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Agree with everything, just add to this my experience. For me, even the 105 is sometimes limiting, that is why I prefer the 18-135 EF-S for Canon S35 (or APSC) run and gun, and that is why usually I go with the Olympus 12-100mm 4f.. I do cover the whole spectrum of moving images (from mainstream drama, to indie documentaries) so I understand what everyone says. My last jobs were a feature film (I did sound) that we used just cine primes, a documentary with Pocket 4K cameras and the 12-100, Alexa TV ad (did sound), another one with 4K/6K cameras (did sound) and Sigma EF (18-35, 50-150), TV show with GH6 and 12-100mm, a theater/music performance (GH5+BlackMagic cameras with Olympus lenses), Canon C300mkIII + C70, a couple projects with Sony cameras, e.t.c... There is no ONE style of preferred setup. Depending the job and the project you have to adapt. It is a lot different to work on a scripted short, a verite documentary, a TV ad on Alexa, a live performance.. If you cover something, is more important to have the right moments than have just a few of them with great style..in the end, the content is more important than the form. Of course you try to have a great balance of those, but first be sure you cover the basics and then add some artistic style if you can.

All very true, for me 24mm on the R7 is actually around 35mm so we are on the same page there, but for me I use the 105mm end (around 155mm) FF equiv for background compression for detail shots and also for reach at the long end. I would say that I spend maybe 50% of my time below 70 but the full 50% of the rest of the time I am above 70, that's just how often I need take detail shots which is where I use background compression since F4 isn't particularily fast, and also where I am far enough away from the action to the point that I need the longer focal lengths for a quick shot or I want to punch in and fill the frame with some activity. At the type of events that I shoot, the clients expect a full compliment of detail shots of the vendor's wares and that's when I use the long end for background compression. To me the 24-105 at 105 looks better when taking detail shots vs the 24-70 at 70. I also shoot almost exclusively handheld these days and the Canon 24-70 does not have IS where as the Canon 24-105 does so that's another plus.

Any takers? https://www.zsystemuser.com/z-mount-lenses/nikkor-lenses/nikon-z-mount-lens-reviews/ Let's also not forget whether 3rd party lenses or those coming from F, Canon and E mount adapters.

So... what is the deal with DP Review? Content is still being published to the site, and there was even a new video posted about the Lumix S5IIX. Anyone have any idea what is going on?

There isn't one reason for the decline in websites like DPR and IR, but clearly the ad money has shifted to TikTok and YouTube social media influencers, and away from written articles so that is a big reason. The jazz media company that bought the magazine company that Dave sold IR to back in 2019, saw no worthwhile profit in IR's books. Not only are these sites predominantly about written articles, they are about a subject that is fast turning into a niche. Smartphone cameras are mainstream as we all know, and that means proper cameras are now about as mainstream as cassette tapes. I think AI will accelerate this retreat even further. The other general trend is that both DPR and IR were not ideal from a content point of view, it was often like reading advertising copy, as is the case with so much in the camera world in 2023. There is a lack of drama, a lack of true insight, it has all become a bit dry. The camera companies should be really worried about these two canaries in a coal mine and they won't be the last to die. It points to the fact that the camera industry should probably do something to stop the rot and support the remaining sites. Sadly they won't.

Well try and get your heads around this one… Given the choice of my 28-70 f2.8 or my 24-105 f4, I’ll take the 28-70 every time. Why? Size, weight, minimal extension of zoom but perhaps more importantly, actual focal lengths. 24 is a bit wide for me as a medium wide and I prefer 28 or 35 but in recent years, I have settled on 28 as it’s about the sweet spot for not making stuff look out of proportion. I get why some folks like 50mm but personally find it a bit too ordinary/boring so prefer 65/70. 105 is a bit ‘meh’ to me either being not much longer than 90 (which is my other principal lens/focal length) but well short of 150+ which is what I’d ideally need for longer stuff. So 28-70 used only at 28 or 70 is about 85% of my (stills) work these days with the other 15% split approx <5% 16mm and 10% 90. For video, simples, as above x1.5…although having said that, I am going to be trialling 6k 30p ‘open gate’ in a couple of weeks, as long as I can control/get around any flicker/banding. Why not just go with PAL standard 25p? No option for slow mo…which I am moving away from a little by going for a milder 80% instead of 50% ie, 30 on a 24 timeline. And having said all of that, my ideal focal length lens would be that Tamron 35-150 which would combine 2 bodies down to one, but that would mean switching systems to Sony or Nikon. And I’ve looked, but not! In the end, we’re all different and have different needs and tastes 😬

Greetings colleagues! This is my tests. I have been using the camera since December 2022. Until recently I used Canon R5 and R5C as my main ones. But I left the project and now I'm trying to decide whether to stay on Sony. Tests primarily shot for myself.

Seems a really good camera, probably the best hybrid at the moment. It makes A1, Z9 and R3 look overpriced compared to this. Really good that Nikon is aggressive with the price/features pushing Canon and Sony. Only odd thing that apparently it cannot record video on both cards...and personally I don't like the screen as is a pita on gimbals...

You've clearly never run a site or a business! If you've never run a site then you'll have no idea how much effort goes into running it and maintaining it in the background. Sites require constant maintenance as they are constantly under siege from spammers, hackers, new user requests etc. Even if you disable comments and logins and all the Web 2.0 functionality you still need to update the software regularly or hackers will pWn your site and turn it into an ad for viagra or to support Putin. That's the site, but to keep paying for it you need to have an active bank account and need to keep putting money in it. That bank account was probably under a business name, and to keep that active you need to keep the business name active, which means filing tax returns and dealing with whatever other accounting and government tasks are required. Did your business have anything else associated with it? Offices, parking, permits? You'll need to manage those things too. The list is truly endless. There's a good reason that social media sites like Medium or Wordpress or Facebook or YouTube are so popular - because maintaining your own platform is literally a full-time job.

It's a pity to see it go. I used it from time to time for reviews and to check out RAW files from various cams. Here are some other sites from the old days of the internet that I still use for researching contemporary and vintage lenses. https://www.opticallimits.com/ https://www.fredmiranda.com/reviews/ And for RAW files to mess around with: https://www.signatureedits.com/free-raw-photos/ Any other interesting sites to add to this list? (before they all disappear and we're stuck watching gear reviews about what gear to buy to make a gear review... for eternity)

Apparently the ghost of DPREVIEW is lurking...

Yep. Their comparometer image test, together with DPReview one, was one of the best ways to compare cameras.

I don't understand why they can't leave the website live and just stop updating it. Web hosting can be very cheap. They can leave affiliate links and ads to pay for the hosting. I have used the site many times when considering lenses and probably have clicked an affiliate price link, I expect the same applies to a big percentage of photographers and videographers.

Looks like times are ending. Crazy world. Sad story.

The only good news is that cameras are so good these days and social media has reduced most forms of produced media to warranting barely more than a passing glance so no matter what camera you buy your biggest competitor will be the cell phone vs the camera you did not buy.

I think that once any company is sold to ‘portfolio management companies’ whose main intent is to try and make money from it but don’t really give a fig about who the user is, it’s a pretty quick downhill slide into oblivion.

Also Canon EF mount and Sony E lenses work perfectly on Nikon Z via adapters.

..and great affordable Nikkor glass (from AI-S to AF-S) to adapt natively. Nikon have a much longer F mount legacy lens series than Canons EF that goes all the way back to the 70s and that are compact and really well built.

Yeah, it's probably a better idea to have two bodies with dedicated lenses instead of switching them. I think 35mm is a very good choice because you can also switch into APS-C mode and turn it into a 50mm, effectively giving you two focal lengths with one lens.

I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything. But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time. Better to have two bodies with a nice combination of primes (say the 21 and the 50) But I would personally stick to the zoom on cam A with a super wide prime for cam B.

If you're a solo shooter doing events/sports you might be shooting video and cannot switch to stills at a specific moment so grabbing (8K) stills is a very handy option. @gt3rs has been doing this a lot with R5/R5C on his extreme sports and safari shoots and the stills look amazing. This Z8 if rumoured specs and price are correct is really shaping up to be the R5/R5C killer from Nikon.

I’m interested in 8k for frame grabs to use as actual proper photography stills. 2k is trash for that, 4k OK, 6k good and 8k where it’s at. But yes, I’m not interested in size for the sake of size, especially if it is at the expense of other areas.

Sorry but VR and VP will need 8K, just because you dont need it doesn't mean others dont need it either.

The RAW case was dismissed, and Nikon is free to keep it.

Part of the camera history just gone like that

Or so complicated that it's only Gerald that will tell you that when you're in a certain codec and connect a HDMI monitor then the eye-detect AF doesn't work any more. That's a real example from the S5, and it was mentioned by others too, but I've seen heaps of gotchas like this that matter to people and no reviewers ever dug far enough to find them.