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Sony's gridline update adds up to four customizable grids to which users can color code and apply transparency masks. Photo: Sony

Earlier this week, Sony announced a $150 update to bring custom gridlines to its Alpha line of cameras starting March 2024. The a7 IV will be the first camera to have access to the update, with others likely to follow soon after.

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You may have noticed the news that users will soon be able to create and import up to four customized original gridlines, which may help portrait, commercial and business clients produce large batches of consistent images. For example, Sony cited the need for school portraits that require the same head position across hundreds of photos.

But there's one thing the initial news missed.

Gridlines aren't the story here. Even the snark of poking fun at this being a 'boring' update isn't the story here. The real story is what this means for the future of camera firmware and feature updates.

Years from now, will we look back at this as the camera industry's BMW heated seats moment? The beginning of a new era of microtransactions and subscription fees to unlock an a la carte selection of features on our cameras. If you want to unlock 100fps burst mode, will you need to pay to unlock it the same way Mercedes requires $1200 to unlock higher output from its EV engines?

This isn't a first for Sony. It had a similar model to charge users for camera features such as time-lapse and multiple exposures through its PlayMemories camera apps. Sony stopped shipping cameras with PlayMemories support in 2016, and earlier this year, it formally announced the app store would be closing down.

With the gridlines announcement, the concept of charging users for individual feature updates is back.

In the realm of video, we've seen manufacturers position pay-to-play video-centric add-ons as a way to avoid making still photographers pay for features they don't need. Panasonic charged GH4 users for V-Log, Canon charged 5D IV users for C-Log and EOS R owners for stop-motion. But it's not a standard practice for still photo camera updates.

In 2015, Panasonic became one of the first manufacturers to introduce paid video feature updates, when GH4 users were offered V-Log for $100. Photo: DPReview

Similar to the video argument, Sony has suggested that custom gridlines aren't a feature most users will need. In essence, it says custom gridlines are aimed at a very specific use case – business and commercial clients – so it's not depriving the average user by charging for the feature.

Whether you accept the rationale or not, it does present a potential slippery slope and opens the door to asking users to pay to add features to their cameras. Further, in our commercial shift toward subscription models for everything from software to entertainment, does paying for upgrades also open the door to subscription models? And, if upgrades are tied to a purchaser, what happens if we want to sell or pass our camera on to a friend? Will the paid-for features be allowed to transfer to a new owner?

Perhaps this $150 feature update isn't a thing to roll our eyes at. Perhaps it's our wake-up call as camera lovers and consumers. Following BMW's announcement that it would charge $18 every month to unlock heated seats, consumers spoke up, and BMW backed off this idea, so use your voice.

We contacted Sony for comment but did not hear back in time for this report.

Sony Press Release

Sony Electronics Announces Custom Gridline License Available for Alpha Camera

BodiesVarious camera bodies starting with the Alpha 7 IV, etc.

SAN DIEGO – Nov. 28, 2023. Today, Sony Electronics announces a new custom gridline license planned for the Alpha 7 IV^[1] in March 2024 onward, and more camera bodies^[2] in the future.

The new license offers the ability to import up to 4 customized original gridlines. The gridlines can be displayed on EVF (electronic viewfinder) and LCD (Monitor on the rear of the camera) when shooting which makes for easier, more consistent images. For example, staff at schools, photo studios, theme parks, cruise ships, malls, etc. will now have the ability to update their cameras with ease and utilize this tool for quick and precise, more professional shots. Imported customized gridlines are replaceable and color gridlines are available. Once gridlines are registered, it can be displayed with HDMI output as well. After shooting, users can check the images with the grid lines overlayed on EVF and LCD.

"The ability to import customized gridlines into a mirrorless camera is an essential feature for all of our photographers to capture images consistently," says Frank Lombardo, National Photography Manager for Inter-State Studio and Publishing. “These simple gridlines keep head sizes the same for all our products and improve our production time. They also allow us to know where the edge of print will be during capture."

"With a focus to improve both the consistency and quality of school photography, this advancement is a great foundation to a platform geared for volume photographers across the globe. Sony's commitment to continually innovate along with their unparalleled support aligns perfectly with Strawbridge Studio's, Inc. mission to provide the best picture day experience for schools across the country," says Nic Davidson, Director of Photography of Strawbridge Studios, Inc.

"Sony's commitment and support for this industry is unprecedented, from their support in student photography across the US to their training of future photographers and videographers and now, developing a camera system that will radically change the volume photography space for years to come," says David Crandall, the Executive Director of School Photographers of America (SPOA).

"Now anyone can make a pattern, import it, then change and improve it to their liking. The possibilities are endless - simply rotate the four favorite patterns you need for the job at hand. Sony gives us real practical solutions, allowing the School, Sports and Volume Photography industry to produce better, more accurate compositions. The ability to import any four graphics, then scroll between them makes our jobs easier and results better than ever before," says John Rak, member of the School Photographers Association of California (SPAC).

Not only can this be utilized as gridlines, they can also be used as partially filled transparency masks. In addition to school and sports photography, Sony has positioned this to be used for businesses such as cruise lines, theme parks, nature photography, ID photography, dentistry, and CG photography. Sony hopes that this custom gridline feature will help improve the creativity and work efficiency of photographers in a variety of industries.

The license will be available at a suggested retail price of $149 USD through the Upgrade and License Management Suite at https://ulms.sony.net as of Spring 2024.

^[1] A license must be downloaded from Sony’s camera upgrade website: pro.sony/ue_US/digital-imaging/custom-gridline and installed in the camera.

^[2] Future compatible models will be announced through the web site below: https://pro.sony/en_ME/digital-imaging/

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This is the version of the Kodak Super 8 Camera we saw at CES in 2017.

As reported last week by The Verge, Eastman Kodak's Motion Picture division – not to be confused with Kodak Alaris, which manufactures 35mm photographic film – will finally release the Kodak Super 8 Camera, a traditional Super 8 movie camera that incorporates modern digital technologies.

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To give you an idea of just how long the road to productization has been for the Super 8 Camera, we first saw it at CES in January 2016, the same year that Rio de Janeiro hosted the Summer Olympics, Leonardo DiCaprio finally won an Oscar for The Revenant, and Pokémon Go briefly took over the world. To say it missed its anticipated Q4 2016 launch date is an understatement, so you can imagine our surprise to discover it's about to launch eight years later.

We got our first look at the Kodak Super 8 Camera at CES 2016.

The Super 8 Camera is a hybrid of old and new technology. At its heart is a Super 8 movie camera, a format released by Eastman Kodak in 1965. But it also incorporates digital elements that provide a more modern shooting experience and bring audio to your movies.

Most notably, the Super 8 Camera includes a 4" LCD that can display aspect ratio overlays and audio meters and works by using a split prism to redirect some of the light entering the lens to a digital sensor. We got to try a much older version of the camera at CES 2017, and the live view image was hazy, grainy and difficult to use for judging focus, not wholly inconsistent with the analog Super 8 experience. Hopefully, it's been improved since then. Movies can be captured at either 18, 24, 25, or 36 frames per second.

Kodak's sizzle reel for the Super 8 Camera offers a glimpse of the Super 8 film look. While it's possible to apply film effects to video in post-processing, it's still difficult to achieve the organic look of real film.

The Super 8 Camera captures audio using a built-in or external microphone. Audio isn't captured on the film, but to an SD card, allowing you to synchronize sound after your film is processed and scanned. Audio capture is limited to 24 or 25fps shooting.

The camera includes a 6mm F1.2mm C-mount lens, providing approximately 35mm equivalent coverage in full-frame terms. C-mount is compatible with lenses going back many decades, and there are a lot of C-mount lenses out there, many of which can likely be found in your local thrift store.

"The Super 8 Camera is a hybrid of old and new technology. At its heart is a Super 8 movie camera, a format released by Eastman Kodak in 1965."

Kodak is touting the camera's 'Extended Gate' capture. The Super 8 format captured a 4:3 aspect ratio (1.33:1), but the Super 8 Camera is designed to use a wider area of the film such that each frame is 11% larger than the Super 8 standard in a 1.5:1 aspect ratio (or 3:2 as photographers tend to think about it), which Kodak says is closer to the 16:9 format that has come to dominate playback in the decades since Super 8 was a mainstream format.

Kodak's 'Extended Gate' capture uses a wider area of the film, resulting in a frame that's 11% larger than the Super 8 standard.

Interestingly, the original camera we saw in 2016 included a full-sized HDMI and type A and B USB sockets. When we next saw it in 2017, this had morphed into a micro-HDMI and micro-USB socket (for charging), which appears to remain unchanged seven years later.

Kodak provides several film stocks, including three Kodak Vision3 color negative films, Tri-X black and white and Ektachrome color reversal film. Each 15m (50 ft.) film cartridge will set you back $32 ($43 for Ektachrome) but includes processing, scanning, and transfer to the cloud.

Kodak Vision3 200T is one of three color negative films to choose from, along with Tri-X and Ektachrome stocks. One 15m (50 ft) cartridge will get you two and a half minutes of footage when shot at 24fps.

Before taking the plunge, take note: shooting your next project with this camera will cost a pretty penny. At 18fps – a frame rate that will definitely look vintage – you'll run through an entire film cartridge in just 3 minutes and 20 seconds. Step up to 24fps, and you'll be down to just two and a half minutes per cartridge.

What may be the biggest surprise about the Super 8 Camera is its price. When it was first shown in 2016, we were told to expect the camera to sell for between $400 and $750. Inflation over the past eight years has been stiff, but that doesn't explain an MSRP that has jumped to $5495, which includes the camera, a Pelican case, the 6mm F1.2 lens, a pistol grip with trigger, and various accessories.

The Super 8 Camera includes a micro-HDMI port and a micro-USB port for charging, the same as the prototype we saw in 2017.

The price point suggests that Kodak hopes it'll find favor among commercial users or creative agencies looking to provide something unique to their clients rather than the nostalgia crowd who want to have fun with film. Perhaps a few social media influencers will also pick these up, though no provision is made for shooting vertical video.

Either way, this is a significant cost for a format whose 6.3 x 4.2mm capture region is very similar to the Type 1/2.3 (6.17 x 4.5mm) sensors used in compact cameras. Even with an F1.2 lens, Super 8mm is going to deliver the '60's home movie' look that you might need if you want to make the title sequence of a TV show about wealthy, dysfunctional families.

According to The Verge, Kodak expects the camera to go on sale in limited quantities in the US on December 4, but you'll need to sign up for a reservation on Kodak's website. If you were already on the reservation list (you'd be forgiven if you can't remember at this point) and want to maintain your priority position, you'll need to sign up again using the new waiting list by midnight Eastern time on November 28.

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Photo: Sony

Sony has announced the completion of a month-long field test with the Associated Press to evaluate the performance of C2PA in-camera authenticity technology. In addition to the hardware-signed authentication written by the camera, the tests included working with 'Photo Mechanic' maker Camera Bits to develop a workflow in which this signature was preserved and any changes tracked.

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Sony had previously announced business users of the a7 IV would be able to add secure signatures to their images, and has said this capability will now be expanded to other models.

Image manipulation has been a growing concern dating back to the beginnings of digital photography and photo editing software, even more so recently in the wake of AI tools that make manipulating and faking images far easier. Newsrooms and photojournalists are keenly aware that fake and manipulated images can sow confusion, mislead the public, and most concerning, undermine trust in factual journalism.

Sony hasn't historically been the camera of choice for photojournalists, Canon and Nikon having dominated the sector for decades. But following its partnering with the AP in 2020, and its work as a steering committee member for C2PA (Coalition for Content Provenance and Authenticity), a project that brings together the efforts CAI (Content Authenticity Initiative) and Project Origin to address image provenance and authenticity, it's making inroads.

Leica last month announced a camera that could digitally sign images and append C2PA-compliant metadata to its images, and Nikon has shown a prototype Z9 that does the same, suggesting the there may finally be some sort of industry consensus on the best approach to take.

Sony says it plans to add C2PA authentication via a firmware update for the a9 III, a1, and a7S III next Spring, signalling that the encryption hardware is already present in these models. That timing is likely intentional, as it'll arrive just ahead of the Summer Olympic games and the US Presidential race, both key opportunities for a camera manufacturer courting photojournalists.

Sony Electronics and The Associated Press Complete Testing of Advanced In-Camera Authenticity Technology to Address Growing Concerns Around Fake Imagery

New In-Camera Signature Solution Attaches Digital Certificate to Photos at the Point of Capture to Certify Legitimacy

SAN DIEGO – Nov. 21, 2023 – Today, Sony Electronics announces the completion of a second round of testing for Sony’s in-camera authenticity technology with Associated Press. This in-camera digital signature allows for the creation of a birth certificate for images, validating the origin of the content.

Sony’s authenticity technology provides a machine-based digital signature, removing the opportunity for undetected manipulation at the start. The digital signature is made inside the camera at the moment of capture in the hardware chipset. This security feature is aimed at professionals wanting to safeguard the authenticity of their content and provides an extra layer of security to aid news agencies in their fight against falsified imagery.

“While the rapid evolution of generative AI (Artificial Intelligence) brings new possibilities for creative expression, it has also led to growing concern about the impact of altered or manipulated imagery in journalism,” says Neal Manowitz, President and COO of Sony Electronics. “The dissemination of false information and images has real world social impact that brings harm not only to our photojournalist and news agency partners, but to society as a whole. We care deeply about this challenge and are committed to using our resources to help solve it. Through Sony’s work on the steering committee for C2PA (Coalition for Content Provenance and Authenticity), we have helped set the current industry standard for the tracking of editing and manipulation of imagery. Additionally, our in-camera authenticity technology has shown valuable results, and we will continue to push its development towards a wider release.”

“Fake and manipulated images are a major concern for news organizations. Not only do they contribute to mis- and disinformation but ultimately, they erode the public’s trust in factual, accurate imagery,” said David Ake, AP Director of Photography. “We are proud to be working alongside Sony Electronics to create an authentication solution that can help combat this problem.”

Sony and AP’s most recent field test was completed during October of 2023. In this month-long test, both capture authentication and workflow process were evaluated. To accomplish this, Sony partnered with Camera Bits – the company behind the industry standard workflow tool, Photo Mechanic. Alongside Sony and AP, Camera Bits created technology in Photo Mechanic that preserves the camera’s digital signature all the way through the metadata editing process.

“We appreciate the significant challenge that manipulated imagery poses for our partners, and we are highly motivated to play a role in helping solve it,” says Dennis Walker, President and Founder of Camera Bits. “Photo Mechanic has been used by the photojournalism industry for 25 years and continues to evolve as the industry introduces new technology. We are committed to ensuring Photo Mechanic remains a trusted and authentic workflow solution.”

Sony’s new in-camera signature and C2PA authentication is planned for release in a firmware update in the newly announced Alpha 9 III, Alpha 1, and Alpha 7S III in the Spring of 2024 <1>.

<1> Timing for countries and regions may vary. Firmware support for C2PA formats may initially only be available to news agency partners.

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The Sigma 70-200mm F2.8 DG DN OS | Sports, which does not change in size as you zoom. Photo: Sigma

Sigma has announced the 70-200mm F2.8 DG DN OS lens for full-frame Sony E-mount and Leica, Sigma and Panasonic L-mount cameras that it's been promising for some weeks now.

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Its latest 70-200mm design features an internal focus design and sits in the company's "Sports" series of lenses. It uses dual "High-response" linear actuators to drive two focus groups. This helps the lens achieve a minimum focus distance of 65cm (25.6") at its widest focal length (100cm (39.4") at the long end).

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Buy now:

$1499 at B&H

$1499 at Adorama

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It features 20 elements in 15 groups, including 6 'fluorite-like' FLD elements, 2 super-low dispersion elements and 3 aspherical lenses. It includes the latest iteration of Sigma's stabilization algorithm, which provides up to 7.5EV of correction at the wide end and 5.5EV at the long end, per CIPA standard testing.

The reverse of the lens with hood attached. Photo: Sigma

For video shooters, Sigma says the internal focus and internal zoom design results in minimal change in center of gravity during operation, making it easier to use on a gimbal. It also says focus breathing has been minimized at both ends of the zoom, and there's an aperture ring that can be declicked to allow smooth transitions.

The lens weighs 1345g (47.4oz) in the L-mount form, and 10g (0.3oz) lighter for E-mount. It includes a detachable, Arca-Swiss compatible tripod shoe and a barrel-type hood made from carbon-fibre-reinforced plastic.

The lens will available from December 7th 2023 at a recommended price of $1499, making it significantly less expensive than most camera makers' own-brand lenses.

SIGMA Announces Release of 70-200mm F2.8 DG DN OS | Sports Lens

Ronkonkoma, NY, November 16, 2023 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the official release of the highly-anticipated SIGMA 70-200mm F2.8 DG DN OS | Sports lens.

A reliable and lightweight large-aperture telephoto zoom lens designed exclusively for full-frame mirrorless cameras, the 70-200mm F2.8 DG DN OS | Sports is available for Sony E-mount and Leica L-Mount. Combining high-speed AF, remarkably effective OS, exceptional mechanical reliability, and superior optical performance, this high-performance lens is purpose-built to meet the rigorous demands of professionals, and is suitable for a wide range of styles and genres including nature, wildlife, photojournalism, action sports, wedding and portraits. The lens will retail for $1,499 USD and will be available through authorized retailers on December 7, 2023.

Dust and splash-proof construction, high-performance optical stabilizer (OS), and an inner zoom mechanism that does not affect barrel length, are all features designed for the most demanding photographic conditions. It is also the first SIGMA DN zoom lens to be equipped with an aperture ring (click/declick type).

Streamlined optical design and a multi-material structure featuring magnesium and TSC have resulted in a lightweight lens body. A new compact tripod collar and foot also help minimize weight, as does a CFRP (carbon fiber-reinforced plastic) lens hood. Compared to the 70-200mm F2.8 DG OS HSM | Sports for DSLR cameras (1,805g for SA mount), the 70-200mm F2.8 DG DN OS | Sports is significantly lighter (1,345g for L-Mount).

Featuring Dual HLA-driven floating focus for fast, accurate AF, the focus lens is driven using a high-thrust HLA (High-response Linear Actuator) as the focus actuator, and a floating focus is used to achieve high-speed AF drive. The floating configuration of this lens, in which the two focus groups are driven in opposite directions, reduces the amount of movement of each focus group to about half that of a single group focus system, achieving extremely fast AF that is highly responsive. The latest OS2 stabilization algorithm achieves image stabilization performance of 7.5 stops at the Wide end and 5.5 stops at the Tele end.

The SIGMA 70-200mm F2.8 DG DN OS | Sports has very minimal focus breathing on both the wide and tele ends, making it a powerful lens for video applications. The minimal change in center of gravity enables stable shooting in all situations, including handheld, on a tripod, and with a gimbal. During zooming, five groups are moved to suppress aberration fluctuation, achieving high optical performance throughout the zoom range.

S | Sports
SIGMA 70-200mm F2.8 DG DN OS

Performance, reliability, and mobility at its highest level.

• High-speed AF and optical stabilizer function that maximize superior optical performance
• Top-level build quality condensed into a highly mobile lens
• A wealth of functions to assist professionals

Available mounts: L-Mount, Sony E-mount

Launch date: December 7, 2023

Packed with all the technology SIGMA has to offer.

The large F2.8 aperture provides stable and high descriptive performance at all zoom and focus ranges. The high-speed AF with a dual HLA (High-response Linear Actuator) based on a floating focus structure, and the Optical Stabilizer function with the OS2 algorithm with up to 7.5 stops of correction effect*, ensure that users can take the right shot when there is no room for error. The highly mobile lens with high durability, rigidity, and texture is equipped with a wealth of functions to assist comfortable shooting, including an inner zoom mechanism for easy handling, as well as an aperture ring and switches with various customization functions. The flagship SIGMA 70-200mm F2.8 DG DN OS | Sports, combined with the best of SIGMA's latest technologies to meet the high-level demands of professionals, has finally arrived.

* Based on CIPA guidelines (Measured at 70mm and 200mm with a 35mm full-frame image sensor)

[Key Features]

1. High-speed AF and optical stabilizer function that maximize superior optical performance

The SIGMA 70-200mm F2.8 DG DN OS | Sports, developed with professional use in mind, offers not only high optical performance, but also high-speed AF with a dual HLA (High-response Linear Actuator) and an optical stabilizer function with up to 7.5 stops. The Sports line lenses offer high optical performance, and all functions are based on state-of-the-art technology.

High descriptive performance at all zoom and focus ranges

The latest optical design, which employs luxurious glass materials including 6 FLD and 2 SLD elements of special low-dispersion glass, delivers high resolving power throughout the entire zoom range. Three aspherical lenses are used, as they are now indispensable for superior optical performance and streamlined lens construction. The exceptionally high precision of the aspherical lenses, which take advantage of the technical capabilities of SIGMA's only production facility, the Aizu factory, further improves optical performance. The incorporated floating focus is advantageous in improving short-range performance, ensuring a stable, high-level image quality throughout the entire range from the minimum focusing distance to infinity.

High-speed AF with a dual HLA

The SIGMA 70-200mm F2.8 DG DN OS | Sports with floating focus has a structure in which the two focus groups move in opposite directions, thereby reducing the amount of focus lens movement by about half. In addition, the use of an HLA (High-response Linear Actuator) motor in each of the two focus groups enables high-speed autofocusing. In addition to being fast and accurate, the lens also employs a control program that is designed to be quiet, so users can shoot movies comfortably without worrying about noise.

OS2 algorithm in optical stabilizer function

The latest OS2 optical stabilization algorithm provides an extremely high image stabilization effect of 7.5 stops at the wide end and 5.5 stops at the telephoto end*. The lens is equipped with two OS modes: Mode 1 is suitable for general shooting, and Mode 2 is ideal for panning shots of motorsports and other sports. In Mode 2, SIGMA's Intelligent OS, an algorithm specially designed for panning shots, enables effective image stabilization even when the camera is moved vertically or diagonally, irrespective of the horizontal and vertical orientation. This ensures that the subject's movement can be captured without losing the panning shot effect.

* Based on CIPA guidelines (Measured at 70mm and 200mm with a 35mm full-frame image sensor)

Designed to minimize focus breathing

The lens has been designed to suppress focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

2. Top-level build quality condensed into a highly mobile lens

SIGMA is committed to excellent build quality in all its lenses. Among them, the SIGMA 70-200mm F2.8 DG DN OS | Sports, which is part of the Sports line, offers not only high weather resistance performance for shooting in harsh environments, but also improved quality and durability through the use of cutting-edge materials in appropriate places based on a streamlined optical and mechanical design. At the same time, a high level of mobility is also realized, resulting in a professional equipment that can be used with confidence over the long term.

High quality and durability despite its small size and light weight

The latest optical and mechanical design streamlines the lens configuration and internal structure, resulting in a significantly smaller and lighter body than the previous SIGMA 70-200mm F2.8 DG OS HSM | Sports model. The body, including the hood, features a "multi-material structure" that optimally arranges materials such as magnesium, CFRP*1, and TSC*2. Even with enhanced mobility, the lens features SIGMA's renowned excellent build quality, including high durability, reliable rigidity, and various control rings and switches that have been carefully designed to feel good.

* 1 CFRP (carbon fiber reinforced plastic), a light but strong material used in the interior and exterior fittings of aircraft, among many other applications.
* 2 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has high affinity to metal parts which contributes to high quality product manufacturing.

Adoption of inner zoom mechanism

The zoom mechanism employs an inner zoom. Since the total length of the lens does not change with zoom operation, it is easy to handle when shooting hand-held, highly stable when installed on a gimbal, and resistant to dust and water droplets.

Weatherability of Sports line specifications

The mount connection, manual focus ring, zoom ring, switches, switch panel and exterior connection are all dust and splash resistant* to prevent dust and dirt from entering the lens. Further, the front element of the lens features a water and oil repellent coating to facilitate maintenance when water droplets or dust adhere to the lens.

* The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

3. A wealth of functions to assist professional photographers

In addition to an aperture ring, a magnesium tripod mount, and various switches, the highly mobile lens has a wealth of functions available, enabling a more comfortable and versatile shooting experience for users.

Equipped with an aperture ring

This is the first SIGMA zoom lens for still photography to be equipped with an aperture ring. It is also equipped with an aperture ring click switch and an aperture ring lock switch, allowing for aperture operation suited to the shooting application.
Newly developed tripod socket

The lens body incorporates an Arca-Swiss compatible magnesium alloy tripod socket. The detachable leg is newly designed for the SIGMA 70-200mm F2.8 DG DN OS | Sports in order to achieve a compact and lightweight design.

Customizable functions

Equipped with a Focus Limiter switch, the lens enables users to limit the focus driving range during AF when necessary, allowing quick and precise focusing.
Further, the lens features three AFL buttons* ready to be assigned to preferred functions using the camera. The AFL buttons are easy to operate regardless of how the camera is oriented or which settings are used. For the L-Mount version, the SIGMA USB DOCK UD-11 can be used to set OS operation or focus limiter range for the Custom Mode switch.

* Only on compatible cameras. Available functions may vary depending on the camera used.

Tele Converter for L-Mount (1.4x / 2.0x)

The L-Mount version of the lens is compatible with the SIGMA TELE CONVERTER TC-1411 (1.4x) and TC-2011 (2.0x). Using a tele converter, the focal length can be multiplied by 1.4x and even 2x, for AF-enabled shooting at ultra-telephoto focal lengths of up to 400mm.

Cover-type lens hood included

A lightweight, high-strength, exclusive cover-type lens hood made of CFRP* is included. In addition to its slim design that does not impair the mobility of the lens, the tip of the hood is rubberized to protect the lens from abrasion and scratches caused by placing the lens upside down.

* CFRP (carbon fiber reinforced plastic), a light but strong material used in the interior and exterior fittings of aircraft, among many other applications.

[ Additional Features ]

• Lens construction: 20 elements in 15 groups (6 FLD, 2 SLD, 3 aspherical elements)
• OS (Optical Stabilizer) function with the latest "OS2" algorithm
• Inner zoom
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction

  * Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.
  
* On cameras where lens aberration correction is controlled with 'ON' or 'OFF' in the camera menu, please set all aberration correction functions to 'ON' (AUTO).
• Supports DMF and AF+MF
• Compatible with AF assist (Sony E-mount only)
• Nano Porous Coating
• Super Multi-Layer Coating
• Water and Oil Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (3 buttons)

  * Only on compatible cameras. Available functions may vary depending on the camera used.
• Focus Limiter switch
• Focus Mode switch
• Support for switching between linear focus / non-linear focus ring settings (for L-Mount only)
• Function available on supported cameras only.
• OS switch
• Custom Mode switch
• Dust and Splash Resistant Structure
• LENS HOOD LH860-01
• TRIPOD SOCKET TS-151 (detachable lens foot type)
• Compatible with SIGMA TELE CONVERTER TC-1411 / TC-2011 (sold separately / for L-Mount only)
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA's proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• "Made in Aizu, Japan" craftsmanship

Learn more about SIGMA's craftsmanship here:
https://www.sigma-global.com/en/about/craftsmanship/

[ Contact ]

For further information, please contact your local authorized SIGMA Service Station listed here:
https://www.sigma-global.com/en/world-network/

[ Information ]

SIGMA Corporation:
https://www.sigma-global.com/en/

Product information:
https://www.sigma-global.com/en/lenses/s023_70_200_28/

Sigma 70-200mm F2.8 DG DN OS | Sports specifications

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	70–200 mm
Image stabilization	Yes
Lens mount	L-Mount, Sony FE
Aperture
Maximum aperture	F2.8
Minimum aperture	F22
Aperture ring	Yes
Number of diaphragm blades	11
Aperture notes	Rounded blades
Optics
Elements	20
Groups	15
Special elements / coatings	6 FLD, 2 SLD, 3 aspherical
Focus
Minimum focus	0.65 m (25.59″)
Maximum magnification	0.19×
Autofocus	Yes
Motor type	Linear Motor
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	1345 g (2.97 lb)
Diameter	91 mm (3.58″)
Length	205 mm (8.07″)
Materials	Magnesium alloy and thermally-stable composite
Zoom method	Rotary (internal)
Zoom lock	Yes
Filter thread	77 mm
Hood supplied	Yes
Hood product code	LH860-01
Tripod collar	Yes

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Buy now:

$1499 at B&H

$1499 at Adorama

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Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so that you can capture whatever you encounter on your travels. We've also tried to select relatively small cameras so they don't interfere with your trip.

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Our selections include relatively compact cameras with fixed lenses, perfect for just documenting what you saw on your trip, it also includes Micro Four Thirds and APS-C models that allow smaller camera/lens combinations, if you're looking to travel light. Full-frame cameras open up the potential for even better image quality but the lenses can get pretty big, so it's worth checking how big the total package is, before committing to a large-sensor model.

Our recommendations

• Best pocketable travel camera: Ricoh GR III
• The classic choice: Fujifilm X100V
• Truly compact mirrorless: OM System OM-5
  
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS
• The stylish travel companion: Nikon Zf
• Portable full-frame: Sony a7CR

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Best pocketable travel camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The Ricoh is a pocketable compact with a large APS-C sensor. Photo: Barney Britton

Buy now:

$997 at B&H Photo

$997 at Adorama

$1016 at Amazon

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What we like:

• Excellent image quality
• Good controls and ergonomics
• Truly pocketable

What we don't:

• Short battery life
• No built-in flash
• Sluggish AF in low light

The Ricoh GR III is the latest in a series of classic compact cameras with a large APS-C sensor and an 28mm equivalent lens. It's not the most flexible camera but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with.

The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation.

The GR III focuses swiftly and accurately in good light, but it slows significantly as light levels drop. There's also a Snap Focus option, where the user can preset a focus distance the camera 'snaps' to with a full press of the shutter button. The GR III's battery life is disappointing, at a rated 200 shots per charge.

"Offers direct control and excellent image quality in a pocketable camera"

Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.

The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.

Read our Ricoh GR III review

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See the Ricoh GR III studio scene

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The classic choice: Fujifilm X100V

26MP APS-C X-Trans sensor | 35mm equiv. F2 lens | Hybrid viewfinder

The Fujifilm X100V makes an excellent travel companion, if you can find one. Photo: Dan Bracaglia

Buy now:

$1399 at B&H Photo

$1399 at Adorama

$1399 at Amazon

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What we like:

• Fujifilm's latest sensor is excellent
• Tilting, touch-enabled screen
• Remarkably strong video features
• Excellent build quality

What we don't:

• Lens's AF speed on the slow side
• No stabilization of any kind
• Arguably too many dials

The Fujifilm X100V is a classically styled fixed lens camera with a 26MP APS-C camera sited behind a 35mm equivalent F2 lens.

The X100V isn't the smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

It's worth noting that, despite being one of our picks, supplies have been limited for a while: we wouldn't recommend paying significantly over the $1399 list price.

Controls and handling are excellent. The addition of a tilting touchscreen is welcome, and it doesn't add much in the way of bulk. The combination of dedicated and customizable control dials gives users a number of options for how they want to control the camera, but some may find it overwhelming. Adding a filter adapter lets you completely weather-proof the body.

"The X100V continues the series' tradition of providing excellent image quality in a compact package."

Overall performance is good for this type of camera, though the redesigned lens isn't much faster to focus than the older models. It can shoot 20 fps with autofocus, there's no appreciable operation lag and battery life is above average. Autofocus subject tracking is reasonable, low light autofocus is dependable, and face/eye AF is improved as well (though unavailable in optical viewfinder mode).

The X100V brings a level of polish you would expect from a fifth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet, and is the best prime-lens compact camera currently on the market.

Read our Fujifilm X100V review

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See the Fujifilm X100V studio scene

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Truly compact mirrorless: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

Photo: Brendan Nystedt

Buy now:

$999 at B&H Photo

$999 at Adorama

$999 at Amazon

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What we like:

• Attractive JPEG output
• Selection of clever photo features
• Excellent image stabilization
• IP53 rating supports claims of weather sealing

What we don't:

• AF tracking is disappointing
• Image quality is behind larger sensor cameras

The OM System OM-5 is a compact interchangeable lens camera with a 20MP Four Thirds sensor in a compact body with plenty of external control.

That relatively small sensor means it can remain fairly small, even with a lens attached, and the Micro Four Thirds lens system provides extensive options in that regard, from compact zooms to small prime lenses.

The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price.

It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick.

"Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different"

The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects.

The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.

Read our OM System OM-5 review

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See the OM System OM-5 studio scene

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All-round compact capability: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

Buy now:

$1398 at B&H Photo

$1398 at Adorama

$1398 at Amazon

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What we like:

• Front and rear command dials
• Excellent AF in stills and video
• 4K/120p capture (with crop)

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts."

The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers.

Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

Read our full Sony a6700 review

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See the Sony a6700 studio scene

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The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS

26MP X-Trans APS-C sensor | Up to 6.2K/30P 10-bit video | In-body image stablization

Photo: Brendan Nystedt

Buy now:

$1699 w/ 18-55mm at B&H Photo

$1699 w/ 18-55mm at Adorama

$1699 w/ 18-55mm at Amazon

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What we like:

• Excellent still and video quality
• Long battery life
• Comfortable, simple ergonomics

What we don't:

• AF tracking still lags behind peers
• Small electronic viewfinder
• Micro HDMI instead of full-size

Fujifilm's X-S20 is also worth considering. Like the a6700, it's built around a 26MP BSI CMOS sensor and is strong at both stills and video. Its autofocus isn't as simple and powerful as the Sony's, but its JPEG color modes produce really attractive results, and there's a wide choice of lenses including compact prime and the well-priced, supremely useful 18-55mm F2.8-4.0 OIS, which is a great travel option.

The camera has an approachable layout with two customizable dials set into a large hand grip. The camera is well-built and feels robust thanks to its partial metal construction. The EVF is a little small, though.

"The X-S20 delivers a long list of options to still shooters and vloggers alike, all while offering solid battery life."

Overall image quality is very good. JPEGs have pleasing color, and Film Simulation modes make it easy to change the style of your photos. Some cameras capture more detail at low sensitivities, but the X-S20 is more competitive at high ISOs. The camera's sensor gives you plenty of latitude when processing Raw images.

The X-S20's video specs are impressive, with 10-bit 4K capture at up to 60p. Videographers will appreciate its F-Log capture, while the Eterna color profile is attractive if you want a simpler workflow. An optional fan extends record times but autofocus isn't especially dependable.

The X-S20 takes Fujifilm's higher-end still and video features and puts them into a simple, cleanly designed body with built-in image stabilization. Image quality is great, autofocus is good in most situations, and the breadth of video features is impressive.

Read our Fujifilm X-S20 initial review

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See the Fujifilm X-S20 studio scene

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The stylish travel companion: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

$1997 at B&H Photo

$1997 kit at Adorama

$1997 at Amazon

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What we like:

• Distinctive design with direct controls
• Effective subject recognition
• Strong stills and video features

What we don't:

• Weight and minimal grip can become uncomfortable
• Slow MicroSD second slot
• Few custom buttons

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention, when you're out and about in an unfamiliar setting.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles.

The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job.

"The Zf's looks may date from 1981, but its performance is completely contemporary"

The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage.

The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications.

The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our initial review of the Nikon Zf

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Portable full-frame: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2998 at B&H Photo

$2998 at Adorama

$2998 at Amazon

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What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much.

Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate.

"If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat."

The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus.

The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO.

The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

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Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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