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Amazing spec really. Looks like it could be my forever camera….

Praise be to the gods... Megadap don't make stuff for L-mount (so far) but maybe they'll surprise all 3 users at once.

If Megadap's website/YouTube is to be believed, sometime this month or next, their M mount autofocus adapter (M2RF) will be released this month sometime. 🤞

Indeed, hard to see what it offers over the Nikon Zr other than a different badge.

With the lens not covering the full sensor and battery is the absolute unit from the GH7, I think Panasonic are missing a trick here https://www.dpreview.com/news/8679910436/panasonic-lumix-dc-l10-four-thirds-enthusiast-compact They should make a version with a prime lens, a slim pancake on the front and reduce the body size a bit towards the Ricoh Gr series, then it would open up a world of sales Panasonic's marketing team never knew existed. Have they ever heard of the Fuji X100 VI!? They have all the capabilities to make a killer competitor to that too.

For manual focus vintage lens users like me, I just can't get away from that damned Techart adapter which autofocuses your Noctilux. Really miss it when picking up my Sigma Fp-L. It's a real shotgetter. Not Panasonic or Leica's fault of course, lots of nice native Sigma lenses for the system and they can't influence third party adapters much.

They should have called it the L1. Now THAT was a nice camera, iI still have it with the 14-50 mm lens. It still works, all 7 megapixels, and the batteries too ! At least it was fourthirds, so using the same name for a microfourthirds cam would be less confusing ? I must admit, this new L10 looks like a really nice camera. It is too expensive though.

Perhaps the biggest mistake was inviting a bunch of influencers with tiny hands to come to Japan and make it look enormous by comparison. They could have just had someone the size of Shaq in the lobby holding one and posing and every video would have started with a very different tone! Sounds pretty normal to me, but my household has a rather eclectic purchase history, so I might be an outlier!

I envy Sony’s lens line up which being honest, blows away what is available from L Mount. But that is it. And I try not to think about it too often.

I suspect there is at least one person out there who is currently debating which one of yesterday’s 3 cameras to get or a fancy tropical fish tank.

Same intern that is currently doing their marketing is also in charge of product naming.

I now think that calling it the L10 was also a mistake. I watched the Micro Four Nerds video about it earlier anud the camera looked very big in the presenter's hands. I looked it up the Panasonic L10 on cameradecision and compared it to some other cameras and was outraged by how much bigger it was than the LX100. Then I noticed something about 10 megapixels and realized that the Panasonic L10 was a 10 megapixel Micro 4/3 camera from 2007. The Panasonic Lumix L10, on the other hand, is quite small. Was L10 such a great name that they couldn't change it after somebody pointed out that they already had a camera called the L10 and there would be some confusion from people who looked it up?

There are a bunch of weird 🔨 limitations on the R6 V. Nowadays, I'd expect a $2,500 video-centric camera to have shutter angle, at least. I'm not sure if a dedicated timecode port is a reasonable expectation, but in my mind, it should have one. Those would go al long way to making it a proper B cam to one of the cinema line cameras.

The battle of Resolution vs Common Sense was over long ago and us consumers were the losers.

The clearest sign yet that people's critical thinking might be in a dodgy place... 7K RAW on a content creator's camera with a tripod mount to shoot in portrait orientation. Now let's remind ourselves: Why do people shoot vertical video - because of phones How big is a phone screen - Erm, about 7 inches tall How much resolution is 7K in vertical format... 1000 dots per inch! What DPI are the best flagship phone displays? Well, iPhone 17 Pro Max is 2868 ×1320, so about 450dpi, and that is overkill already because to make out the individual pixels you need a microscope. Those Instagram stories never looked so good.

Well, that intern got Panasonic 20 hours of clear air, but the intern from Canon that chose when to announce the R6V only managed to get about an hour before Sony released the A7R VI, so I guess everything is relative! Still, they're all for different audiences and at different price points etc. A $1500 P&S vs a $2500 FF camera vs a $4500 67MP beast. I doubt many people went "oh no, I preordered the L10 but the Sony has higher resolution - pre-order cancelled!"

I think it's quite exciting, for someone who skipped the Sony a7r V for video because of the slow sensor and terrible rolling shutter in 8K, I can finally embrace it fully without any silly deal breakers. It's also going to really help the price of the original a1 drop to sensible amounts. Already the lovely a1 OG is <£2200 on eBay from Japan. This is highest resolution stacked sensor yet though... 68 vs 50mp, $2000 less than an a1 Mark II, DGO and a new, absolute chonk of a battery, plus new EVF - possibly the best ever on a Sony - and an EOS R5 Mark II price to match. Finally Sony are not deluding themselves that everything high-end they do should be 6 or 7 grand. Would it be nice if it had real-time LUTs, open gate, anamorphic and raw codec? Yes, but as an all-rounder it ain't bad is it? I am not in the least interested in 2500Mbit codec file sizes when H.265 looks as good as it does in 2026. S1R II for me is tempting for open gate and the LUTs, but it's got too many deal-breakers where the Sony hasn't. The mount, for a start. And the a7r VI autofocus I bet is stunning.

Looks decent and loved my A7RV, but I have nailed my colours to the LUMIX mast for what remains of my career. But if I did switch, it would be to Nikon. Or Leica. Or dammit, maybe even Canon. Or possibly Sony actually. The simple reality is they all make good shit these days. Remaining a Lumix bro, - it does what I need it to do.

Another stroke of Lumix’s marketing genius. They were hoping for a full 24 hours of limelight, but the intern responsible for product launches only had 10 fingers and 10 toes to count with.

It looks like a solid upgrade if you're in the Sony world and want your stills-first camera to have a bit better video. 67 vs 61 mp is 🥱. Internal video codecs are industry-trailing (H.265/H.264 only). The standout feature, for me, is 4K DGO video with only a 15ms readout - but if that were the only spec that I wanted, I wouldn't have sold my C70 (and it could do it in raw). Wish they would have done an 8K DGO - would gladly take 22-28ms readout speeds for the extra DR on scenes without fast movement. This seems to me like a camera that's designed to throw a bone to Sony shooters who might otherwise be thinking of jumping ship. It's fine, but not very exciting. I think Sony sent some spies over to the Canon headquarters to learn the secrets of the 🔨

To be honest, I really want one. I'll wait for it to come down to 3500 euros used, then I think i'll sell some stuff and pounce on it. The main weakness of the a7r V and Panasonic S1R II - the slower sensors and rolling shutter, is banished. The 1.2x crop in 8K isn't ideal though. Specs: https://www.dpreview.com/reviews/sony-a7r-vi-review

@mercer Canon just released the R6V, which is somewhere between the R6III and C50. Another option to consider...

Yeah, some pretty nice looking images from that lens. Realistically, on a consumer camera without RAW or Prores, the codecs are potentially going to be the limiting factor more often than the lens. I'm easy to please though, as my aesthetic leans towards the analog and emotive rather than the person building a personal database of all image sharpening techniques ever created.

It won't feature Ibis, probably, if they are about to keep the size. I could live with that.