Nikon Z9 Firmware 4.00 is expected to arrive soon (within 24 hours) with some massive feature upgrades, we will post more update once it become official.
Bringing new features and advancements including:
– Auto Capture: a powerful automation feature for remote shooting
– ISO 200 equivalent in N-LOG video settings to capture more details in shadows with extremely low noise (Lo 2.0)
– New built-in 4x and 5x slow motion, IN-CAMERA, in full HD
– More speed settings to Hi-Res Zoom
– Exposure Delay Mode
– Improved 3D-tracking for small and fast subjects
– Four new shutter sounds to customize your camera and more!
Take a look at the set of information we have related to the upcoming Sony a600 camera
The new updates include that the A6700 camera sensor doesn’t have DRAM. This is quite obvious since the upcoming Sony A6700 camera is rumored to use the same sensor that we have seen in the Sony FX30 camera and the sensor of FX30 is not a stacked CMOS sensor. Only a stacked CMOS sensor uses a DRAM chip alongside the sensor to speed up the processing speed.
The second piece of information we are getting from a different source of the rumor mill is that the Sony A6700 camera matches the size of the Sony A7C, approximately 4mm higher and 3mm longer, excluding the grip.
The third and most important information is that the camera is coming on July 12th alongside a 70-200mm lens. So that’s really very interesting news that not only will there be a camera, but we will also have a brand new G Master telephoto zoom lens from Sony
Sony A6700 Expected Core Specification
26.1MP APS-C BSI CMOS Sensor
BIONZ XR & AI Processing Unit
AI-Based Real-Time Tracking AF System
UHD 4K up to 60p (uncropped)
S-Cinetone
S-Log3, 4:2:2 10 Bit internal
5-Axis Image Stabilization
updated Quad-VGA OLED Tru-Finder EVF 3.69m-dot resolution for bright, clear viewing in high detail
If you’re new here, let me clarify that we published the rumored set of specifications for the upcoming Sony camera back in April 2023 and the rumored set of specs now seems to be 100% true. You can look at it again here. But the big question raised is whether the Fuji XS20 camera has killed the APS-C camera competition by including 6K open gate recording and 5.2K recording at 16:9 standard format in a mid-range APS-C camera body.
Now, as we all know, the Sony A6700 camera is rumored to use the same 26 MP BSI CMOS sensor. Yes, the only difference is that the Sony sensors are Bayer pattern-based and Fuji’s are X-Trans pattern-based, but both are 26 MP BSI CMOS sensors.
The Fuji XS20 camera raised the competition bar to the next level. The camera is able to record 6K and 5.2K, but will the upcoming A6700 camera remain limited to 4K 60p recording (according to the rumors we have from rumor mills) or will it feature 6.2K open gate and 5.2K 16:9 format recording to compete against the Fuji XS20?
Fuji already included Sony’s most popular log camera menu in their camera system that includes product showcase mode and face tracking mode simplified in a content creator menu inside the XS20 camera. If Sony fails to achieve the video resolution that the XS20 camera already offers, it will be a big failure for Sony and it may lose a new consumer base since even Fuji has an open lens mount and advanced autofocus system inside XS20.
According to the latest rumors, Sony A6700 Announcement on July 12, 2023. The camera is rumored to feature 26.1MP APS-C BSI CMOS Sensor, take a look at the detailed specification below
Sony A6700 Expected Core Specification
26.1MP APS-C BSI CMOS Sensor
BIONZ XR & AI Processing Unit
AI-Based Real-Time Tracking AF System
UHD 4K up to 60p (uncropped)
S-Cinetone
S-Log3, 4:2:2 10 Bit internal
5-Axis Image Stabilization
updated Quad-VGA OLED Tru-Finder EVF 3.69m-dot resolution for bright, clear viewing in high detail
Let’s compare the body design of both cameras. Both are very well built and made for professional shooters with a very deep hand grip and EVF. They are paired up with a variable-angle display screen to give you compositional freedom. Whether you are a photographer or a content creator, you will love the camera’s design.
1. EXTERNAL FAN
The additional advantage we have with the Fuji X-S20 camera is the ability to add an external fan in case of overheating. The external fan will lower the temperature and allow you to record more than double the available recording time.
With the Fuji X-S20 camera, we are getting dual 3.5 mm ports; one is for headphones and the other is for a microphone. The microphone port can also be used as a remote shutter port.
2. EXTENDED BATTERY LIFE
We should discuss this in the design part. We have a larger battery in the Fuji X-S20 camera. The battery allows you to capture approximately 700-800 Liveview shots in a single charge, which is double when compared to the battery life of the Canon R10 camera.
3. VLOG MODE
In vlog mode, we have a dedicated vlog mode in the camera. When you switch the mode dial button to vlog, a new content creator menu pops up. In the content creator menu, you will see 6 different blocks with different modes, including product showcase mode and face tracking priority mode made only for content creators. No content creator or cinematic menu is present in Canon R10.
Let’s talk about the internal core specification of the camera
4. SENSOR
Sensor: The Fujifilm X-S20 camera features Fuji’s popular 26-megapixel sensor. The sensor is a BSI CMOS sensor, not an FSI CMOS sensor like that of Canon R10. So while having a BSI CMOS sensor, we do expect better low-light performance with the Fujifilm X-S20 camera.
Let’s have a look at a quick high ISO test between the two. A sample captured at ISO 25600 of a Canon R10 and Fuji X-S20 camera clearly shows the advantage of having a BSI CMOS sensor while capturing images in low light.
From the high ISO test, it is very clear that Canon is not able to preserve the color details at high ISO range when compared to a Fuji sensor.
The next is autofocusing performance. Both Fuji and Canon are using their latest generation of image processors
5. IMAGE STABILIZATION
In the Fujifilm X-S20 camera, we are getting sensor-shift image stabilization system up to seven stops. Not only that, for the first time in a Fuji camera, we have a dedicated menu to adjust the image stabilization setting according to our needs. No sensor-shift image stabilization system is present in the Canon R10 camera
6. BURST MODE
The next visible difference between these two cameras is the burst speed or the continuous shooting speed. With the Canon R10 camera and its 24-megapixel resolution, you can achieve a burst speed of up to 24 frames per second. With the Fujifilm X-S20 camera, the maximum burst speed available is 30 frames per second with crop and without crop at full resolution up to 20 frames per second.
While using the mechanical shutter, the Canon R10 allows you to capture 12 frames per second and the Fuji X-S20 camera allows you to capture 8 frames per second.
Buffer memory of Fuji X-S20 camera is more compared to Canon R10, its clearly visible in the table below.
Fuji X-S20
Canon R10
10 FPS
1000+ JPG — 341 RAW
15 FPS
460 JPG — 29 RAW
20 FPS
256 JPG — 79 RAW
23 FPS
70 JPG — 21 RAW
30 FPS (1.25x crop)
407 JPG — 88 RAW
7. AUTO-FOCUSING SYSTEM
Canon R10 arrives with its popular second-generation dual pixel CMOS autofocusing sensor and more than 5000 autofocusing points fabricated inside the sensor. Furthermore, the camera uses 3700 DPAF points while recording video. To simplify it for its users, Canon grouped the points into 651 autofocusing zones.
Now, the Fujifilm X-S20 camera may not be able to match the number of DPAF points, but for the first time, it uses the most advanced artificial intelligence tracking system available inside Fuji. Fujifilm engineers directly used the artificial intelligence AI algorithm of the Fuji X-H2S camera in the Fuji X-S20. This AI enhances the overall performance of the camera and now the camera is even able to track moving drones and insects without an issue. The X-S20 now also features product showcase mode and face AF tracking priority mode.
So more or less both of these cameras have their own advantages and disadvantages when it comes to autofocusing performance.
8. VIDEO
The Fujifilm X-S20 camera is able to shoot 6.2K open gate in 3:2 format at the rate of 30 frames per second. So that’s the maximum resolution available in the Fujifilm X-S20. Now when you want to record in a standard format, that is in 16:9, the resolution drops to 5.2K. So that’s the maximum standard resolution available inside the Fujifilm X-S20 camera. None of these high-resolution modes are available in Canon R10.
The Fuji X-S20 camera is able to record uncropped 4K 60p video as well as full HD videos at the rate of 240 frames per second. Canon R10 fails to impress us as we have to face a 1.6x crop while recording 4K 60 frames of video. At the same time, only a 120 frames per second option is available at full HD format inside Canon R10.
And the biggest difference that will shock you is that no C-Log format is available. Yes, you are able to record 10-bit only in HDR PQ mode in Canon R10, whereas in the Fujifilm X-S20 cameras F-Log and F-Log 2 are both available. In F-Log 2 curve, you are able to extract 13+ stops of dynamic range and at the same time, a 12-bit raw output is available via the HDMI port.
For content creators, we have a dedicated content creator menu and again dedicated autofocusing modes. Not only that but the advanced cinematography and content creation are being backed by the sensor-shift image stabilization of the camera.
For super cinematographers, content creators, and wedding videographers, the Fuji X-S20 camera is the best choice.
So for cinematographers containing creators and wedding video graphs for Fuji x as 20 cameras is the best choice
9. LENSES
Fujifilm X-mount is an open mount and we have a huge range of lenses available and more are coming. At the same time, the Canon RF mount is a locked mount and has a very limited range of lenses available for the APS-C range. If you move towards the DSLR lenses, then you have to be very careful while picking them up since the lenses with STM motors are fully compatible and the older lenses with USM motors will create noise, and not all of them are optimized for dual pixel CMOS autofocusing sensor
10. PRICE DIFFERENCE
We do have a good price difference between these two cameras. If you are on a very tight budget and not able to spend extra on lenses, then you may stay with the Canon R10 camera. But if your budget allows, I highly recommend you to get the Fujifilm X-S20
Nikon Z8 Best Lenses: The Nikon Z8 camera features almost the same specifications that we have seen in the Nikon Z9 but at a very reasonable price tag. To get the maximum output from the Nikon Z8’s 45-megapixel stacked sensor, you have to buy the best lenses available with the highest resolving power.
The best lens for the Nikon Z8 camera is the Nikon 24-70mm f/2.8 S. Since we are getting one of the industry’s best sensors in our hands, it’s highly recommended to match up the lens too. The first recommendation is the Nikon 24-70mm f/2.8 S. This lens features a constant f/2.8 aperture and delivers amazingly sharp output throughout the focal range with creamy bokeh, one of the most sharp and versatile lenses present to date, this lens will cover your 99% requirements.
The biggest reason behind recommending this lens is that you can shoot almost anything with it – starting from wide-angle landscapes to longer focal-length portraits. This is one of the most versatile and sharpest lenses Nikon has ever made for full-frame cameras.
Not only optically, but the lens’s autofocus performance is also top-notch. The lens uses 2 AF drive units synchronized to deliver extremely fast and accurate AF results – even when you are using your camera at 120 frames per second or when you are using it at 20 frames per second. This lens is bound to give perfect results when paired with Z9 or Z8
The Nikon 70-200mm f2.8s lens produces incredibly sharp pictures and extracts the maximum amount of detail in your images. It is one of the best lenses to pair up with your Nikon Z8 camera. Practically no color fringing or chromatic aberration is visible in this lens. The lens is distortion-free and lens vignetting is also very minimal and can be easily corrected in post-processing.
The build quality of this lens is superb and made up of a metal body covered with rubberized material. It is extensively weather-sealed and able to deliver quality equal to its price tag.
The LCD display screen of the lens is not that much usable since we don’t have the habit of looking at the lens LCD. Maybe that’s one of the reasons I personally find the display not that much usable for me. Overall, the lens is worth every penny.
Finally, let’s talk about autofocusing performance. When paired up with a Nikon Z8 or Nikon Z9 camera which uses deep learning algorithms, the lens’s autofocusing system will improve with time. At the same time, the Z8 is capable of doing 120 AF calculations per second and supports burst speed up to 120 frames, and your lens is fully capable of synchronizing the AF performance even when shooting at max burst speed.
The image stabilization of this lens is highly reliable and you can shoot amazing pics handheld without any noticeable blur even at very slow shutter speeds when shooting at 200mm.
Although the price of this lens is approximately $2600, I have to say this lens is very reasonably priced
Why we say the 50 mm f 1.8s is the best portrait lens Nikon ever made, the reason behind is very simple. The lens f1.8 aperture can give you a focal plane of only 10 degrees from 10 feet away so you have an amazing ability in your hand to shoot beautiful background blur in any situation.
F1.8 completely eliminates the requirement of additional light, and if you are a natural light shooter you will be blown away by the quality you will have from this lens. And do note that this lens is very sharp even at a wide open aperture.
If you are a professional portrait shooter or love to capture candid shots in natural light this is the best lens your money can buy and we highly recommend you to get the 50 mm f 1.8 lens for your Nikon Z8 camera.
Now if you are running out of budget after getting your Nikon Z8 camera and wish to have a perfect all-around lens, then undoubtedly the 24-70mm f/4 lens is the best choice.
24 to 70 F4 lens is also very sharp, but you will miss the deep creamy bokeh (background blur) of the Z 24-70mm 2.8. But, keep in mind this price, you are getting optical images stabilization to which pairs of Nikon z8 6 stops of IBIS
This lens is perfect for shooting landscapes as well as streets, this is the best budget kit lens for your Nikon z8 camera
The best and the most sharpness prime lens I have used to date, It has incredible sharpness with no distortion across the field of view. I highly recommend this Nikon glass for anyone needing this focal length for landscape or astrophotography work. AT f/1.8 it is very sharp at center. Sharpness drops just a little at the corners. Stopping it down to f/2.8 improve center sharpness. At f/4 it has perfect sharpness corner to corner. It’s much easier to balance on-camera flash with dim available light with a large aperture lens because shutter speeds don’t have to be so long. I was at 1/40 @ f1.8 @ ISO 4000 most of the night. So, for low-light ultrawide photography and video, if ur budget doesn’t allow u to have nikon 14-24mm F2.8, instead of getting 14-30mm F4 get the 20mm F1.8.
The 14 to 24 mm f/2.8 lens is the best lens for landscape and architecture photography, as well as for advanced cinematographers.
The 14 to 24 mm lens in Nikon is a part of a holy trinity lens which includes the 24 to 70 mm f/2.8 and the 70 to 200 mm f/2.8. The rest of the two lenses we have already discussed, now let’s talk about the 14 to 24 mm f/2.8.
This lens is the sharpest lens at this focal length in Nikon’s lineup, and one of the best ultra-wide zoom lenses present in the market. The image quality of this lens is super impressive even at 14 mm wide and covers approximately 115 degrees of view.
If you don’t need that f/2.8 aperture at this wide range, and many professionals never use such a shallow depth of field while shooting landscapes and architecture, then the best investment will be the 14 to 30 mm f/4 lens. It will save you $1000, and at the same time, you can use standard 82 mm filters with this lens which are easily available, unlike the 14 to 24 mm f/2.8 which requires 112 mm filters.
So if your budget allows and you want to have an ultra-wide zoom lens, then you should go with this. The only issue that I have faced with this lens is in finding its proper filters since it has a very large thread of 112 mm.
The Nikon Z 100 to 400 mm f/4.5 to 5.6 lens is the best lens for sports and wildlife photography under budget.
This is one of the best zoom lenses Nikon has ever made for Z Mount cameras. Despite having a variable aperture, the lens performs extremely well throughout its entire focal length. The sharpness of this lens is noticeable, and I highly recommend you to use this lens with Nikon Z cameras with a 45 MP sensor due to its high resolving capability.
The 100 to 400 mm lens is relatively compact compared to the lenses that we have in the DSLR era. At the same time, it’s lightweight, weighing just over 3 lbs or 1400 grams, and you can easily handhold this lens while shooting wildlife or sports. The VR (Vibration Reduction) of this lens synchronizes with your camera’s in-built sensor-shift image stabilization to provide you greater stability.
The lenses that you should avoid
NIKON 28-75MM F2.8 RXD One lens that you should avoid is the Tamron rebranded 28 to 75 mm f/2.8 lens with the Nikon camera since it’s the first generation of lenses that Tamron is still making for Nikon Z mount cameras. The first generation of lenses doesn’t have as much resolving power as the G2 has right now. So if they release the second generation of their 28 to 75 mm f/2.8 lens, then it’s okay, but right now, the first generation of the 28 to 75 mm f/2.8 is not that good for resolving higher resolution sensors like the Nikon Z8.
NIKON 17-28MM F2.8 RXD The next lens you should add is the Tamron rebranded 17-28 mm f/2.8 lens. Again, this lens is perfect for lower resolution cameras like the Nikon Z6 Mark II, but when we talk about cameras like the Nikon Z7 Mark II, Nikon Z8, or even Nikon Z9, these cameras have a 45 MP high-resolution sensor and need high-grade optics to resolve it properly. For that reason, I am not recommending the Tamron 17-28 mm lens for the Nikon Z8 camera.The best alternative is the Nikon 14 to 24 mm f/2.8, or if your budget doesn’t allow it, then you should go with the 14 to 30 mm f/4.
14-24MM F2.8 – Finally, the third lens that you should avoid is for cost-related reasons. As we have mentioned above, the 14 to 24 mm f/2.8 lens is costly and the best alternative to it with higher resolving capability is the 14 to 30 mm f/4. So if your budget allows and you feel that you need a max aperture ultra-wide zoom lens, then it’s okay to buy the 14 to 24 mm. Otherwise, we highly recommend that for a Nikon camera you must go with the 14 to 30 mm f/4 lens and save yourself a thousand dollars.
Finally, we have the leaked image of the upcoming Fujifilm X-S20 camera. Although the still image is not very clear and contains a huge watermark, despite that we are able to see the button labels on the camera and its overall design.
The X-S20 has a “Vlog” mode added to the mode dial, and the positions and shapes of the Q and ISO buttons have changed slightly, but overall it seems to follow the design of the X-S10.
Fuji X-S20 Design Details
Vlog icon printed on the mode dial
The SP icon that was on the mode dial is gone
The ISO and Q buttons are closer together and look more protruding
Fuji X-S20 Specification
26.1MP APS-C X-Trans BSI CMOS 4 Sensor
X-Processor 5 Image Processor
5-Axis In-Body Image Stabilization
DCI/UHD 6k at 30 fps, 4K at 60 fps, Full HD at 240 fps
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With the Fuji X-S20 camera, we are getting dual 3.5 mm ports; one is for headphones and the other is for a microphone. The microphone port can also be used as a remote shutter port.
