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DJI anmd SkyPixel launches the 2021 SkyPixel Creative Video Contest

To honor another successful year with the SkyPixel community, DJI and SkyPixel, one of the world’s most prominent online aerial photography and videography communities, have announced the 2021 SkyPixel Creative Video Contest. The contest, which has a brand-new 15s Video category, encourages contributions from all sorts of producers, from hobbyists to professional filmmakers from all around the world. FAW-Volkswagen Audi, Canon, and DJI will give contest prizes.

The contest, which runs from October 27 through December 6, 2021, accepts films filmed on portable devices in seven categories: Sports, Travel, Party, Pets and Kids, Creative, Foods, and 15s Video. There are no age restrictions, and participants are free to submit as many pieces of work as they choose. Please see the official contest website at www.skypixel.com/contests/2021video for more information.

Professional film producers, directors, and well-known influences, like Sam Kolder, Aaron Liu, Devin Graham, and Mike Bishop, make up the 2021 judging committee.

SkyPixel and DJI will present 60 awards totaling more than USD 46,000 in cash and gifts. The Grand Prize winner will get a USD 7,500 DJI voucher to go toward any DJI product, a Canon EOS R5 mirrorless camera with an RF 24-105mm f/4 L IS USM Lens Kit, an Audi e-tron 1:18 model vehicle, and other interesting prizes. Winners in each category will win a variety of prizes, including a DJI Action 2 Dual-Screen Combo, a DJI RS 2 Pro Combo, a Canon EOS R5, and an Audi Sport Watch. Additionally, entries chosen by editors and shot on a previous-generation DJI Osmo or Ronin device will get a 5% voucher toward the purchase of a new DJI handheld product.


Submission Details
Submission Start Date: 21:00 (CST) on Oct 27 2021
Submission End Date: 14:00 (CST) on Dec 6, 2021
Award Announcement: Dec 28, 2021


Nikon launches Z9 with only Electronic Shutter and 8k 30p recording capability

Nikon yesterday introduced its latest flagship mirrorless camera, the Z9 for a whopping price of Rs 4,75,995. The camera is the first of its kind which doesn’t feature a mechanical shutter and only features an Electronic Shutter making it the fastest CMOS sensor produced and also that it will have the least amount of rolling shutter due to this feature.


The camera features a 45.7-megapixel sensor and has the capability to shoot 8K video at 30p and up to 20 fps RAW burst shooting capabilities. It’s Nikon’s first camera with a stacked sensor and built-in memory, allowing for extremely rapid readout speeds. Nikon is so confident in the electronic shutter that it has abandoned the mechanical shutter altogether, making the Z9 the first high-end professional camera to do so.


The Z9 sensor (which has the same megapixel count as the Z7 II) enables for flash sync speeds of up to 1/200th of a second, which appears to be the quickest sync speed for an electronic shutter ever. This should also make it particularly resistant to rolling shutter, which is important if the camera is going to be used for sports or action photography. The quicker sensor enables JPEG burst photography at up to 30 frames per second or RAW shots at 20 frames per second. If you’re ready to go down to 11 megapixels, you can capture photographs at 120 fps as well. The Nikon Z, like other stacked sensor cameras, features substantially better buffering, allowing you to shoot up to 1,000 frames at once with JPEG or the new HE (high efficiency) RAW compression techniques.


Nikon’s autofocus (AF) technology is likewise all new, and it makes even greater use of AI algorithms. Like the Canon’s EOS R3, can now monitor a wide range of subjects, including people’s eyes, faces, and bodies, as well as dogs, cats, and birds, aircraft, trains, motorcycles, and bicycles. And, unlike other AI cameras, there’s no need to tell it what you’re shooting – if you set it to “Auto,” the camera will figure it out (or, you can set the subject type manually). It also has a “3D tracking” feature, similar to that found in Nikon DSLRs. 


Nikon’s in-body stabilization mechanism has also been upgraded (which it calls “vibration reduction” or VR). It can now combine in-body and lens stabilization systems for more stable video and less blurry images. However, it will only be available with a few lenses at first, including the Nikkor Z 70-200mm F/2.8, Z MC 105mm F/2.8 VR, and the recently announced Z 100-400mm F/4.5-5.6 VR S.


As Nikon hinted earlier this year, video performance is similarly outstanding. The Z9 will be able to capture 8K at 30p, as well as oversampled 4K 30p from an 8K clip, which should be extremely crisp. It will also be capable of capturing 4K at up to 120 fps if you don’t mind pixel binning or line skipping. To begin, you’ll be able to capture these files at up to 10-bit resolution using H.264 or H.265 long GOP codecs. Furthermore, Nikon provides the extremely handy option of shooting video using ProRes 422 HQ compression, which is considerably easier to edit right out of the camera.


However, things will become much more fascinating later on. Nikon intends to provide a firmware upgrade in the future that will enable 12-bit 8K 60fps capture in a new, proprietary N-RAW format or Apple ProRes RAW HQ capture at 4K/60p. Nikon claims that at “average” conditions, you’ll be able to capture the oversampled 4K/30p for more than two hours. 


The camera features two CFexpress Type B slots (backward compatible with XQD) for maximum video and burst photo capabilities. The new EN-EL18d battery has a capacity of 740 shots per charge with the LCD and 700 shots with the EVF activated. It boasts a 3.69 million dot OLED viewfinder, which probably could’ve been better considering that most cameras now already have this since a longtime. The refresh rate of the EVF is just 60 fps, but Nikon claims that it always provides that speed and never downgrades it regardless of what you’re doing. It has a multi-direction back LCD rather than a completely articulating screen, although it can be tilted up to face you.

Panasonic launches Lumix DC-GH5 II in India

The Panasonic Lumix GH5M2 was recently released in India. The new mirrorless camera, developed as an improvement to the current Lumix GH5, is geared at videographers searching for a 4K video recording option. It can record C4K or 4K 4:2:0 movies at 60 frames per second (fps) in 10 bits while also permitting simultaneous output of C4K or 4K 4:2:0 10-bit films at 60fps. The Lumix GH5M2 has a 20.3-megapixel sensor with body image stabilisation. The camera also has Bluetooth and Wi-Fi connection.

The Panasonic Lumix GH5M2 body alone costs Rs. 1,69,990 in India, while the GH5M2 L-kit, which includes a 12-60mm lens, costs Rs. 2,14,990. The camera can be purchased in the nation from Panasonic India brand stores.

The Panasonic Lumix GH5M2 comes with the 20.3-megapixel Digital Live MOS sensor that includes an anti-reflective (AR) coating on top to minimise ghosts and flaring effects. The camera also includes an image processor along with Venus Engine that is claimed to enable 4K60p 4:2:0 10-bit internal recording and simultaneous 4:2:2 HDMI output. The Lumix GH5M2 also carries a deep learning technology that is claimed to help detect subjects such as humans, fast-moving animals, and birds.

In compared to the Lumix GH5, the Panasonic Lumix GH5M2 is said to have double the recognition cycle speed for identifying eyes and faces. The camera is also said to be capable of distinguishing between eyes, faces, and bodies in real time. The Panasonic Lumix GH5M2 also includes a 6-stop slower shutter speed, as well as body IS, which helps capture steady photos even while shooting handheld.

Panasonic has enabled wireless live streaming on the Lumix GH5M2 in addition to wired live streaming through HDMI. It is accessed via the Lumix Sync app, which is available for smartphones. The camera can transmit full-HD video at 60 frames per second using the H.264 codec in the RTMP/ RTMPS protocol. The business has also made available a specific software package called Lumix Webcam Software, which customers may download to enable wired live streaming with the Lumix GH5M2. Through a future firmware upgrade anticipated for the end of 2021, it will also offer wired IP streaming over RTP/ RTSP protocol.

The Panasonic Lumix GH5M2 includes Bluetooth v4.2 and dual-band Wi-Fi 802.11ac connectivity. The camera also has a 3.0-inch free-angle LCD panel with a 3:2 aspect ratio and a resolution of 1,840k dots. Touch controls are also available on the LCD panel. Because the Lumix GH5M2 is intended to be an update to the Lumix GH5, it is compatible with the majority of the accessories provided for the prior model. This means you can utilize the Lumix GH5’s XLR Microphone Adapter, Shutter Remote Control, and Battery Grip with the new camera.

The Lumix GH5M2 also sports a dustproof, freeze-proof, and splash-proof design with a magnesium alloy core structure and a complete die-cast front and back frame. The camera’s shutter unit is also said to be robust for up to 200,000 cycles.

On the Lumix GH5M2, Panasonic has included a 2,200mAh battery that can be charged through AC or USB. It may also be charged with USB Power Delivery (PD) chargers. In addition, the camera sports a dual SD memory card slot that supports UHS-II cards.

Nikon India accidently leaks Z9 Promo Video

Nikon India appears to have inadvertently released a promotional film for Nikon’s upcoming Z9 mirrorless camera, confirming previously unknown characteristics. While Nikon has been releasing weekly teaser films (1, 2, 3) for what will be their flagship mirrorless camera (three of the four planned teasers have been disclosed thus far), this one looks to be unique, both in terms of visual style and time (we suspect the fourth teaser video in the series to be released later this week).



This latest leaked video, which has since been removed but re-posted elsewhere, shows three distinct slides, each of which details specs that we have not yet been made aware of. The video notes in the first slide that the Z9 will have the ‘world’s fastest’ scan rate and be capable of shooting at up to 120 frames per second (fps), though there are footnotes to clarify the ‘world’s fastest’ claim and presumably limitations on what kind of capture mode you’ll be able to capture images at 120fps.

According to the second slide in the movie, the Z9 will support 8K/60p recording and will feature a double coating on the optical low-pass filter. This slide also features footnotes: two for the 8K/60p claim and one for the low-pass filter coating, although they’re difficult to see in the video. It’s probable that the 8K/60p capture option will be severely constrained in terms of bitrate, bit-depth, and codec support.


The third graphic shows the previously anticipated ‘Multi-Axis Tilting Monitor,’ as well as the ability to continually take Raw photos at up to 20fps. This slide has no footnotes, which is particularly fascinating given the 20fps Raw capture. The movie also shows off Nikon’s upcoming Nikkor Z 100-400mm F4.5-5.6 S lens.

As with any leak, it’s important to take it with a grain of salt. However, given that the video came from the official Nikon India YouTube account and looks to be quite on-brand for Nikon’s previous videos, it’s unlikely to be a forgery. Nikon has another teaser film scheduled for later this week, which may or may not be the finalized version of this advertising video. We’ll simply have to wait and see what happens.

Fujifilm launches GFX 50S II Mirrorless Camera officially in India

The Fujifilm GFX 50S II mirrorless digital camera is the latest addition to the GFX Series. Fuji’s newest medium-format digital camera costs a whopping Rs. 3,79,999 for the body alone and features a large format sensor and a five-axis image stabilization technology. The Fujinon GF35-70mm f/4.5-5.6 WR lens was announced alongside the new high-end mirrorless camera.

When purchased combined, the GFX 50S II and the 35-70mm Kit lens would put you back Rs. 4,49,999. Let’s take a look at why the new Fujifilm mirrorless camera is so costly. The 51.4MP large format sensor on the GFX50S II is equipped with smaller light-collecting microlenses to enable more separation between adjoining pixels.

The bigger sensor and light-collecting microlenses, according to Fujifilm, boost light resolution per pixel for greater image clarity. The configuration with a larger light-receiving surface per pixel improves the camera’s ISO sensitivity and dynamic range in low-light situations. The 51.4MP sensor is rather huge, and it should result in a naturally narrow depth-of-field.

The GFX50S II weighs more than 900g and has dimensions of 104.2mm in height and 87.2mm in depth. According to Fujifilm, the camera’s handle is intended to fit securely in the hand, ensuring comfort by significantly reducing hand stresses while using a large zoom lens in scenarios such as animal and bird photography. The casing is made of a strong magnesium alloy for strength. The lens mount’s base has been reinforced to enhance the camera body’s longevity.

Importantly, the GFX50S II is weather-sealed at 60 locations, protecting it from dust and moisture and allowing it to operate in temperatures as low as -10°C. Another notable feature that contributes to the new mirrorless camera’s high price is the five-axis image stabilization system, which provides up to 6.5 stops of advantage, the highest in the GFX Series’ history.

Fujifilm achieved this by utilizing a high-performance gyro sensor and accelerometer, both of which promise to detect motions with high precision. The gyro sensor was created to increase detection accuracy for precise image stabilization. Fujifilm is betting big on the stabilization capabilities of the new medium-format digital camera. The GFX50S II, according to the company, may produce superior image quality when used hand-held and does not require a tripod for slow and thorough shooting.

Following that, the GFX50S II is touted to have a high-precision AF system thanks to a high-speed image processing engine known as “X-Processor 4” and a newly built algorithm. When compared to a previous model, the pair achieves more precise focusing in Face/Eye Detection. Better portraiture should emerge from the enhanced focusing mechanism and large-format sensor with a natural shallow depth of field.

Sony launches A7 IV with 33-megapixel sensor and 4K 60fps video

The Alpha 7 IV, commonly known as the A7 IV, was recently unveiled by Sony. It is the successor to Sony’s successful entry-level full-frame camera, the A7 III, which debuted in 2018. The A7 IV improves on its predecessors’ photography capabilities while also greatly increasing video capabilities in a quest to become a genuine hybrid camera.

The Exmor R CMOS sensor in the A7 IV is a new 33-megapixel full-frame back-illuminated Exmor R sensor. While Sony does not market it, the new sensor features dual native ISO, with the second step kicking in at ISO 3200. The sensor, according to Sony, has a dynamic range of 15 stops.

The new sensor is paired with the newest generation BIONX XR image processor, which is also featured in Sony’s flagship Alpha 1. In comparison to its predecessor, the camera can shoot at 10 frames per second with AF/AE tracking and has a bigger buffer capacity. The autofocus technology employs 759 phase-detection AF points with real-time object tracking and real-time Eye AF for tracking humans, birds, and animals in both stills and video for the first time on a Sony camera.

The A7 IV can record 4K video utilizing the whole sensor width. For all frame rates including and below 30fps, the picture is downsampled from 7K to 4K. Unlike the A7 III, the A7 IV can shoot 4K at 60 frames per second. However, it can only do so in Super 35mm mode, which cuts the image and does not make use of the entire sensor width. In addition, unlike the A7 III, the A7 IV can now capture movies in full 10-bit depth, 4:2:2 color sampling, and XAVC S-I intra-frame recording. It also supports the S-Cinetone image profile, which is often seen in Sony cinema cameras.

Sony has also included a few additional capabilities that are now only available on the A7 IV and function when used with a suitable Sony E-mount lens. When utilizing autofocus, the AF Assist mode allows focus transitions, and the Focus Map mode visualizes depth of field with colors on the screen. There is also a new Breathing Compensation function, which compresses the image somewhat on Sony lenses with focus breathing issues, ensuring that the field of vision stays consistent even when moving focus from end to end.

For fast operation, the physical design has been altered to include a new top layer mode dial for Auto/P/A/S/M and MR modes, as well as a lower-layer dial for Still/Movie/S&Q modes. The display has been updated and now has a fully articulating design that can be rotated. The resolution of the 3.68-million-dot EVF has been increased by 1.6x. The dual card slots have been upgraded to accommodate SD cards and either SD or CFexpress Type A cards. On the side, a full-size HDMI connection has been added for external recording and monitoring. The recording button has been relocated to the top for easier access, and the magnesium alloy weather-resistant housing has been enlarged for better grip.

Overall, the new A7 IV outperforms its predecessor in terms of stills and, notably, video capabilities.The new Alpha 7 IV and HVL-F60RM2 flash camera will be available across all Sony Center, Alpha Flagship stores, www.ShopatSC.com portal, major electronic stores, and ecommerce websites (Amazon and Flipkart) from 10th February 2021 onwards for Rs. 242,490/- for the body only. A kit version with Sony’s FE 28-70mm F3.5-5.6 OSS zoom lens will be offered Rs. 262,490/-.

Canon unveils its first Virtual Reality Video Production System

Canon has recently introduced the EOS VR System, a new virtual reality (VR) video production system. The system will be available in late December 2021, and it will contain one specialised lens and two computer software programs. VR is becoming increasingly popular in a variety of areas, including entertainment, tourism, and education. With the growing market demand for virtual reality (VR), Canon is leveraging its optical technologies developed through the development and production of the EOS interchangeable lens camera system to establish a new VR video production system that produces high-quality images while maintaining an efficient production workflow.

The new EOS VR System is made up of two mirrorless cameras, a specialised lens, and computer software. Users may shoot VR films by adding the specialised lens to the camera, then using computer software to convert the resultant picture files to a common VR file format, making post-production simple.

Commenting on this launch, Mr. Manabu Yamazaki, President and CEO, Canon India said, “We are constantly pushing technological boundaries by anticipating both current and future needs. With the launch of Canon EOS VR System, we are bringing the power to create incredible 180°VR content in up-to 8K size output. This is a game changing product for the imaging industry where professional content creators can create high quality VR content using our easy-to-use workflows.”

Mr. C Sukumaran, Director – Consumer Systems Products and Imaging Communication Business, Canon India further added, “The EOS VR System has been developed by nurturing Canon’s optical technologies and EOS interchangeable lens camera system. It promises high- quality images coupled with an efficient production workflow. When attached to the EOS R5, the new RF5.2mm f/2.8L Dual Fisheye lens will enable users to harness the camera’s ultra- high definition 8K recording capabilities and produce an immersive feel like never experienced before.”

The new RF5.2mm f/2.8L Dual Fisheye lens is a specialized RF lens with two fisheye lenses designed to provide a parallax effect that may be utilized to create 3D 180-degree VR pictures. When coupled to the EOS R5 mirrorless camera, the lens allows users to take use of the camera’s 8K recording capabilities to generate ultra-high quality footage.

The Canon RF 5.2mm f/2.8 Dual Fisheye lens is priced at Rs. 1,79,995, while the EOS VR Utility Software and EOS VR Plugin for Adobe Premiere Pro is priced on a subscription basis, and both will be available in December 2021.

Tamron launched three new lenses for Sony and Fujifilm

Tamron recently introduces a new 35-150mm F/2-2.8 Di III VXD lens for full-frame Sony E-mount cameras, as well as an upgraded 28-75mm F/2.8 Di III VXD G2 standard zoom. The Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD for Fujifilm X-mount cameras is perhaps the most exciting news, since it is Tamron’s first ever Fujifilm fit lens, as well as the first superzoom lens for that camera.

Tamron’s mirrorless camera lens lineup is expanding rapidly, and these two new additions for Sony’s full frame E-mount cameras provide highly cost-effective alternatives to Sony’s own lenses. Tamron claims that the 35-150mm F/2-2.8 Di III VXD is the world’s first F/2 mirrorless zoom lens. At full zoom, the maximum aperture drops to F2.8, but it’s still a very outstanding maximum aperture for a lens with this zoom range.

The Fujifilm X-mount 18-300mm F/3.5-6.3 Di III-A VC VXD is a really intriguing lens. It certainly benefits from Tamron’s experience in superzoom lenses, and it’s extremely reasonably priced as a possible all-in-one travel lens for Fujifilm customers who previously had just Fujifilm’s own considerably shorter XF18-135mmF3.5-5.6 R lens.


Tamron 35-150mm F/2-2.8 Di III VXD

The focal range of the Tamron 35-150mm F/2-2.8 Di III VXD is unique, falling midway between a normal zoom and a short telephoto zoom. It has a 35mm angle of vision at the short end of the zoom range, which is a semi-wide field of view, and a short telephoto at maximum zoom. Although the maximum aperture is just F2 at 35mm, it lowers to F2.8 at 150mm, which is still an outstanding maximum aperture for that focal length.

Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism is used for “extremely high-speed and high-precision autofocus,” and the lens elements comprise four LD (Low Dispersion) and three GM (Glass Molded Aspherical). When shooting at wide apertures, Tamron promises constant excellent image quality to the corners of the frame and minimized onion ring bokeh (concentric circles).

Other characteristics include close-focusing capabilities with a minimum focus distance of 0.33m (at the broad end) and a moisture-resistant construction with fluorine coating to repel water, as well as the inclusion of a lens hood.

Tamron 35-150mm F/2-2.8 Di III VXD will be available from October 28.


Tamron 28-75mm F/2.8 Di III VXD G2

Tamron’s 28-75mm F/2.8 Di III VXD G2 is an upgraded version of the company’s previous 28-75mm F2.8 lens for full-frame Sony E-mount cameras. It has a somewhat larger range of focal lengths than Sony’s own 24-70mm F2.8 G Master lens, but it is smaller and far less expensive, while having the same constant F2.8 maximum aperture.

This new 28-75mm F2.8 G2 version features a new optical design that improves performance and matches the resolution of the newest mirrorless cameras. Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism improves AF speed and precision, and a new design improves operation and ergonomics.

Tamron 28-75mm F/2.8 Di III VXD G2 will be available from October 28.

Tamron 18-300 mm F/3.5-6.3 Di III-A VC VXD for Fujifilm’s X-mount

The Tamron 18-300 mm F/3.5-6.3 Di III-A VC VXD, which will be available on October 28th, is the first superzoom lens for Fujifilm X-mount cameras, with a zoom range of 16.6x, dwarfing the 7.5x range of its nearest competition, the Fujinon XF18-135mmF3.5-5.6 R.

The 18-300 mm F/3.5-6.3 Di III-A VC VXD has a full-frame equivalent focal range of 27mm to 450mm, with magnification ranging from wide-angle to near super-telephoto. It features a maximum magnification ratio of 1:2 for close-ups and employs Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor focus, as well as Tamron’s VC (Vibration Compensation) mechanism. This will be particularly handy for Fujifilm cameras that lack in-body stabilization.

This lens, like the two new Sony-fit lenses mentioned above, should be available on October 28th, however Tamron warns that it may be delayed due to current worldwide pandemic circumstances.

Nikon Z fc Review

Nikon’s new Z fc mirrorless camera is the company’s second APS-C mirrorless camera, after the Z50, which was released in January 2019. The Z fc has a much more conventional, vintage look than the Z50, with several distinctive physical controls on the body, including separate dials for regulating ISO, shutter speed, and exposure compensation. Nikon Z fc has a 20.9 megapixel APS-C sensor, 209 AF pixels, an expandable ISO range of 100 – 51200, 11fps burst shooting AF/ AE tracking, an EXPEED 6 processor, an LCD with an LCD touch-angle, a 2360k-dot EVF, 4K UHD video recording at 30p, Live Streaming Supports, Snapbridge and Wi-Fi, and a lighter body. The Z fc has the same Z lens mount as Nikon’s full-frame sensor cameras, thus it can use the same Z branded FX lenses, but with a 1.5x crop factor. The Nikon Z fc is now available for Rs. 84,995 for the body only, Rs. 1,05,995 with the Nikkor Z 28mm f/2.8 (SE) Lens, and Rs. 97,995 with the Nikkor Z DX 16-50mm f/3.5-6.3 VR (Silver) Lens. Look, Body and Feel The camera is as antique as they get in terms of style, body, and feel, and the look indicates that it is a tribute to the Nikon F series designs, such as the Nikon FM1, 2, and FE. And talking about Nikon’s F series, which looked great and performed admirably. So, it is clear that Nikon is aiming to appease those individuals in this case as well, and of course, with the success of Fuji, who has truly nailed the vintage look with outstanding performance, you can be sure that this will be popular with customers. In terms of build quality, the Nikon Z fc features a magnesium body as well as aluminum utilised in the camera, which feels good and sturdy. It weights around 445 gms with the batteries and lens and feels great and substantial in the hand. Although it lacks side grips, the relatively bulky design provides a greater grip than normal. Top: The top has a well-organized arrangement, with the On/Off button on the right, as well as the shutter and exposure compensation dials. There’s also a dedicated video recording button, which is a great addition, as well as a tiny display that indicates the camera’s aperture. The ISO dial, as well as the modes toggle, are located on the left. Although the camera has a hot shoe, it does not have a pop-up flash. Rear: At the back, there’s a 3-inch completely articulating screen with a 1040k resolution, as well as a playback/delete button and a view switcher. The shutter ring is located on the right, with other recognizable controls like as the info and 4-way toggle buttons. Front and Side: On the front, there is a stunning clean design that flashes the name Nikon and the Z fc at you. Nikon has also utilised the same typeface as they used on the F series camera, which is a clever technique to use. There is one custom button as well as the aperture ring. On the side, there is a Mini HDMI port as well as a USB charging C port. Bottom: At the bottom, there is a battery slot as well as one SD card slot that supports UHS 1. Nikon excels in the camera design sector overall. It is a retro-style camera, but it also contains all of the necessities that consumers require. Typically, manufacturers keep such designs simple, which means you have to go the extra step of utilising the fast menu to access functions. Sensor, EVF and Battery When it comes to the sensor, this camera practically has the same sensor as the Nikon Z50, and most people mistake it for a Z50 with a different appearance. It is equipped with a 21-megapixel APS-C sensor and 209 autofocus points in the single-point AF mode. The camera is driven by the same Expeed 6 processor as the Z50. The EVF is an OLED display that fills the whole frame and has a resolution of 2.3 million dots. Unfortunately, there isn’t much clarification on the refresh rate yet, but in our testing, we didn’t notice any latency in anything. The Z fc use the same battery as the Z50 and, according to the CIPA certification, can provide 300 photos per charge. However, it can be charged through USB Type-C, which is a nice thing because it lessens the strain of charging. Autofocus Tracking The autofocus tracking is borrowed from the Z series, which employs a large AF-Area to track the target. The technology works well in both the Z series and this camera. Image Quality
The camera is and functions similarly to any other Nikon camera in terms of image quality. It produces pictures that are crisp and clear. The saturation and tone range are good and attractive to the eye, as everyone is accustomed to with Nikon images. The low-light photos are also quite nice, but it does search for focus occasionally, very little, but most of the time it is bang on.
ISO Performance In terms of ISO performance, the camera produces photos that are easily acceptable up to 3200. However, as the example photos show, noise begins to appear at 6400.
Video Performance In terms of video capability, the camera can shoot 4K at up to 30 fps, but it lacks integrated image stabilization, which may be a disadvantage given that it is likely aimed at vloggers. The good news is that it shoots 4K without cropping. It also does not have the ability to watch on an external output, although this should not be a problem because most vloggers or users of this camera would not utilise such things. The camera’s video performance is excellent. It focuses quickly, produces high-quality results, and there isn’t anything to complain about in this department. Conclusion So, what are our thoughts on the Nikon Z fc? In terms of style, appearance, and usage, it ranks quite high on our list. In terms of performance, it can undoubtedly offer nice sharp photos as well as good video. It does not allow you to shoot with an external screen, but we do not believe that most customers in this category are searching for it. However, when it comes to the price, users could find that slightly steep. The Nikkor Z DX 16-50mm f/3.5-6.3 VR (Silver) lens kit costs Rs. 97,995, while the Nikkor Z 28mm f/2.8 (SE) kit costs Rs. 1,05,995, and with the body alone costing Rs. 84,995 the overall price of the camera + lens starts fringing towards an entry-level full frame camera, like as the Z5. Apart from this while the performance of the F/2.8 28mm is excellent, it isn’t the fastest lens or offers the shallowest depth of focus. The camera could present a much better performance in combination with a faster lens, say a f/1.8? So, as time passes and the price of this camera begins to fall gradually, the combination of the faster lens along with its capability will make this a much better investment.