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Yeah, look at FX2, rolling shutter, s35 crop doesn't matter as it is a "cinema camera" not a generic camera that does video 🤓 But Fuji is really doing well on upscaling their perceived market perception, it is trying to be the Japanese Leica.

Still think is a high price, but in the same ballpark of the X-T50 outside USA, it's ok. Could get one only for stills - or just be sane and stay just with the X-S20, since even with just one camera almost don't have time to use it properly...

When I had the GX85 I'd generally set the shutter and aperture and then leave ISO on auto when I was "running and gunning". I'd keep the shutter to the 180 degree rule, leaving only the aperture for me to adjust. Usually the camera did a good job adjusting the ISO. When it would occasionally get too noisy I'd add a little noise reduction in post and it'd be fine. I really only had that problem though when using zooms; the 1.7 primes (and even the 14.5mm 2.5) generally let enough light in that it wasn't a problem most of the time. Great camera. I regret selling mine, though not having a mic input was always a bummer. If the S9 weren't out there I'd probably have bought another one, but I'll probably end up getting the S9 when the prices comes down even more.

Haha... maybe things are a little different for me as I have both ADHD and ASD so my brain sees details rather then summaries. Lot's of Macro photographers tend to be on the Autism Spectrum for this reason. Probably why so many people got confused with what I'm trying to achieve, as sadly communication is different too as there are subtleties. I'm kind of leaning towards the R5C at this point but a little lost over the lens lineup. I wrote above what my thoughts are as I want to cover my bases and not leave anything out since at this point I don't have any experience as I've never done anything like this before. So what focal lengths will I need? Time will tell basically..... Sure for stills currently based on what is available where I live; I use the 15-30mm Pentax and 150mm Irix, the 200-500 f5.6 Nikkor, and Sigma 105mm - though prior to the 15-30mm I used the Samyang 24mm F1.4 which got crazy internal reflections at brilliant points of light. Just checking the Canon website I can see a CN-18-80mm and 70-200mm which probably would cover me on all bases but sadly these are Super 35mm E-mount lenses, so not even full frame. Something like the RF 24-240mm would be ideal as a one-stop-shop for a lens but I made that mistake with my Nikon already in the 18-300mm DX. It's awful and heavily compromised for my liking. Good for "snaps" though, great recon lens :-S I guess I made my decision on camera body, now for the lenses....??

When I had the camera, I basically just left it on A. Even when shooting on a Mediterranean island in the height of summer. I find that when documenting real life stuff, the 180 shutter rule is a bit more maliable than when shooting for narrative or performance. In fact, I would go so far as to say for a protest, having a very fast shutter speed can even be advantageous as things move so quickly. You can pull crisp stills from your footage and any noticeable choppyness in the shots will emphasis the electric feeling of actually being there. With A you can just focus on framing and let the camera do the exposing. It will play with ISO and shutter speed, but keep you aperture locked to whatever you set it.

Right. These days, you can pick one of Sony, Canon, Nikon, and Panasonic (and arguably, Fuji) and have everything you need. Beyond that, you're really just micro-optimizing in ways that are less meaningful than you might think. Most of them just take turns buying the same Sony sensors anyway. Each has some things that they do better than the others - and if you change your mind later about the things that are important, you could certainly regret it. But at some point, obsession over small differences between systems will lead to making a YouTube channel with a theme song about "All I want is the perfect camera, all I want is the perfect ca-me-ra..." (FWIW, Kasey is borderline convinced for the time being that his R5 II is the closest thing to a perfect camera and he also likes taking photo/videos of birds/squirrels in his local area). Am I actually suggesting that someone watch Camera Conspiracies for actual information about buying cameras for their use case? I can't believe I'm saying this, but... maybe I am.

Makes perfect sense, especially when traveling

It's a bit more complicated then just getting the 1.4x TC for my D500. Like I wrote above, I want to get a new camera system to consolidate my current camera systems and add video. So it needs to cover Landscape, Nightscapes, Astrophotography (lightly as I'll most likely get a Moravian Instruments actively cooled monocam for dedicated astro work), Wildlife/Action, and Macro. I'm slowly starting to plan traveling around the world, so I'm looking at all kinds of things that I will need and to make my life easier. I don't want to have to take 3 different camera systems with me so I'm looking for an all in one that will combine stills and video. Right now there's a lot of research even on SUV or Truck and roof top tent vs camper trailer, GPS systems, 2-way radios etc.... I know MFT would be lighter and get more reach, I have looked at the Lumix GH6 but at the sacrifice of low light capability which does not work for me. I bought the Pentax K1 II specifically for it's AstroTracer functionality which got me taking images of nebula and galaxies. More examples: https://photos.app.goo.gl/gSPeWz5gh9LK8qES6 - the Red Kite towards the bottom was an amazing catch! Cropped of course - all using the Nikon D500 https://photos.app.goo.gl/LkTeMnrKqxkoowAi7 - Pentax K1 II nightscapes The Andromeda Galaxy: https://photos.app.goo.gl/hBhgyAQgPJuAqHBRA This was a precursor, a trip up to Scotland last year - it's a 3 part playlist:

What is your planned presentation/use for these photos? One of the not-so-secret secrets of wildlife photography is that the photos are rarely presented as-framed in camera. The D500 has 20 megapixels which gives you a bit of room to crop in if your presentation is going to be social media or embedded in a 4k video. The Z8 and R5C are both 45 megapixel sensors - so you'll be able to crop in even more than on the D500. An 800mm lens won't be meaningfully different in FOV on FF than your 500mm was on APS-C, though. You mention the built-in TC on the 200-800, but there's nothing stopping you from going out and getting a 1.4x TC for the lens that you have now... or a 2x, but on modern very high resolution sensors, I've never seen a 2x TC that looked better than just cropping. If you don't want to crop or if you want to shoot 4K for presentation at 4K, you really should be looking at APS-C or M43 cameras. Bonus, you can also still use a TC.

This is an example of how far away a 500mm is for my on the D500: https://photos.app.goo.gl/TUS5QRjQzKWX5btr6 Would have loved to get larger shots of the Terns on the raft or the Green Speckled Woodpecker. All were shot handheld. I think the 200-800mm with a 2x TC would have been a better choice there but maybe on a tripod with gimbal head?

I think IBIS can be overcome with a gimbal like the RS4 Pro from DJI. As for the battery life, one of the videos above suggested you could get around 5 days using a battery pack from Amazon. About grading, I just started to learn the different methods for my drone footage taken last year. My first attempts were pretty bad using first Shotcut then later Davinci Resolve Studio. Can't remember if I popped this up already - apologies as my head is all over the place right now!! but it definitely is better balanced and has no weird artifacts like Magenta or Cyan blobs in the sky or that crazy over saturated blue hue that showed up in the clouds due to the white balance being off in camera: https://drive.google.com/file/d/1VewQSP0gCb2MICn8ZJEvg9QnNfxJm325/view?usp=drive_link - it was my first time using the drone so I was just getting used to it.

Hi, sorry for the confusion. I plan to use this system in place of my Pentax K1 II and Nikon D500. I am slowly planning traveling the world in a 4x4 and doing Overlanding/travel videos as well as natural world/nature documentaries. Locally I find the APSC combination with the 500mm lens is slightly short because there is no large fauna where I am, only small birds like the Eurasian Robin, Tits, and Finches. To start with I do not plan on using the articulating screen at 750mm lol 🙂 I actually would need to use it with something like a 50mm f1.2 around a campfire or in the car or just generally vlogging My idea is to use these lenses while on a multi day hike, again the articulating screen would come in handy when filming myself and another person, obviously not restricted to: * 15-35mm f2.8 * One of 24-70 f2.8, 28-105mm f2.8, 24-105 f4 * One of the 70-200 f2.8 or f4 * 100mm macro The above would let me cover all basis when I don't know the area or what to expect and still be light enough to not kill me after a 5 hour hike. I am also interested in the 200-800 for wildlife especially using the TC's for far away or small subjects but it would be used on shorter walks where the weight won't be such an issue. Last night I even checked the NiSi Aureus range of lenses at T1.5 which are interesting but if I can get by with the Canon RF lenses mentioned above then there would be no need for them. I definitely would need to be shooting CLog or other color gradable format for video. Not sure if the R5II has that? The fan is much welcome too as if I'm outside and it's say 45 degC I don't want the camera overheating if leaving the camera running (using a battery pack of course as I think you get 30mins out of the R5C internal battery) To summarize basically I'm trying to build an all in one setup that will cover all my basis and be a lot less to take along then say 3 different systems.

Using it as an example furthers the false narrative being pushed by the dipshit president and right-wing news outlets. A better example might be "the large-scale protests planned all across the country this weekend." As far as your other questions, as long as you're using a 180 shutter, once you become somewhat accustomed to the camera, your exposure controls are limited to ISO, aperture, and ND. In you use a variable ND, in many situations, you'll be able to just set an ISO/aperture and dial in the exposure with the ND. Otherwise, if you're less familiar with the camera and those settings, you might just use "S" mode and set the shutter to 180, put on an ND8 or ND16 if you plan to be outdoors, and just let the camera work out the aperture and ISO for you.

That all depends - if you have a 61 megapixel FF sensor, the only real benefit to it is the ability to crop in. Much heavier glass is also subjective - I kind of love the Canon RF 800mm f/11. It's obviously very limiting to have a fixed f/11 aperture, but the lens is otherwise a decent performer and not that different from using a 400mm lens at f/5.6 on M43. I would say, though, that stabilization is huge at such long focal lengths - and that might be a reason to consider a Panasonic body and Panasonic lens since their hybrid IS is by far the best. I don't have much problem getting sharp photos on the R5 with the 800/11 since whatever mix of IS is used works pretty well - but I also only use it in fairly bright areas and I don't mind bumping up the ISO a little bit.

No offence, I am aware of that, and that wasn't the point I wanted to make.

There are no riots in Los Angeles. Get your information from a real news source.

Hi there, I recently re-aquired a gx80 for a mere €180, because waiting for an update of the series by Panasonic is obviously futile (and a x-e5 costs almost tenfold). I'd really like to know in which modes you use or used the camera for shooting video. With the "VideoM" mode dailed in, and in "S" mode, the display reveals no information about which aperture or iso the camera is using, and whether the exposure is right. Same in A or P. When I stick to "M", I'll see if the scene is under or overexposed, but I have to operate Iso manually, on top of shutter, aperture and ND - this is a bit of a stretch in "run and gun" situations, which suit the camera very well, otherwise. I used to film in the A and S dial stills modes, but someone on this forum said that the camera won't stick to the values displayed when not running the video from the movie mode. What are or were your settings, especially when covering, let's say, L.A. riots or other environments in movement, with changing lighting conditions? Have you tried the Standard "S" or "A" stills mode?

I got really excited for a second when I saw the EVF but that A7IV sensor is a buzzkill. For a video first camera I can't get around the 26ms rolling shutter. Unless you shoot static shots, this is just bad performance. I also find it insane Sony is still not offering resolution above 4K or internal RAW in 2025. For 3200€ I find that unforgiving considering you can get a used/grey FX3 for around that price. Not even going to mention the competition options. Don't get me wrong, this is still a very solid hybrid camera with some worthy improvements but I'd still pick FX3 over it unless you absolutely need an EVF and even then an A7S3 would probably still give you a better image, especially low-light. Sony is still doing one step forward, two steps back.

R5C got some solid updates including AF. I find it actually way superior to Nikon Z8/Z9. Smoother, more reliable tracking. Less pulsing/hunting. Nikon AF can sometimes trip or get confused but Z lenses do offer minimal breathing which is nice. The main catch with R5C is no IBIS and average battery life. If you can live with those two cons it's a better hybrid in my opinion. Grading N-log is also more time consuming than C-log.

Body only is 10,000 yuan in China. Its expensive for these specs, unless the target market don't give a f about specs, which apparently Fuji believes is the case.

I am thinking full frame sensor is pretty bad for telephoto work at such long focal lengths. You are carrying much heavier glass and cropping into the sensor, aka not making the most of full frame - so you'd be far better off with a Micro Four Thirds camera for that. I am confused with your need for a fully articulating selfie screen at 750mm too 🙂 The R5C has worse AF for video. What about R5 II? Might be worth a look. I'd be tempted to go original R5 and a different camera for your telephoto shots, with a high-res crop sensor.

£1299 in the UK. $1299 would be the original US pricing without Trump's madness. So the tariffs are adding $400 onto a $1299 camera body. All of it into the pockets of a fascist administration rather than a nice Japanese camera company, too. Ouch.

1549 EUR incl. VAT for body only... That's actually reasonable. So it's only the Americans that get the result of the tariffs with the price in the leaks. Now we just gotta see if they can actually fulfill orders or if it's another X100VI / X-M5 debacle. I also just realized, there were zero words about the video features. Guess those we'll find out about in influencer videos now that the NDA expired.

I think it’s great. Another camera that could have been great but isn’t so I have utterly zero interest in and therefore will not be spending any money on. Keep it up camera industry, you are doing good and keeping my money firmly in my bank account 🫡

People are comapring it to the X-E4 price, but the X-E4 was clearly designed as an entry level camera. But the insanity in price is already shown with the cameta that this X-E5 try to mimic: the X100VI. The X100VI comes with a 23mm f/2 lens included, hybrid viewfinder with better EVF panel (3.69m dots vs 2.36 dots), a better rear LCD (1.62m dots vs 1.04m dots), the combined shutter speed / iso dial (which is expensive to manufacture), a real integrated flash with a leaf shutter that syncs much better with it, and an internal ND filter. The two downsides are the slightly less effective IBIS (much more noted in video, which is not the priority on both models), and the ability to change lenses. The X100VI, with a 23mm f/2 lens included, is listed by $1599. The X-E5, with a 23mm f/2.8, by the rumors, is $1899. $300 more for an inferior camera / lens combo.