controller are marked with their permanent functions, whereas the R7 lets you customize which functions its larger, easier to operate controller gives you access to. There's also no pop-up flash unit on the R7.

Given the (comparatively) modest price of the R7, it's no surprise that the Eye Control system from the EOS R3 hasn't yet trickled down this far. Instead you're likely to primarily use the AF joystick, or a combination of buttons and dials if operating Canon DSLRs is truly ingrained on your soul.

The EOS R7 has twin UHS-II SD card slots, which live behind their own door on the side of the camera, making access much easier than on the R10, particularly if you're on a tripod. It's also weather-sealed to a greater degree than the EOS R10 though, as usual, Canon doesn't attempt to quantify this.

Viewfinder and screen

The R7 has a 3.0" fully-articulated rear touchscreen. It's 1.62M dot unit, meaning it offers a resolution of 900 x 600 pixels.

The viewfinder is a 2.36M dot OLED panel, which is still a common spec on sub-$1000 mirrorless cameras. Canon tends not to give information about refresh rates but the 1.15x magnification (0.72x in equivalent terms) is very good. Neither is a particularly high-end panel, but both are comparable, for now, with the camera's (rather elderly) peers.

Battery

The EOS R7 uses the LP-E6NH batteries shared by the EOS R6 and R5 models. This is a 15.3Wh unit, meaning over twice the capacity of the one used in the R10. This powers the EOS R7 to a rating of 660 shots per charge or 380 when using the viewfinder, in the more power-hungry 'smoothness priority' mode. You can boost these numbers to 770/500 in power-saving mode.

CIPA numbers tend to under-represent the number of shots you're likely to get during many types of photography. We find 660 shots is sufficient that you'll rarely need to worry about running out of battery, even for quite intensive sports or event photography.

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Image Quality

Canon's approach to color science has and continues to be a real crowd-pleaser. ISO 250 | 1/640 sec | F/6.3 | RF-S 24-50mm f/4.5-6.3 @ 42mm Photo: Dan Bracaglia

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

The 32.5MP EOS R7 captures an impressive amount of detail for its class, on par with even the 40MP Fujifilm X-T5 (and X-H2). The R7 also has a slight detail capture advantage over its lower-resolution APS-C peers like the Fujifilm X-T4, Nikon Z50, and Sony a6600.

At base ISO, the R7 is showing broadly similar levels of noise to its peers, though the 20.9MP Z50 has a very slight advantage. At mid-to-high ISO, the R7 is a tad noisier than its peers, including the higher-resolution X-T5, but the difference is modest. Pushing into high ISO territory, the R7 is again noisier than all of its peers, including the X-T4.

We've long been fans of Canon's approach to JPEG color science and the R7 is a great camera for anyone who wants to forego the heavy editing. Reds and yellows look punchy and accurate, while blues and purples are well-saturated and pleasing to the eye. Canon's greens, meanwhile, render a tad paler than the competition but still look quite good.

Default JPEG sharpening tends to be solid, though it can occasionally trend toward aggressive in areas of the scene with a lot of detail. When it comes to high ISOs, the JPEG engine does a pretty good job balancing detail retention with noise reduction, on par with the competition. But like its peers, you can kiss any detail in low-contrast areas goodbye thanks to NR.

Dynamic range

This R7 Raw file was processed using Adobe Camera Raw 15.3.1 with the Exposure increased +3.20EV, the Highlights decreased to -100, the Shadows increased to +65, the Whites increased to +25, and the Blacks decreased to -33. (Out of camera JPEG below). ISO 100 | 1/400 sec | f/8 | RF 35mm f/1.8 Macro Photo: Dan Bracaglia

The R7's sensor is likely a variation of the same 32.5MP APS-C CMOS chip found in 2019's EOS 90D and EOS M6 II. And while the dynamic range is pretty good, the chips used by other manufacturers offer a distinct advantage on the DR front. For instance, you'll likely find that the Fujifilm X-T4 and X-T5 offer slightly more malleable Raw files.

Still, you can get a lot out of EOS R7 Raws, though. For example, the above image was pushed more than 3EV in ACR with its shadows increased to +65. You can see the original JPEG below. With the latest AI-trained noise reduction, you can generate a reasonable result (though a cleaner initial image would reduce the amount of detail that needs to be algorithmically 'generated').

Out of camera JPEG version of the above image. ISO 100 | 1/400 sec | f/8 | RF 35mm f/1.8 Macro Photo: Dan Bracaglia

Lens availability

When it comes to image quality, the camera is only half the equation, or rather, a great sensor is only as good as the lens in front of it. And at the moment, Canon's RF-S lens selection—those built specifically for APS-C – is quite limited. Yes, there's a wide range of full-frame RF glass available. But the added bulk and cost of many of these lenses makes them unappealing or unattainable for many R7 users.

As of writing, the small handful of RF-S lenses available are all of the "kit lens" variety, i.e. slow variable aperture zooms with uninspiring handling. These aside, R7 users may consider the RF 50mm f/1.8 ($170) or the RF 16mm f/2.8 ($250) – with an 80mm and 26mm equiv. field of view, respectably, both are reasonably priced and compact in size.

Unfortunately, if it's a fast, affordable, wide-angle you crave for this system, you're out of luck for now. And don't expect any third-party lens options either. Canon, unlike some of its competitors, doesn't share lens mount protocols with other lens makers.

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Video

In addition to stills chops, the R7 is and is capable of impressive-looking 4K capture and well-equipped with a solid set of video tools and features.

Video quality

The EOS R7's oversampled 4K video, taken from the full 7K area of the sensor, is up there with the best APS-C cameras, including the Fujifilm X-T5. However, the 4K/60p mode, which is not oversampled, appears less detailed than the class-leading X-T5. Similarly, standard UHD 4K capture is distinctly mushy compared to the competition. There's also a 60p option that uses a 1.81x cropped area of the sensor, it's more detailed than the full-width version but uses a smaller area of the sensor, so it quite a bit noisier, by comparison.

Rolling shutter

With a sensor readout speed of 30ms in oversampled 4K mode, you're likely to notice the impacts of rolling shutter – which manifests as a 'jello effect' – while shooting clips with subject movement or camera panning. However, this is not an issue for static shots. Note: We consider sensor readout speeds of 20ms or faster as acceptable and 10ms or faster as very good.

When shooting in the rather mushy subsampled 4K capture mode or the full-width (but subsampled) 60p modes, rolling shutter numbers are better (15ms). The more detailed 60p mode taken from a cropped region has a readout time of around 15.6ms.

Video IS

The R7's image stabilization (which is both sensor and lens-based) should be able to steady most stationary handheld shots, so feel free to leave the tripod at home. But maybe grab a stabilization rig if you plan to shoot a lot of footage with camera movement. The system isn't robust enough to smooth out footage shot while walking, for example. That said, it does a great job of keeping panned and zoomed shots looking professional. And for added stability, you can turn on digital IS, which crops in slightly to compensate for camera movement.

Video AF

Unlike in stills mode, AF tracking doesn't work with all AF area modes, only Canon's Whole Area AF. That said, all three subject-specific detection modes are available and work during video capture, as well as eye detection, regardless of the AF area selection.

Performance-wise, if you're sticking to a single point or area and placing it over your subject (i.e. not using tracking), the R7 does a perfectly acceptable job maintaining focus as long the subject doesn't stray out from under your AF point.

When using AF tracking in video mode – with people detection on – the R7 again does a pretty good job locking on and maintaining focus, as long as the subject stays reasonably still. But a sudden change in position, or natural occurrences like a subject looking away from the camera, can lead to focus hunts. Other subjects entering or exiting the frame can also cause AF confusion.

Lowlight shooting scenarios also present a challenge for subject tracking during video capture. The dimmer the scene the more likely you are to see your tracking box drift from your intended subject.

Vlogging capabilities

The 18-150mm kit lens offers a field of view just about wide enough for vlogging (29mm equiv on the wide end). If you can make that work, the R7 is a fantastic machine for self-documentation thanks to the flip-out touchscreen, usable face/eye detection, decent 4K capture, and both headphone and microphone jacks.

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Autofocus

The R7 can shoot at up to 15 fps with a seriously impressive buffer depth. We were able to shoot 400+ consecutive JPEGs (large) before the camera slowed. Out of camera JPEG. ISO 100 | 1/800 sec | f/6.3 | RF-S 18-150mm f/3.5-6.3 @ 100mm Photo: Dan Bracaglia

For sports, action, and wildlife photographers, the R7's 15 fps mechanical shutter and deep buffer depth make it an appealing value proposition. This burst rate is nothing short of a pro-level; the flagship EOS-1D X Mark III DSLR is only 1 fps faster. And current EOS 90D shooters will see their camera's speed more than double with an upgrade to the R7.

But what good is all that speed without a quality AF system to support it? Fortunately, the EOS R7 benefits from some of the AF technology introduced in the flagship mirrorless EOS R3, including subject-specific AF detection (People, Animals, Vehicles) and the ability to use AF tracking in any AF area mode (when shooting stills).

AF performance

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

AF performance at 15 fps is class-leading when using a single AF point or area.

At 15 fps, the R7's AF system can maintain focus on an approaching subject, using a single point, with a near-perfect hit rate (as shown above). But what about a subject that is approaching in an erratic pattern, like a rugby player zigzagging toward the touch line or a slalom skier making their way down the mountain? In this case, Canon's AF tracking+human detection could prove useful.

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

The R7 also performs admirably at 15 fps when subject tracking is added to the equation.

We didn't have a rugby match or ski race handy but we did have a bicycle. And at 15 fps, the R7 is able to lock on a subject and drive focus with enough speed and precision to produce another impressive hit rate close to 90% (though there's some motion blur in some of these shots, which makes some of these shots look soft). That's some class-leading performance. And while the Sony a6600 may eke out a slightly higher hit rate, it's doing so at 11 fps.

Overall, AF Tracking is quite sticky. Once subject detection locks on, you'll be hard put to convince the AF system to jump elsewhere. For example, in our testing, as long as the initial AF acquisition was successful, the camera stayed locked onto the handsome man in the yellow vest with no issue.

Detecting people, pets, and vehicles

Human and animal detection on the R7 works reliably, however, the a6600 is still the class leader when it comes to nailing focus on eyes. Out of camera JPEG. ISO 100 | 1/250 sec | f/6.3 | RF-S 18-150mm f/3.5-6.3 @ 18mm Photo: Dan Bracaglia

Subject-specific AF detection modes are becoming more common on enthusiast-level bodies. And while the R7 only offers three subject modes, they can be turned on, individually, at any given time, regardless of your other AF settings. Additionally, eye detection can be toggled on and off at your leisure.

We spent the most time testing animal and people detection and found both functions with good reliability. That said, we still prefer Sony's Eye and Animal Eye Detection when it comes to overall reliability. With animal detection, especially, the R7 can front- or back-focuses just enough to irk pixel peepers. On the other hand, our erstwhile colleague, Jordan Drake had a lot of success testing the camera's vehicle detection.

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Conclusion

What we like

What we don't

Good APS-C image quality with attractive out-of-camera JPEGs 15 fps mechanical shutter with AF Deep buffer for burst shooting Reliable AF tracking during stills photography Subject-specific AF tracking modes Highly-detailed 4K video 10-bit video capture in C-Log or as out-of-camera HDR footage Effective in-body image stabilization for slow-motion stills and handheld video Solid build quality and handling with weather-sealing Familiar design for former DSLR users Twin card slots Decent battery life

Lack of RF-S lenses at the moment AF joystick awkwardly recessed within rear command dial Rolling shutter effect in 4K footage AF tracking during video tend to drift in low light 2.36M-dot EVF is a bit underwhelming for the price

The Canon EOS R7 is the natural successor to two popular cameras, the mirrorless EOS M6 II and the EOS 90D DSLR. Cornerstones of the enthusiast camera market, these models represent(ed) a solid feature-to-pricepoint proposition for a ton of photographers. And this freshest iteration continues the trend of cramming seriously impressive, often pro-level features, into a sensible, well-priced, mostly ergonomically-friendly body.

We say 'mostly' because one specific design decision may make or break your relationship with this camera. We're talking, of course, about the rear AF joystick encompassed by a control dial. In theory, it's a space-saving design element. But, at least for this reviewer, the AF nub fails to protrude nearly far enough from the wheel to avoid accidental bumps. Of course, your mileage will vary.

Out of camera JPEG. ISO 100 | 1/800 sec } f/6.3 | RF-S 18-150mm @ 76mm Photo: Dan Bracaglia

Image quality from the 32.5MP sensor is quite good. However, you'll find the R7's APS-C competitors, such as the Fujifilm X-T5, outperform it in terms of Raw dynamic range. But we wouldn't recommend making your camera purchasing decisions based on that alone, especially given how robust modern AI-powered noise reduction software is. Raw DR aside, the R7 is capable of fantastic image quality overall, up there with its class leaders. It also churns out some of the most eye-pleasing JPEGs around.

Outside of a present lack of RF-S glass, the Canon EOS R7 is one of the most well-rounded, versatile, and capable APS-C mirrorless cameras for the money

Of its competitors, only the X-T5 can match the R7's 15 fps mechanical burst rate. And the R7 blasts through the shots with a better autofocus hit rate and a deeper buffer than the Fujifilm, making it a solid choice for sports and action photography. That said, we prefer the X-T5's 3.69M dot EVF. And AF-wise, we still find the Sony a6600 offers an overall more reliable system, especially when it comes to eye detection. But you will have to step down to an 11 fps mechanical shutter.

Lightly edited to taste in ACR 15.3.1. ISO 250 | 1/500 sec | f/5.6 | RF-S 24-50mm @ 24mm Photo: Dan Bracaglia

Well-balanced for not just stills but video capture as well, the R7's oversampled 4K video is up there with its APS-C class leaders, just beware of rolling shutter. You'll also want to stick to 4K/24/30p rather than 4K/60p, though, as the latter lacks detail or demands a substantial crop. In-body image stabilization during video makes it easy to shoot handheld footage – as long as there's no sudden camera movement – and the face/eye detection works reasonably well, especially for scenes with one subject, something vloggers can appreciate.

Ultimately, outside of a present lack of RF-S glass, the Canon EOS R7 is one of the most well-rounded, versatile, and capable APS-C mirrorless cameras for the money in 2023. DSLR users stepping up from the 60/70/80/90D series in particular should consider this model as their gateway to a happier mirrorless future. But only if you can find the lenses you want.

Scoring

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

Compared to its peers

The EOS R7's most immediate rival is a camera that couldn't be more different, in terms of approach: the Fujifilm X-T5 is more stills focused than the Canon and offers a more traditional control layout, more like a 1960s or 70s SLR. Both shoot at 15fps and both have subject recognition capabilities to their AF systems, but the EOS R7's subject tracking is more dependable and its buffer deeper. The Fujifilm offers slightly higher quality video (less rolling shutter and more detail in most comparable modes) but the Canon's AF, while not as good as in stills, is again more reliable. The big difference is in lens availability: Fujifilm has a wide range of APS-C lenses, whereas Canon offers few RF or RF-S lenses that make sense of the EOS R7, which could undermine the edge the Canon otherwise has as a hybrid all-rounder.

The other APS-C option at this price is the Sony a6600. Its specs are still decent and its AF remains competitive, despite being four years old: humans, animals and their eyes are the only subjects it knows how to recognize but the AF is sticky and easy to use. It has the battery life and a solid lens range but the a6600's video is off the pace, by the latest standards: rolling shutter is just as high as the Canon's HQ mode, you need to crop-in to achieve 30fps capture and the Log mode is only captured in 8-bit, making it much less gradable. Neither camera lands a knock-out punch, so it'll depend on your needs.

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Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Pre-production sample gallery:

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