You may never have thought about SD cards before in your life: you got one with your first camera and you’ve used it ever since. Or maybe you've just bought new ones as time has gone on and camera resolutions have gone up.

But simply buying a cheap SD card based on its cost per gigabyte is often a false economy. For example, slow, bargain-basement cards will work fine while you’re shooting a few images of a slow motion subject. As soon as you upgrade to a camera that can shoot more frames per second, though, you'll find yourself missing shots while your camera struggles to write to a slow card. 

Or, if you’re looking to get into videography, you’ll definitely find that not all SD cards were created equal. Over the years, SD cards have evolved to meet the demands of increasingly advanced cameras, from higher megapixel counts to faster bursts rates and 4K video recording.

This means they bear many different indicators as to how they can be expected to perform, which can be confusing. Luckily, we're here to demystify the process – here's how to choose the right SD card for you.

Type and brand

The first thing to look for is whether a specific card is compatible with your camera. 

Assuming your camera uses the SD format, it should be compatible with the two main types of cards manufactured today, namely SDHC (Secure Digital High Capacity) and SDXC (Secure Digital eXtended Capacity). 

Older cards that are simply marked SD will typically work with today’s cameras too, although they're no longer produced, as the demands of the latest models exceed their capabilities.

The best way to check what your camera will and won’t accept is to look up the camera’s specifications in the manual (or the equivalent page on the manufacturer’s website).

All SDHC and SDXC cards have a small tab at the side that prevents a card’s contents from being changed in any way – if you slide this tab down you won’t be able to record anything to or delete anything from the card, and this is a useful way to secure your images and videos, particularly once your card is full. Sometimes this tab can be moved slightly when you're inserting a card into your camera. If you get an error message when trying to take an image, take the card out and check the tab isn't in the 'locked' position.

Other types of SD cards come in smaller variants, such as microSDXC. These are typically used in smartphones, although they often come with SD-sized adapters that allow them to be used in cameras and card readers.

Lexar and Sandisk are the dominant players in the market, although Integral, Kingston and Transcend produce perfectly sound alternatives that may be cheaper, while there are also options from well-known brands such as Toshiba and Samsung. Whichever brand you decide to go for, only buy from a reputable seller, as there are unscrupulous outlets offering counterfeit cards.

Capacity

How big should your memory card be? For most people, a 32GB card is the smallest one you should consider, with 64GB likely to be the better option. And this brings us to our first acronym – all cards with a capacity of 32GB and under fall into the SDHC camp, while cards sized at 64GB and over are classed as SDXC.

The longer answer is that the size of the card depends on what kind of photographer. If you’re a really keen snapper, you should aim for a card that will store between 1,500 and 2,000 images from whatever camera you currently own. 

If you shoot less frequently, a card that can accommodate 1,000 images is probably enough. You’re aiming for a sweet spot here – a card that won’t run out of space just as things get interesting, but that will force you to offload and backup images with relative frequency. If you shoot video, a card that can hold around an hour of good-quality film from your camera will probably suffice.

If you’re a videographer, you’ll need more, especially if you shoot in 4K. We wouldn’t look at anything smaller than 128GB, with 256GB probably more practical if you don’t want to have to offload your footage and back it up every night or two when you’re away from home.

What’s the biggest you can go? Lexar now makes a 1TB SD card, which is bigger than you’ll find on many laptops with solid state storage. It’s impressive, sure, but it’s unlikely to represent very good value for money – you’ll only fill it with current-generation technology if you go a long time between offloading your footage, and the idea of having 1TB of potentially priceless footage on a single card makes us go a bit weak at the knees.

Most people find that opting for a handful of moderately sized cards is a better option than using a single larger one. This makes sense from the perspective of security – if something goes wrong with the card, for example, it’s good to know that not all your images and videos are at risk – but it’s also a good idea where organization is concerned. An increasing number of cameras now offer two card slots, which is another reason to invest in multiple cards rather than just one.

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Speed and performance

Many of the markings on a memory card relate to its performance in terms of transfer speeds. We’ll take a look at each of these in turn. 

Speed Class

Many of today’s SDHC and SDXC cards are marked with a figure such as 2, 4 6 or 10 in an almost complete circle, and this indicates the minimum sustained write speed for that card. This is known as the Speed Class and it’s a useful way to assess whether a card is suitable for whatever video recording you may have planned. 

The figures themselves are derived from the measurement in MB/s. So a Class 2 card has a minimum sustained write speed of 2MB/s, while a Class 4 card ups this to 4MB/s and so on. As a general rule the faster the better, although for standard HD video recording you shouldn't need anything too speedy.

Class 10 cards are ideal for Full HD video but if your camera supports 4K video recording you may want to go for a card that also shows its UHS Class. 

Ultra High Speed (UHS) Class

SDHC and SDXC cards typically show the number 1 or 3 inside a U shaped icon. Where you see this, you can be sure that the card conforms to the newer Ultra High Speed (UHS) standard.  

Like Card Class, this provides you with an idea of minimum guaranteed sustained write speeds. A ‘1’ inside the U indicates a minimum sustained write speed of 10MB/s while a ‘3’ indicates a speed of 30MB/s. As the latter type is faster than standard Class 10 cards, these are better suited to more data-intensive operations such as 4K video recording. 

Trying to record high resolution video to slow cards can cause the camera to stop recording, potentially even after just a few seconds, so it’s a good idea to think about how you imagine you will use your camera for video when buying a card.

It’s now possible to find cards that conform to UHS-I and UHS-II standards, and you can tell which one applies to a given card by checking whether it is marked with a single numeral (I) or two (II). UHS-II cards also have an extra row of contacts at their rear, and they promise even faster transfer speeds than UHS-I, although purchasing one only really makes sense if your camera is one of the recent few that supports this interface. 

Currently, most cameras support the UHS-I interface but not the newer UHS-II one. You can, however, still benefit from their faster read speeds with a UHS-II card reader when transferring images to a computer.

Should you do decide to go for one, you’ll be pleased to learn that they are backward compatible with cameras that only support UHS-I, although you won’t realise their speed benefits inside such cameras.

Video Speed Class

In addition to Speed Class and UHS Speed Class, there is now a newer Video Speed Class. 

This has been developed with 8K cameras and high video frame rates in mind, and so it’s not something that many will necessarily need to take advantage of, particularly as 8K video recording hasn't yet been incorporated into consumer-level products. Nevertheless, as these are set to be available shortly, it’s useful to understand how these will be classed. 

The good news is that it’s just as easy to understand as Speed Class: so, a card marked V6, for example, promises a minimum sequential write speed of 6MB/s. These will also be available in V10 and V30 flavours to match the demands of 4K video recording, as well as V60 and V90 options intended for higher-resolution 8K shooting.

Need a CompactFlash, XQD or alternative card?

Not all cameras use SD-type cards. The CompactFlash format is still used by some professional DSLRs, while slots for the newer CFast and XQD formats have also started to appear inside some models like the Nikon Z7.

Such cards still show capacity in the same way as SDHC and SDXC cards, and will typically have their read speeds marked in the same way too, although they do not use the same speed classes as SD cards.

With regards to read and write speeds, the fastest CompactFlash cards currently available are marked UDMA 7. Such cards have a maximum transfer rate of 167MB/s, which is slightly faster than the 133 MB/s limit of the previous UDMA 6 format.

Physical protection

Some cards claim to be protected against water, shock and x-rays to some degree, and may work in more extreme temperatures than standard cards. If you imagine you’ll be working in particularly demanding conditions, or if you just want peace of mind, you may want to look out for these. 

The more professional offerings in a manufacturers line will typically have these as standard. Of course, if you do intend to use your camera in particularly harsh environments, it’s a good idea to check that the camera, battery and any other equipment you plan on using will remain operational – again, your manual is the best place to check this.

File recovery software

Losing images and videos is all too easy, be it by your own hand or because of file corruption. Some cards ship with software that could potentially recover such files, although you may find success with third-party software too. 

Card reader

Check to see whether you need to use a specific card reader with your card in order to take advantage of the fastest read speeds. Otherwise, a more standard card reader – be it one that’s incorporated into a computer or an external device – will act as a bottleneck here.

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5 SDXC cards tested for 4K recording and burst shooting

We tested these cards’ read/write speeds for both images and video, recording overall transfer times and read/write fluctuations which could result in dropped video frames. All these cards are UHS-I types, with a single row of contacts on the back. UHS-II SD cards have a second row of contacts, offering up to three times the theoretical speed, though you need a compatible camera.

1. SanDisk Extreme Pro 64GB

SanDisk’s contender produced a blistering 83.3MB/s video write rate, and it wrote images at a sustained 56.4MB/s with no speed dips, making it the smoothest performer here.

2. Samsung Pro+ 64GB

The Pro+ turned in the fastest outright image write rate of 58.2MB/s, but not without some minor speed fluctuations. Read performance is faultless, however, as is video write speed.

3. Kingston SDXC UHS-I U3 64GB

Kingston’s fastest SD card managed a whopping 84.1MB/s when writing video, though transferring multiple image files resulted in a mediocre 42.8MB/s, with lots of speed fluctuations.

4. Transcend SDXC UHS-I U3 64GB

Despite sharing the same speed class ratings as SanDisk’s entry, this card only managed an erratic 36.8MB/s average image write speed. 64MB/s when writing video isn’t too shabby, though.

5. Lexar Professional 633x SDXC UHS-I 64GB

It may only have a UHS Class 1 speed rating, but this card’s read rates are a match for the competition. Write speeds of 53MB/s with video and 36.7MB/s with images trail the pack, though.

Alternatively, you could get a microSD card

Samsung Evo Plus

If you want to invest in a card that you can use across a number of devices, you might want to look at a microSD card like Samsung's new Evo Plus range. Coming complete with a full-size SD card adapter, the cards feature the brand's NAND technology with read speeds at 100MB/s and write speeds as quick as 90MB/s. As well as this, the card is waterproof, freezeproof, X-Ray proof and magnetic proof. 

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The Fujifilm X-Pro3, which has been eagerly anticipated since the X-T3 launched last year, will be officially announced on October 23, according to the company.

The Japanese firm used its X Summit in Tokyo to announce that the model was indeed on the way – and it's already started a countdown timer to the launch on its website.

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We don't know all the specs just yet – indeed, we hardly know any – but Fujifilm did go into details about a handful of new and updated features. 

The redesigned LCD screen is one of the most interesting developments. Gone is the fixed LCD screen from the X-Pro2, and in steps a 'hidden' LCD screen, one that faces the camera by default and flips out and down when required.

The back panel has been finished in the same way as the rest of the rear plate, which conceals this screen's presence, all the more so considering the small status LCD screen that's been put in its place. 

This all seems to be consistent with the more purist philosophy of the X-Pro line, benefitting those who prefer to have the option of an LCD for waist-level shooting but whose focus will be mainly on viewfinder shooting.

Better viewfinder – and more rugged body

The hybrid viewfinder has also been upgraded from the X-Pro2. The optical component is set to offer a clearer view of the scene, with less distortion and a wider angle of view, according to the company, while the electronic component will benefit from a higher refresh rate and wider color space than before.

The body is set to be constructed using titanium, and thanks to an extra-strong DURA coating on two of its finishes it should also be 10 times more resistant to scratches than steel, and almost as sturdy as sapphire, according to Fujifilm. 

The Film Simulation options are also to get a new addition in the shape of a Classic Negative option.

The camera is also set to be available in DURA titanium and DURA black options, as well as a classic black finish, and as mentioned will be formally announced on October 23. In the meantime, you can watch the announcement in the video above.

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Are we about to see a Nikon Z8 or Z9 mirrorless camera? A high-end companion to the Nikon Z6 and Z7 has been mooted for the best part of the last year – and it may well be more likely now.

Nikon Rumors claims a leaked screenshot from a Nikon manual shows that a future model will be able to capture images at a resolution of 9552 x 6364 pixels, which equates to 60.7MP. 12-bit, 14-bit and 16-bit raw options can also be seen in the screenshot.

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Nikon doesn't currently offer a camera – mirrorless or otherwise – that can capture images at 60MP as standard, with its highest-resolution models being the Z7 and D850 DSLR. 

But the arrival of a camera with a 60MP sensor would make some sense, given that we know Sony has already produced a sensor with this kind of pixel count inside the 61MP Sony A7R IV. And Sony is known to have provided sensors for Nikon models in the past, as it has done for many other manufacturers.

No new models since the system's launch

Pretty much as soon as everyone had devoured the specs of the A7R IV, speculation began as to where else such a sensor might also appear – and attention quickly turned to Nikon.

Nikon only has two mirrorless members in its Z series, the 24MP Z6 and the 45MP Z7, both of which were announced at the time of the system's launch.

While the company hasn't furnished the range with any subsequent models, it has released a number of compatible lenses, and issued firmware updates to bolster autofocus functionality, among other things. 

A lens roadmap that was updated earlier in the year also shows two more lenses are to be confirmed before the year is up – one being the Noct 58mm f/0.95, whose official confirmation has been rumoured for some time.

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Astrophotographer? Canon user? Looks like there's some good news in the stars, as Canon's UK website appears to have leaked details of a new EOS Ra model.

Canon Rumors spotted a leaflet from an instruction manual that appears similar to those bundled with Canon's products, which appears to confirm the existence of an EOS Ra. The leaflet, which can be viewed here, can still be downloaded from Canon's official UK's website.

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The leaflet mentions that "the EOS Ra is a version of the EOS R designed for astrophotography", and that it has "approximately four times the transmittance of hydrogen-alpha light (656nm) as the EOS R".

Other specs include a maximum 30x screen magnification option, which is higher than the 10x of the EOS R, and would be particularly useful when checking the focus of stars and other celestial bodies.

First astro-focused EOS model since 2012

The company has previously launched astrophotography-focused variants of existing cameras, which have their infrared-blocking hot mirror removed, and has used the same nomenclature as we see here. 

In 2005 it announced an EOS 20Da spin on its EOS 20D DSLR, which was followed in 2012 by an EOS 60Da model based on the then-current EOS 60D DSLR. The 60Da remains the most recent astro-focused addition to its EOS range, and can still be bought brand-new.

It's been a year since Canon launched its EOS R mirrorless line, and in that time the company has only released two bodies, the initial EOS R (pictured top) and the more affordable EOS RP. 

While it's followed these up with a handful of lens releases, including the most recent RF 15-35mm f/2.8 L IS USM and RF 24-70mm f/2.8L IS USM, it confirmed earlier in the year that a pro-level body was in the works. 

Such a model would make a lot of sense; while its most senior EOS R camera has a 30MP full-frame sensor, there were rumblings of a future model with an 83MP alternative, which many Canon users would no doubt welcome given the recent arrivals of the 61MP Sony A7R IV and 47MP Panasonic S1R.

Rumors of an EOS-1D X Mark III DSLR have also been circulating in recent months, a model that would be expected ahead of the Olympic Games in Tokyo next year.

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Back in August, lens manufacturer Tamron released a teaser that promised four new optics would be arriving for full-frame mirrorless cameras – and now another teaser points to an October announcement.

The first teaser showed the company's existing 17-28mm f/2.8 Di III RXD and 28-75mm f/2.8 Di III RXD lenses joined by silhouettes of four others, one being a zoom and three appearing to be either wide-angle or standard prime lenses. 

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So what do we know now that we didn't know before? Sadly, not a great deal. The new teaser shows them to be a little less obscured, and goes so far as to reveal metal mounts and a zoom Lock feature on one of the lenses, but doesn't give too much else new away. 

The video is titled 'Bring Your World Closer. No Steps Required', which points to the zoom lens. Hashtags on the company's Twitter feed also point to compatibility with mirrorless models, and these are accompanied by the promise of more information to come in October, which presumably will be the full announcement – a third teaser would be pushing it.

Only for Sony users?

The fact that these cloaked optics were sitting alongside two lenses already available for Sony Alpha users suggests that these new optics will also arrive in the same fitting. 

Sony isn't, of course, the only manufacturer of full-frame mirrorless cameras. It's unlikely that Tamron has plans to release any products for models within the L-mount alliance, but as yet the company hasn't released any lenses for the likes of the Nikon Z6 and Nikon Z7, or the Canon EOS R and Canon EOS RP.

Why is this? At the time of the Z-system's launch, it was reported that Nikon wasn't sharing the details of the new mount with third-party manufacturers, which would explain why Tamron hasn't yet announced any compatible optics. A handful of third-party lenses for Z-mount bodies do exist, although these are likely to have been the products of reverse-engineering rather than any co-operation with Nikon. 

Could we see some Canon-fit versions though? Quite possibly. The RF range would certainly benefit from some cheaper and smaller options than the impressive but pricey lenses we've seen so far from Canon. But for now our money is on these new optics broadening the pool of options for Sony Alpha users, who've already welcomed many options from Sony and others this year, including Sony's recent FE 35mm f/1.8.

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Thanks to a handful of leaked images that surfaced a few weeks back we knew the Leica M Monochrom Signature by Andy Summers was on the way, and now Leica has made the camera official.

The company says the special edition of the full-frame rangefinder is being released both to honor the work of the Police guitarist, and also as a "complement to the simultaneously released Signature Guitar from Fender".

Essentially, it appears to be the Leica M Monochrom (Typ 246) in new skin, and its styling features elements from the guitar that's been released alongside it. The top of the model also bears the guitarist's signature in red, to further distinguish it from the more sober-looking Monochrom (Typ 246).

It comes complete with a Leica Summicron-M f/2 35mm ASPH optic, together with a vintage round lens hood, a Fender guitar-inspired camera strap, and a black leather bag.

Like other special-edition versions of its previous models, the camera will be subject to a very limited run – in this case, only 50 models will be made. 

And – as you might have already guessed – it's not cheap. Whereas the regular Leica M Monochrom (Typ 246) retails for around $7,995 / £4,750 / AU$11,100 body-only, this version will set you back $14,995 (around £12,000 / AU$ 21,900) – although you do get that lens too.

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The Canon EOS M100 (pictured above) is one of those models that's easy to dismiss on account of its simplicity, but it's perfectly capable when you consider the market at which it's aimed, and its meagre price tag. 

And now, two years after its launch, it appears that we may soon see an updated EOS M200 model.

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Trusty camera rumors site Nokishita has claimed on Twitter that the "EOS M200 15-45 Lens Kit (Black) and EOS M200 15-45 Lens Kit (White) have been added to Canon's latest product list". The tweet goes on to say that the model will probably get its official status within the month. 

Is it likely?

While the site hasn't released any leaked images or specs of the supposed new model, its good track record for breaking news of upcoming cameras, together with the EOS M100's age, lend this rumor a fair amount of credibility.

Canon has released a number of new models since the EOS M100, which has dated that camera's spec sheet somewhat. We may expect an EOS M200 to still rock up with a 24MP APS-C sensor, but it would be surprising if it didn't arrive with the latest DIGIC 8 processing engine, faster burst shooting and USB charging.

It would also be a shame if it weren't to arrive with 4K video recording, a feature Canon omitted from the EOS M100 and appeared reluctant to include on many other cameras at a time when others were more liberal with it, although Canon has fallen in line more recently, as customers have increasingly come to expect 4K as standard.

Given that this new model should be aimed at a more junior audience, it seems likely that it will also be available in a handful of further color options in addition to the black and white versions mentioned, as the EOS M100 was. And assuming the model does get confirmation within the month, it seems likely that it'll be available this side of Christmas too.

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It's the same old story: Sony announces another new camera that looks highly capable as a model in its own right, but it's hard to appreciate that amidst the fury of those pointing out that it doesn't have Alpha A7S III written on it. 

Yet those looking through the spec sheet of the new Sony FX9 may be encouraged by some of what Sony has included here, given that many features would be just as home inside a forthcoming A7S III model.

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The sensor is the most obvious one, being a 19MP Exmor R, back-illuminated full-frame chip. That's quite a step up from the Super 35mm sensor inside the previous FS7 model; its resolution alone makes it a logical candidate for inclusion on an A7S III.

The sensor is capable of recording 6K video, although, much like the sensors inside the company's A9 and A7R IV models among others, this is then downsampled to 4K footage before it's output.

It sports a dual base ISO of 800 and 4000 together with a Super 35mm option and Hybrid Log Gamma mode, while a wide dynamic range in excess of 15EV stops is also being promised.

Sony's Fast Hybrid AF system is also on board, thanks to phase-detect pixels on the sensor that work with the more standard contrast-detect AF system. This has been a longstanding feature of the Alpha line, although here the system stretches across an impressive 96% of the frame horizontally and 94% vertically. By comparison, the most recent A7R IV has a system that's spread across 99.7% of the height of the sensor and 74% of its width.

Sony also claims the FX9 is the world's first full-frame camera to sport an electronic variable ND filter, which would certainly also be a welcome feature inside a future Alpha model.

All of this would make a lot of sense inside a new Alpha A7S III, a model that has been rumored for some time now. Still, with no confirmation from the company just yet, we'll just have to wait and see whether it delivers on our hopes.

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Thanks to a handful of leaks over the past few days we've known the Fujifilm X-A7 was on the way – but only now has the company made it official.

The X-A7 becomes the company's latest entry-level mirrorless proposition, one that follows the previous X-A5 model, but introduces a handful of features that elevate it beyond its entry-level billing.

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These include a huge new 3.5-inch LCD touchscreen, which has a 2.76 million-dot resolution and a 16:9 aspect ratio, and this flips out at the side of the camera to face in a range of angles. 

The model also inherits the AF lever common to its pricier X-series stablemates, which should make light work of menu navigation, focus point adjustment and image browsing.

On the inside, Fujifilm has packed a new 24.2MP APS-C sensor with 8.5 times the phase-detect pixels of the X-A5, which should help focusing to be speedy, as well as copper writing to help reduce image noise and read information from the sensor faster.

The middling 4K / 15fps video option we saw on the X-A5 has been given a boost to 30fps here, while a new Countdown Video mode captures footage for 15, 30, or 60 seconds, something which Fujifilm points out makes it easier to upload clips to social media.

The company has also used the model to add a new Bright Mode feature to its Advanced SR Auto function, which is said to instruct the the camera to configure ideal settings for brighter and more vivid images.

Face and Eye Detection are on board, as is a new Smart Menu and a Light Trails shooting mode. Other features include 6fps burst shooting, and a single SD card slot that supports SDHC and SDXC cards to the UHS-I standard. The body weighs just 320g including its battery (though without a lens).

The Fujifilm X-A7 is set to go on sale in October for $699.95 / £699 (about AU$1,250 – pricing and availability for Australia is yet to be confirmed). That price includes the Fujinon XC 15-45mm f/3.5-5.6 OIS PZ kit lens, and in most territories the camera will be available in four finishes: camel (which we're guessing will be a light brown), dark silver, mint green and silver.

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It seems that no matter how capable the competition is, everyone is still curious as to what Apple is doing with its latest phones – this year it's the iPhone 11, iPhone 11 Pro and iPhone 11 Pro Max. And that applies to the cameras as much as anything else.

The likes of Huawei, Google, OnePlus and Oppo may have gone to great lengths to push out new combinations of sensor, lens and processing wizardry in their most recent models, and while not all examples have shone as much as they could have, this fierce competition has done much to ramp up the standard that's now expected.

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Lenses now reach further into the distance than before, while stabilization is more stable, even at these extended zoom settings, and focus even faster. The promise of AI- and machine-learning-based technologies promise to tweak performance for even greater gain.

No light? No problem – today's top camera phones mop up what's there, work their magic to compensate for what isn't there, and spit out something beyond the level we have any right to expect from a device whose primary purpose isn't to take photos.

So, with plenty going in other corners, do photographers have anything to get excited about with Apple's latest handsets?

New camera system

The standard of smartphone cameras may already be pretty damn good, but the likes of slightly better autofocus, more accurate color, or improved low-light performance don't quite shift units like entirely new features do – features like a whole new lens.

Last year's iPhone XS had a dual-camera setup, one bearing a standard lens and one a telephoto, but we've become used to seeing triple- and quad-camera setups elsewhere, with depth-sensing time-of-flight sensors on hand for even better performance.

While the iPhone 11 – this year's 'entry-level' iPhone – also rocks two cameras on its rear, the iPhone 11 Pro and iPhone 11 Pro Max both sport three, each backed by a 12MP sensor. 

But it's the fact that all three models have a wide-angle 13mm f/2.4 lens that's the most exciting thing. Not everyone wants to splash out $999 / £1,049 / AU$1,749 or $1,099 / £1,149 / AU$1,899 respectively for the base iPhone 11 Pro or Pro Max models, so it's great to see this lens on the $699 / £729 / AU$1,199 iPhone 11 too.

Much like zooming further into the distance and still managing to end up with a sharp and detailed result – there's a reason compact cameras with huge zoom lenses are still around while other have vanished – being able to capture images with a wider field of view than you previously could is a genuinely useful for everyday imaging.

With the likes of the Samsung Galaxy S10 and Huawei P30 Pro standing out for their ultra-wide lenses, Apple had to match or better them here. So has it? Well, the 13mm focal length is wider than the P30 Pro's 16mm, and that 3mm can be significant at the wider end of things, much more so than at telephoto distances. 

The 120-degree field of view of Apple's 13mm lens is more or less the same as the 123-degree angle of view claimed by Samsung for the 12mm lens on its own S10 models, so it's certainly no deal-breaker.

Still, it's a welcome addition for those traveling, or who frequently shoot group portraits. It's also eminently useful for indoor shots, although the f/2.4 aperture is 'slower' than the f/1.8 aperture on the 26mm main lens, which means you need a faster shutter speed to get shake-free shots – so more focus will be placed on the OIS system and Night mode, and perhaps the AI, to keep images looking crisp.

So what else is new? Well, you could have put your money on a new filter, and we have it in the shape of the High Key Mono option. It looks impressive, but you'll probably forget it's there. The Night mode now springs to life when it reckons its magic is necessary, which is handy, although quite how it differs in performance from before is something we're yet to discover. 

Similarly, the benefits of better subject detection through semantic rendering, together with the advantages of the extended dynamic range and next-generation Smart HDR will only be discovered in use. And the forthcoming Deep Fusion mode, which assembles a number of images into one for better details and low noise, may well do a grand job when your subject is relatively static and well lit – but how about when it isn't? Or when it's moving?

Quite what Apple means when it says the iPhone 11 Pro delivers the "highest-quality video ever in a smartphone" is also something that may well be true, but just how Apple has determined this, and whether it's significantly better than whoever it deems to be the runner-up in this particular race, also remains to be seen. But on the more tangible usability side of things – and particularly when you factor in the forthcoming Filmic app – it certainly seems Apple is keen to make the videographer's life a lot easier.

Do rivals still have the upper hand?

Ignoring the lack of 5G and other non-imaging aspects, the new iPhone don't trounce their rivals in every way on paper. The zoom range on the Pro and Pro Max, which have an additional 52mm telephoto lens, is essentially only a 4x optical zoom, for example, even if it does have an arguably more useful wide-angle start. True, rivals that claim to reach to a 10x zoom might not do so optically, but if the quality is good enough, that's less of a concern to the everyday photographer.

Quite how Apple's claims of 100% focus pixels translates to fast focus is something we'll only know once we get to test the cameras fully. But focusing has been in Sony's crosshairs in recent times, and the company has bought its Eye AF technology to its Xperia 1 and more recent Xperia 5 cameras, with deep-learning-based face detection and Eye Stabilizer technology. Sony's autofocusing systems have impressed us on its Cyber-shot and Alpha cameras, so the decision to imbue its Xperia line of smartphones with similar tech may see the company gain more traction here.

Overall, it's great to see Apple focusing on new hardware that should make it easy enough to capture images quite different from what was possible with previous iPhones, while the tweaks to usability to make those captures easier is also very welcome. And, for most people, this is perhaps the perfect partnership: more obvious advantages from things like the new lens combined with a more effortless route to the results they want.

Unlike with the video side of things, where it seems Apple is keen to provide users with more manual control, it seems like the brand is trying to make things easier for stills photographers. Maybe photographers already have all the manual control they need in a high-end iPhone; or maybe there's only so much that makes sense or is practical to include.

The iPhone 11 range may not have a single photographic USP that elevates the cameras above what we've already seen elsewhere, but when everything-else-iPhone is thrown into the mix, it may well be that the average photographer is satisfied enough to forget about any headline features that Apple's rivals might be shouting about.

• 6 things you may have missed during the iPhone 11 and iPhone 11 Pro launch

Just days after images of what appears to be the Fujifilm X-A7 leaked out, we're now seeing some credible specs to go alongside them.

These new details, courtesy of Japanese camera-leaking website Nokishita, are said to have come from domestic sources – and if they're true, it seems the official announcement will only be a matter of days away, given that so much has now leaked.

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Ostensibly a replacement for the existing Fujifilm X-A5, the X-A7 looks set to arrive with a newly developed 24.24MP sensor, one that once again conforms to the APS-C dimensions as those in previous models, but without the X-Trans architecture seen in more senior X-series options.

Copper wiring is now said to help read data out from the sensor faster, while "8.5 times" more phase-detect pixels than on the X-A5 should help the focusing system too. This latter change is something we've seen on other recent X-series models, which makes it more believable.

We weren't too keen on the way in which 4K video had been implemented on the X-A5, largely because 4K recording at a maximum 15fps is no use to anyone – but it seems the X-A7 will arrive with far stronger video mettle.

The leaked details point to 6K initial sampling using the full width of the sensor, before this is output in 4K at 30fps. A new Countdown Video function, together with High Speed HD recording, also look set to star.

The leaked images already showed a larger LCD screen than before, one shaped to the 16:9 aspect ratio and with physical adjustment from its side rather than vertically, and these new details claim this measures 3.5 inches in size, with around 2.76 million dots across a touch-sensitive display. That's quite a boost over what we had before, and only highlight the stronger video focus for this new model.

Other details include a single SD-type slot with UHS-I support, together with Wi-Fi and Bluetooth, a USB 2.0 port and a 2.5mm mic socket. Battery life is claimed to be 270 shots as standard, or 440 on an Economy setting.

Nokishita reckons the camera will be available in late October with a price of around $700 for a kit with the XC 15-45mm f/3.5-5.6 OIS PZ lens (around £570 / AU$1,000). Images of a brown version of the model also look far more legitimate than the Photoshopped versions that were floating around previously, and these new details confirm that the model should be available Silver and Camel – yes, Camel – finishes.

Of course, we've no idea if any of this is true, as Fujifilm hasn't made anything official. But given Nokishita's track record of breaking these details, we'd be surprised if much of this doesn't actually end up being the case.

• Best mirrorless camera 2019: 10 top models to suit every budget 

Images of what appears to be a Fujifilm X-A7 mirrorless camera have leaked out.

The most recent arrival in the series was the Fujifilm X-A5, which was announced at the start of 2018. While we don't have any rumored specs on the new model – and we're expecting a Fujifilm X-Pro3 to be announced sometime soon – these new images, which were leaked by Japanese camera rumors site Nokishita, show a number of changes from the X-A5.

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The most significant difference is on the rear, which is dominated by an LCD screen that not only seems to be larger than those on previous models, but also fashioned in the 16:9 aspect ratio. 

Previous models have sported the more standard 3:2 display, which points to videography as being more of a focus here. Hopefully that also means we'll see 4K video recording at frame rates beyond the X-A5's disappointing 15fps limit.

The LCD can also be adjusted from the side to face the front, rather than upwards and downwards, as with previous models. Images also show the camera is set to be the first in the line to drop the menu pad and sport the AF lever common to higher-end X-series models instead, which simplifies AF-point adjustment and menu navigation.

Other changes in design from the X-A5 show the power control to be a button rather than the collar surrounding the shutter release button, while the function button on the top plate has also been dropped. 

Furthermore, while the X-A5 had a two command dials accessible from the rear, the X-A7 appears to adopt a more sensible front and back command dial setup. The built-in flash, however, appears to have been retained.

Fujifilm's X-A line has sat at the base of the X series of mirrorless cameras, with the X-T, X-Pro and X-H models all positioned above it. 

While not quite as advanced those models, we've found previous additions to the line – namely the X-A1, X-A2, X-A3, X-A10 and the most recent X-A5 – to be perfectly capable cameras for those looking to break into mirrorless shooting on a budget.

It seems as though the new camera will be bundled with the same XC 15-45mm f/3.5-5.6 OIS PZ lens as the X-A5, and while images in a different brown finish appear to be circulating too, these appear to be half-hearted Photoshop fakes, given how similar the bodies are to the X-A5. 

That said, it's likely the new model will be available in more than just the black finish shown here – although when we'll see it, or how much it will cost, are details we'll have to wait patiently for.

• Best mirrorless camera 2019: 10 top models to suit every budget 

Is the Sony Alpha A9 II around the corner? A leaked image that's appeared on a rumor site suggests the model may not be far away.

The original Sony A9 (pictured above) was released back in 2017, and has represented Sony's most capable option for sports and action photographers. It was subject to a significant firmware update earlier this year that ramped up its autofocus capabilities with the arrival of Real-time Tracking technology.

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Now, Sony Alpha Rumors claims it's obtained an image that shows the sequel – and you can see it for yourself below.

The image shows what appears to be the rear of the Sony A7R IV, with the same style of Multi Selector and revised position of the rear command dial, but the left-hand side of the top-plate is fitted with a similar kind of drive mode collar and dial that the A9 has in this position.

Is it real? It certainly looks credible. Sony Alpha Rumors goes on to speculate that the model will feature a 36MP sensor, and that all will be revealed in October. 

• The 10 best full-frame mirrorless cameras right now

Just a few days after Nikon confirmed it was working on a Nikon D6 DSLR, fresh rumblings that Canon is crafting its own pro-level camera have emerged.

First spotted by Canon Rumors, a Japanese business newspaper claims in a Google-translated article that Canon will "introduce the top model of mirrorless camera using a 35mm full-size image sensor in 2021".

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The article goes on to claim that "the communication function between the camera body and the interchangeable lens will be higher than the high-priced 'EOS R' released in October 2018". 

The EOS R (pictured top) is the most senior model in the EOS R line right now, its only stablemate being the EOS RP that arrived earlier this year. Rumors of a future camera positioned above these, dubbed EOS RX, have been circulating for some time.

EOS RX or EOS-1D X Mark III?

While Canon will no doubt expand its EOS R mirrorless line to cater for a wider audience than that currently attracted to the EOS RP and EOS models, with the 2020 Olympic Games less than a year away there's plenty of speculation that the company will first update its aging EOS-1D X Mark II for the benefit of sports and press photographers.

Given that the EOS R line is still very much in its infancy, it seems a safer bet that pro photographers shooting spots and action at the most challenging level will prefer to rely on a model more akin to what they already own.

Indeed, while there's much focus on how Canon will develop its EOS R and EOS M mirrorless lines to challenge the likes of Sony and Fujifilm, the company has kept good on its promise to continue catering for DSLR users with the launch of the EOS Rebel SL3 / EOS 250D and the EOS 90D this year.

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However exciting a new mirrorless camera system seems, it's only going to succeed if people know it will eventually be supported by a broad range of lenses at the right price. To that end, manufacturers have been keen to share their plans for future optics, well before their official announcement, by way of lens roadmaps.

Canon, Fujifilm and Panasonic have all released these in the past, as did Nikon at the inception of its Z system. This was updated earlier this year, detailing the company's plans for 2020 – and now a further roadmap, revealing many further lens releases throughout 2020 and 2021, has leaked out.

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Or has it? Nikon Rumors, which originally punished the map, claims it was sent to them by an anonymous source – and presumably if the source is anonymous to Nikon Rumors, its legitimacy is even more questionable than when rumor sites claim to receive details from 'trusted' or 'known' sources.

So what does it tell us that we didn't already know? Well, Nikon had already made it clear it would release 20mm f/1.8 S, 50mm f/1.2 S and 14-24mm f/2.8 S lenses in 2020, but the new roadmap claims that these will be joined by Nikkor Z 135mm f/1.8 S, Nikkor Z 85mm f/1.2 S, Nikkor Z 28-70mm f/2.8-3.5 S and Nikkor Z 24-120 f/4 S optics.

Six more are said to follow in 2021, namely the Nikkor Z 105mm f/1.8 S, Nikkor Z 28mm f/1.8 S, Nikkor Z 65mm f/1.8 S, Nikkor Z 35mm f/1.2 S, Nikkor Z 28-280mm f/2.8-5.6 S and Nikkor Z 100-300mm f/4 S.

Is it real?

The lenses that are promised here make some sense. There's a good mix of primes and zooms, and no outrageous focal length/aperture combinations. This would, in many ways, be a logical way to broaden the line over the next few years. Even so, our money is on it being fake. 

First, while the font used for the lens names appears to be the same as that used before, the font for the years is not. The lack of a title or any other information also raises suspicions.

Second, the fact that this lens roadmap goes so far into the future – almost two and a half years – with so many lenses and specific lens names already confirmed, also doesn't smell right to us.

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On top of that, in its previous lens roadmap, Nikon originally announced many of its future lenses without 'NIKKOR Z' and 'S' designations – yet here, every upcoming lens has both. That's particularly suspect, as Nikon claimed at the outset of the system that lenses other than the S line will be announced at a later date. If Nikon mentioned this over a year ago, why are none included in these plans that continue throughout the next two years?

Finally, from their names, focal lengths and apertures, all of these lenses appear to have been developed for full-frame bodies, with no way way of differentiating them from those developed for cropped-sensor ones. Nikon doesn't have any cropped-sensor mirrorless bodies right now – but the likelihood of that remaining the case for the next two and a half years or so seems marginal, particularly in light of a patent that indicated the use of an APS-C sensor in future Z-series bodies.

So, are these Nikon's next lenses? It's certainly possible – but we think not.

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