The GR family has deep roots at Ricoh, dating back nearly 20 years to the days of 35mm film. With the move to digital came models with smaller image sensors, but all maintained the classic wide-angle 28mm (equivalent) field of view that makes a GR a GR. Ricoh introduced its first large-sensor digital model, simply named the Ricoh GR, in 2013. It moved the sensor size to APS-C, the same type found in consumer D-SLRs, while keeping a pocket-friendly design. At its heart, the new GR II ($699.95) is the same camera, just with the addition of Wi-Fi and a few firmware tweaks. It's still the best choice for 28mm devotees in search of a pocketable camera that doesn't sacrifice image quality, and an easy pick for our Editors' Choice.

Design and Features

The GR II is so small, it's hard to believe that its image sensor is the same size as you'll find in a Canon Rebel T6s SLR. It measures 2.5 by 4.6 by 1.4 inches and weighs 8.9 ounces. It can fit into the pocket of a pair of jeans, unlike some other models in this class. The Fujifilm X100T (2.9 by 5 by 2.1 inches, 15.5 ounces) is just a little too big to qualify as universally pocketable—and while the X100T does sport a built-in viewfinder, its 35mm f/2 lens isn't going to satisfy photographers who crave a wider field of view.

The lens here isn't a true 28mm design like you get on the full-frame Leica Q, but since an APS-C sensor isn't quite as large as a film frame, the 18.3mm f/2.8 prime used by the GR II captures the same angle of view. The Q is capable of capturing images with a shallower depth of field, and can eke out more detail in low light with its f/1.7 lens. But the GR II is no slouch in either department, especially when working in its macro focusing range, which locks onto targets as close as four inches from the sensor.



Controls are placed at the right side of the body for the most part. The top plate houses the On/Off button, shutter release, a locking mode dial, and a control wheel. On the rear you'll find the Adjust lever at the top. Pushing it in launches a software menu that adjusts five camera settings. You can scroll through them by moving the lever left or right, or via the directional pad that sits underneath it. By default it adjusts ISO, the image file format, aspect ratio, the focus mode, and the metering pattern, but it can be customized via the extensive menu.



Another toggle switch controls the function of the button it surrounds. It can be set to activate Continuous AF or to lock Autoexposure or Autofocus when held. The four-way directional pad has a center Menu/OK button, along with direct access to macro shooting, flash output control, white balance adjustment, and the programmable Fn1 button. By default it moves the active focus point.



The Self-Timer/Fn2 button and Display pad sit below the directional pad. The play button sits at the right edge of the rear plate, just below a plus/minus rocker that adjusts EV compensation. This type of control is unique to the GR—usually EV is adjusted by a separate dial. It speaks to the economy of the design, as there's simply no room on the body for a dial. Ricoh also uses the left side of the camera for the Effect/Wi-Fi button, which sits below the mechanical flash release. It goes against the GR's one-handed control philosophy, but it isn't a button that you'll need to use that often when shooting.



The GR II's main menu system is text-based, and pretty lengthy. You can do a lot to customize the camera to your liking by diving into the menu. Interval shooting is available (for time lapses), and you can control the in-lens neutral density filter, customize control buttons, and even imprint the date and time onto JPG images, just as if you were shooting with a film camera.



The 3-inch LCD occupies a little more than half of the rear. There's no EVF built-in, nor can you add one, so it's your primary method of framing scenes and the only way to review images in-camera. Thankfully it's very sharp—the resolution is 1,228k dots—and easily viewable in direct sunlight. Because you're shooting with a prime lens, you also have the option of using a fixed optical viewfinder. Ricoh markets a small add-on viewfinder with 28mm frame lines, as well as a larger finder with both 21mm and 28mm marks. You'll want the latter if you also opt to buy the 21mm wide-angle conversion lens.



There are two ways to use the GR along with a smartphone or tablet with Wi-Fi. First, the Ricoh Image Sync app for iOS and Android. It's slow, buggy, and has a clunky interface that requires you to save an image twice to get it to your phone's camera roll. It will let you transfer Raw DNG files, but they'll take forever to copy and you won't be able to view them on your phone. Skip it, unless you need to transfer multiple images at once. The Image Sync app also has a remote control function, but it doesn't work with the GR II.



For remote control you need the GR Remote app, which is available from the Web rather than an app store. It's been tested with Android and iOS by Ricoh, but should work in any browser, mobile or otherwise. I was able to use it in Chrome on an iMac without issue, but I couldn't get the app to work properly on a Windows phone. I was able to control the camera and fire the shutter, but the Live View feed wouldn't display in Microsoft's Edge browser, and image playback wouldn't work for me either. Camera transfer apps don't typically support Windows Phone at all, so it's a shame that the Web-based approach doesn't work with the platform, which is notorious for a lack of developer support to begin with.



Otherwise, the app supports full remote control of the camera. You can adjust any setting that is controlled by a button, and tap on an area of the streaming Live View feed to set the focus point. It's one of the better app-based remotes out there.



It also supports image transfer. You can browse through images stored on the memory card and download them to your phone. It's still a two-step process, at least on iOS where batch transfer isn't supported; the image will load in a browser window, and you'll need to manually save it to your camera roll. When connected to a desktop browser it's possible to download images directly without previewing them, and the ability to transfer either Raw or JPG images becomes more useful than it is with a phone or tablet. Transfer is a little slow when copying full-resolution files, but you can set the app to send a low-resolution VGA copy for speedier transfers of images that are destined for social media posts.



Depending on how often you use Wi-Fi, you may want to consider adding an Eyefi Mobi Pro card for image transfer. I've been shooting with the original GR for more than a year, and regularly utilize an Eyefi for transfers to my phone. It's still an accessory to consider if your Wi-Fi needs are mainly focused on batch image transfer.

The GR ships with a rechargeable battery, a USB-to-AC adapter, and a proprietary USB cable for charging. There's no external battery charger included; you'll need to charge the battery in-camera if you don't buy an accessory charger. I don't have a problem with in-camera charging—it's convenient—but I think an external charger should be included as well. If you're buying a second battery (CIPA rates the GR II for 320 shots per charge, but Wi-Fi use will cut into that estimate), it's a pain to not be able to use the camera while you recharge. And as convenient as in-camera charging is, the proprietary USB connector means that you'll have to carry an extra cable in your bag. A standard micro USB connection would be preferred.

There is also a micro HDMI port, so you can connect the GR II to a TV to review images and watch videos. The memory card slot supports SD, SDHC, and SDXC media. A hot shoe rounds out the connections. The GR II is a bit small to use with an external flash, but you can add a PocketWizard or similar wireless trigger for external lights. The in-lens leaf shutter supports speeds of up to 1/2,500-second with flash sync at f/2.8, as well as 1/3,200-second at f/4.5 and 1/4,000-second at f/5.6.

Performance and Image Quality

The GR II starts, locks focus, and fires in 1.3 seconds. The autofocus is quick, locking in at just 0.1-second in bright light. Shooting in very dim conditions can slow the focus—between 0.3- and 0.4-second in my tests—as can enabling the macro focus setting, which locks in an average of 0.2-second. The Fuji X100T is a little slower to start (1.6 seconds) and a little bit slower (0.5-second) in dim conditions, but its autofocus is generally faster in bright light.

The GR II isn't really built for burst shooting, though it does have a continuous drive mode. It can shoot at 6.1fps when set to Raw+JPG or Raw format, although it only keeps that pace for 10 shots before slowing down. JPG capture is a little slower, at 4fps, but it can fire continuously at that rate. The wide-angle lens isn't built for sports, though street shooters may appreciate the ability to capture a short burst to better hone in on Cartier-Bresson's decisive moment.



I used Imatest to check the sharpness of the GR II's lens. The design is unchanged from the GR, and results are similar. The GR II scores 2,067 lines per picture height at f/2.8. The score is based on a center-weighted metric, but image quality is even through most of the frame, with the center showing around 2,100 lines and the edges showing 1,925 lines. Both figures are better than the 1,800 lines we look for in an image, and are excellent marks for a 16-megapixel camera.

See How We Test Digital Cameras

Stopping down to f/4 nets very modest improvement, bumping the average score to 2,149 lines. The lens peaks at f/5.6—2,163 lines. The score drops to 2,058 lines at f/8, likely due to diffraction of light.



When shooting JPGs at default settings, the GR II keeps noise under 1.5 percent through ISO 6400, and shows 1.8 percent noise at ISO 12800. But in-camera noise reduction does take its toll on detail. Photos are tack sharp through ISO 800, and still quite good through ISO 3200. But at ISO 6400 there's some smudging. It's a bit more problematic at ISO 12800, and at the top ISO 25600 sensitivity photos are noticeably blurry. In-camera noise reduction can be altered to suit your taste, however. The JPG crops in the slideshow that accompany this review are taken at default settings.



Raw images don't have noise reduction applied, and show what the image sensor is really capturing. DNG images are crisp and noise isn't a problem through ISO 3200—there is some fine grain at that sensitivity, but it's not distracting. Noise is a little more noticeable at ISO 6400, but images are still quite sharp. Grain is rougher at ISO 12800, but again, details still shine through. Pushing the GR to ISO 25600 is a bit much; noise is rough and obtrusive, but Raw output is still much crisper than default JPGs. The Raw crops included in the slideshow were made using Adobe Lightroom CC with default develop settings enabled.



The GR II records video in QuickTime format at 1080p30 quality, but video is not the camera's strong suit. The quality of the lens shows through, but there's some shimmering and moiré artifacts, and handheld footage is jittery. The lack of in-lens stabilization, which isn't a big deal when shooting still photos at a wide angle, detracts from video. The in-camera mic is fine for capturing voices at close distances, but like most ambient mics is prone to picking up background noise. There's no input jack, so you can't use an external mic.



Conclusions

The GR family has its devotees, and for good reason. It puts the image quality of an SLR with an excellent wide-angle prime lens into a body that easily slides into a pocket. Its control scheme is solid, and features like a leaf shutter and in-camera neutral density are a boon for shooting in bright environments or with off-camera lighting. And the 28mm field of view is a classic wide angle, capturing more of what's in front of the lens than the similar Fujifilm X100T. Seasoned SLR owners and the young generation weened on smartphone cameras will feel equally at home with the prime lens.

But it's not without issue. The Wi-Fi is a bit of a mess; Ricoh really needs to get its act together here. Owners of the last GR are better off buying an Eyefi card for image transfer rather than buying a new camera. But the GR II is such a unique camera that I'm willing to cut it some slack here. The GR is still a camera I highly recommend, even without built-in connectivity, so considering the GR II has any sort of Wi-Fi at all is a plus, and there's always room for Ricoh to improve the Image Sync and GR Remote apps. And the video? It's not the best you'll get, but neither is the footage from the GR II's closest competition, the pricier Fujifilm X100T.



Despite these drawbacks, we're giving the GR II our Editors' Choice award. At its heart it's the same camera as the GR that came before it, and since its release there hasn't been another camera to hit the market that matches its combination of features, form factor, image quality, and value. The full-frame Leica Q is a bit more versatile thanks to its larger image sensor and f/1.7 lens, but it's $4,250 and isn't pocketable. The Fujifilm X100T, which is also an Editors' Choice, is a better camera for photographers who want a slightly narrower field of view, but it's also a bit larger and more expensive. Now, there's not a compelling reason for a GR owner to upgrade to the GR II—unless you really, really want to control it via your phone—but if you've been shooting with an older digital GR model with a 1/1.7-inch image sensor, the GR II is a compelling upgrade.

