Sigma BF Mirrorless Camera: A radically minimalistic full-frame camera with an aluminum unibody, internal storage, and a single USB-C port. Its futuristic design impressed some, but lack of a proper grip drew criticism, prompting SmallRig to release a custom handle plate.
Sigma 135mm f/1.4 DG Art Lens: The world’s first AF lens at this focal length and aperture, offering incredibly smooth bokeh. Marketed as surpassing the “Bokeh Master” 105mm f/1.4, it’s a top choice for portrait shooters.
Sigma 200mm f/2 DG OS Sports Lens: A large, fast telephoto built for indoor sports and portraiture with pro autofocus and 6.5-stop stabilization. Rugged, weather-sealed, and painted white for thermal control, it’s as premium as it is powerful.
Sigma 35mm f/1.2 DG II Art Lens: A compact refresh of Sigma’s flagship fast 35mm, featuring floating elements and reduced size. Designed for environmental portraits with superb sharpness and bokeh clarity.
Sigma 300-600mm f/4 DG OS Sports Lens: A professional wildlife and sports behemoth with reach and versatility. Effectively replaces multiple super-telephoto primes in one lens.
Sigma 17-40mm f/1.8 DC Art Lens: APS-C wide-angle zoom with video-friendly features and low-light capability. Successor to the legendary 18–35mm f/1.8 Art lens for mirrorless bodies.
Sigma 16-300mm f/3.5-6.7 DC OS Contemporary Lens: Offers a massive 18.8x zoom for APS-C bodies, from 24 to 450mm equivalent. Perfect for users who want a one-lens solution with macro and IS built in.
Sigma 12mm f/1.4 DC Contemporary Lens: The widest f/1.4 autofocus prime for APS-C, ideal for astro, vlogging, and travel. Compact and video-optimized with smooth AF and suppressed breathing.
Sigma 28-45mm T2 AF Cine Zoom Lens: Sigma’s first AF-capable cine lens, merging Art-level optics with cinema controls. Designed for hybrid filmmakers who demand sharpness and cinematic bokeh.
Leica SL3-S Mirrorless Camera: A hybrid workhorse with 24MP sensor, 30 fps burst, and unlimited 6K video. First in the SL system to include Content Credentials for image authenticity.
Leica Summilux-M 50mm f/1.4 Lens: A vintage-inspired M lens with classic 1962 optics. Combines old-school design with modern coatings for clean, sharp portraits with rich character.
Panasonic Lumix S1 II Mirrorless Camera: A partially stacked 24MP hybrid machine with blazing 70 fps burst and 6K open gate. Panasonic’s fastest full-frame camera to date for video and stills.
Panasonic Lumix S1 IIE Mirrorless Camera: Stripped-down S1 II variant with the same imaging power at a lower cost. Great for hybrid creators and video shooters on a budget.
Panasonic Lumix S1R II Mirrorless Camera: Panasonic’s flagship 44.3MP body with 8K30 video, 40 fps burst, and advanced subject tracking. Geared for pro hybrid shooters across genres.
Panasonic Lumix S 24-60mm f/2.8 Lens: A lightweight standard zoom with close-focus capability and smooth bokeh. Ideal for everyday use with fast hybrid cameras.
Panasonic Lumix S 100-500mm f/5-7.1 O.I.S. Lens: Ultra-telephoto reach with 7 stops of IS, ideal for wildlife and motorsports. Lightweight for handheld shooting with excellent bokeh and weather sealing.
For years, Fujifilm has dominated the straight-out-of-camera (SOOC) JPEG conversation. Their film simulation workflow has become a staple among photographers who want beautiful, shareable images without spending hours in post. But now, Panasonic has entered the ring with the new Lumix S9 and its innovative Real-Time LUT system—challenging Fujifilm on their home turf.
In a recent video, Josh Cameron dives deep into how these two systems stack up when it comes to quick workflows, customization, and real-world usability. He opens with a simple truth: many of us take photos daily, and if editing every shot becomes a chore, we end up not sharing them at all. That’s where good SOOC JPEGs can completely change your process.
Josh shares that he used to shoot with the Fujifilm X100F and XT3, and while the film recipes were fun, the process felt slow and limiting. Even with help from the excellent Fuji X Weekly app, he found that many recipes only worked well in very specific lighting conditions. Fast forward to today—he’s been testing the new X-E5 alongside the S9, and sees a clear difference in workflow.
The Fuji system lets you tweak simulations like Classic Chrome or Nostalgic Neg by adjusting grain, tone curve, sharpness, and more, then saving the look into one of seven custom slots. However, with Panasonic’s S9, you can load up to 39 LUTs directly into the camera via SD card or the Lumix Lab app. These aren’t just looks—these are fully customizable color profiles, stackable, adjustable in intensity, and infinitely shareable.
Josh highlights the new “Magic L” feature in the Lumix Lab app. You upload a photo—say a Fuji Classic Chrome shot—and the app reads the color data and generates a matching LUT. In seconds, that look is now available in-camera. Want to emulate Fujifilm color on your full-frame Lumix? Now you can.
While the X-E5 has an EVF, Josh finds it too small and low-res to be useful. He’d rather use the rear LCD or skip the EVF entirely. And that 23mm f/2 kit lens? In his words, “total crap”—slow to focus and noisy.
In contrast, the S9 offers full-frame image quality, better low-light performance, and a more efficient JPEG workflow—making it ideal for fast turnarounds and social sharing. Yes, it feels more plasticky, but you can solve that with a SmallRig L-grip or your favorite rigging accessories.
At the end of the day, Fujifilm still has its unique charm—X-Trans sensors, that signature color pipeline, and beautiful ergonomics. But if speed, flexibility, and modern tools matter to your shooting style, the Lumix S9 is a compelling alternative. As Josh puts it: “Fuji does color differently. But Lumix is catching up fast.”
