28 Years Later, a sequel to the 2002 zombie movie 28 Days Later, was reportedly shot using an iPhone 15 Pro Max. Wired did some investigating after seeing an on-set image shot by a paparazzo, and says that "the use of Apple smartphones as the principal camera system on 28 Years Later was subsequently confirmed to Wired by several people connected with the movie." This news comes shortly after Apple spent a considerable amount of time touting the iPhone's capabilities as a video camera during its iPhone 16 Pro announcement event.
Looking at the on-set image posted by Just Jared, you'd be forgiven for not spotting immediately spotting the phone. Like with many 'Shot on iPhone' productions, it's buried beneath tons of gear, including what appears to be an external lens, monitor, matte box, and more.
The rig on the right of the image reportedly contains an iPhone.
Image: Just Jared
The movie's director, Danny Boyle, and cinematographer, Anthony Dod Mantle, are no strangers to using cutting-edge and sometimes unusual cameras to make their movies. In 2009, Dod Mantle's work on Slumdog Millionaire – also directed by Boyle – earned him the first Oscar for Best Cinematography awarded to a movie shot mainly using digital cameras instead of film. The pair also worked together on 127 Hours, a movie partially shot on Canon DSLRs.
Perhaps the most relevant precedent is 28 Days Later itself. Boyle and Dod Mantle shot much of it using the Canon XL1, a CCD camcorder that recorded to DV tapes. In the 2012 documentary Side By Side, Boyle talks about how using several of the relatively inexpensive cameras helped them shoot the iconic scene where Cillian Murphy walks through an empty and trashed London despite the production not having enough money to shut down the city.
Image quality-wise, the iPhone 15 Pro – which can shoot Log footage at 60fps in ProRes – is vastly superior to the XL1. Talking about shooting 28 Days Later in Side By Side, Boyle reminisced, saying, "if you were in a wide shot with a small figure in it, they were just two or three pixels. I mean there was nothing there, there was just the color."
Still, shooting 28 Years Later with iPhones is an interesting choice. The original movie had an estimated budget of around $8 million – that wasn't a lot of money to shoot a film with in 2002, so it's easy to see why they didn't want to spend a ton on camera gear. 28Years, meanwhile, has a reported budget of around $75 million.
While that's relatively modest by today's standards, entry-level cinema cameras have gotten so inexpensive that the crew almost certainly could've afforded them if they'd wanted to use them. For reference, the 2023 sci-fi film The Creator had an estimated budget of around $80 million and was famously shot using a Sony FX3. Alex Garland, the writer of 28 Days Later and 28 Years Later, also recently shot a $50 million movie that made use of the DJI 4D-6K.
We likely won't know why this decision was made until the crew publicly acknowledges the iPhone's role in filming, but when they do, they'll likely talk about it extensively. The decision to shoot on smartphones has historically been a big focus in the PR cycle leading up to the release of films shot on them, such as 2015's Tangerine or 2018's Unsane.
According to Wired, the iPhone wasn't the only camera used to shoot 28 Years Later: unspecified action cameras were also used to film scenes involving farm animals. The outlet says Apple was informed the production would be using iPhones and that the company "provided technical assistance to the moviemakers."
Things have been a bit calmer around the DPReview offices this week, but we've still found a range of new accessories that have hit the market. Before we get to those, though, let's check out the deal of the week:
Old but Gold
If you were hoping that the arrival of the Canon EOS R5 Mark II would make it easier to get the original EOS R5, you're in luck. The camera, which received a Gold award when we reviewed it in 2020, is currently $500 off the list price. You won't be getting the latest and greatest features the Mark II has, such as a stacked sensor for faster shooting, 8K/60 video, or Eye Control AF, but you'll also be saving $1,400.
Another Gold winner from Canon, the EOS R6 Mark II, is also $500 off its MSRP. It's an all-around solid enthusiast-tier full frame camera, and a great deal at $2,000 body-only.
The Envoy Ultra is for people who need to move a lot of data in a little time.
Image: OWC
OWC has announced the Envoy Ultra, which it says is the 'first and fastest Thunderbolt 5' external SSD. According to the company, the drive, which comes in 2TB and 4TB versions, can operate at a blistering 6000MB per second.
Of course, finding a computer that can take advantage of that speed may be difficult – you could count the laptops equipped with Thunderbolt 5 on one hand – but if you plug it into a Thunderbolt 4 computer, you can be sure you're maxing out the port.
The one quirk is that the drive uses a built-in cable rather than a detachable one. On one hand, that means you won't have the frustrating experience of showing up with your SSD but realizing you left the cable to connect it at home. But on the other, it is a bit of a weak point on a drive advertised as 'waterproof, dustproof, and crushproof.' If the cable breaks, you won't be able to simply replace it.
The Envoy Ultra is available for pre-order on OWC's website, and the company says it'll ship in 'late October.' The 2TB model is $399.99, and the 4TB one is $599.99.
On-the-go power
Put your batteries in this battery.
Image: llano
This week, FStopperswrote about an accessory that's not exactly new but could be useful: a battery bank with two slots for Canon LP-E6NH batteries.
The company that makes the gadget, llano, says it can recharge two batteries in two hours. It also includes two USB-C ports that can either be used to charge the bank itself or to charge other devices, such as your phone.
At $109, it's certainly not the cheapest battery bank out there, and it is worth noting that many cameras these days can directly charge from a regular battery bank via USB-C. There are also third-party LP-E6NH batteries from brands like K&F Concept that have USB-C ports built into them, so you don't need a special charger to recharge them.
However, if you're not looking to buy more batteries and your camera can't charge via USB-C, this could be a good way to keep your camera going while away from a plug. The brand also makes power banks for Canon LP-E17 batteries, Fujifilm NP-W126S and NP-W235 batteries, and Sony NP-FZ100 batteries. One thing to note if you're shopping around on llano's Amazon site is that it also makes regular battery chargers that don't have power banks built-in and thus need to be plugged into the wall to charge your batteries.
ProMaster has updated its lineup of Jasper camera bags, adding a new size of satchel and a rolltop pack. The company says it's redesigned the main compartment, adding sewn-on accessory pouches to the removable insert. The bags also include straps fitted with quick-release buckles to hold a tripod. The bags all have a water-resistant treatment and include a rain cover.
The lineup now includes a $99 'small' 4L satchel, a $119 'medium' 6.8L satchel, and a $139 'large' 10L satchel, which ProMaster says can carry a 16” Macbook Pro along with a camera, lens, and other accessories.
Image: ProMaster
The new rolltop pack costs $159 and has 7.5L of space in its main compartment, with up to 9 additional liters in the rolltop section. Like many camera-focused backpacks, your actual camera gear is stored and accessed on the side of the pack that's facing your back, which adds an extra layer of security.
ACD Systems has announced a new version of its photo editing and organization software, ACDSee Photo Studio Ultimate 2025. As with many products this year, the main selling point is AI – the software now includes an AI-powered upscaling and noise reduction tool, which can be GPU accelerated alongside the rest of Photo Studio's AI features.
The company also says it's improved its AI selection mask and sky replacement tools. Outside of AI, the company has also added tabs to Photo Studio's management mode, the ability to easily copy a file's path, and an activity manager.
A lifetime license for the software, which is set to be released later this month, currently costs $149.99 from the company's website.
Keep an eye out
This week, Petapixel covered a company that's making an electronic variable diffusion filter. While this type of tech has been around for ND filters for a while, this is reportedly the first time it's being used to give footage a dream-like glow rather than to darken it.
The tech is made by LC-Tec, and likely won't be commercially available until next year. When it does hit shelves, though, it could be a way to get a very cool effect when shooting videos.
Shooting for the New York Times
Finally, let's round out this roundup with an educational opportunity – because what is improving your camera setup if you're not also improving your photography skills? This week's piece of photography content comes from YouTuber Justin Mott, who recently released a video detailing how he approached a portrait assignment from the New York Times (via Fstoppers). The video mainly focuses on process, going into detail on planning the shoot, working with the subjects and organizing the photos for delivery afterwards.
For those who are more into cinematography, YouTuber Luc Forsyth recently made a video going over how he packed and prepped his gear before heading out to work as a director of photography on a relatively high-budget shoot. It also has a fair number of tips that could be useful for working photographers as well.
HASSELBLAD UNVEILS THE X2D 100C EARTH EXPLORER LIMITED EDITION, AN EXCLUSIVE KIT FOR ADVENTUROUS PHOTOGRAPHERS
The Limited Edition Includes a Hasselblad X2D 100C Camera Body, XCD 55V Lens and Accessories
The Hasselblad X2D 100C Earth Explorer Limited Edition is a unique kit designed for photographers who explore and capture the beauty of Earth's natural landscapes. Limited to 1,000 units worldwide, this exclusive edition combines the exceptional features of the Hasselblad X2D 100C with a Tundra Brown exterior, a color inspired by the Nordic landscapes.
Tundra Brown, a hue native to Hasselblad's homeland, stands out among the captivating spectrum of colours found in the natural world. Daring adventurers search out unique colours like this, venturing into extreme environments with courage and determination, capturing the extraordinary with unwavering dedication. Utilizing the Hasselblad Natural Colour Solution (HNCS), they accurately depict the shades of the Nordic tundra and other landscapes, inviting a broader audience to admire nature’s allure and distinct hues.
EMBARK AND DISCOVER WITH THE EXPLORER KIT
Designed to honour the spirit of exploration and inspire the creative journey, the kit includes the Hasselblad X2D 100C Earth Explorer Limited Edition camera body, an XCD 2,5/55V lens, a limited-edition camera strap, UV filter, X System battery charging hub, and two X System batteries. These accessories provide users everything they need to embark on their next great adventure right away.
NATURE'S PALETTE - TUNDRA BROWN
Inspired by the resilient ecosystem of the Nordic tundra, where life thrives in harsh conditions, the Tundra Brown colour embodies the spirit of perseverance that Hasselblad aims to convey with the Earth Explorer Limited Edition. The colour melds the grey-green of the arctic vegetation with the deep brown of the soil, reinforcing the minimalist elegance of the camera's metal body.
EXCLUSIVE FEATURES AND DESIGN
Each kit features a laser-engraved "Earth Explorer" and a unique serial number from 0001 to 1000 on the side of the camera body, ensuring a one-of-a-kind identity. The unique "Earth Explorer" start-up screen heralds the start of an extraordinary creative journey whenever the camera is turned on.
The exterior of the kit's limited-edition strap is made from eco-friendly recycled plastics interlaced with traditional weaving techniques. The interior uses high-tech, soft, skin-friendly fabric for outstanding performance, lightweight comfort, and easy maintenance. It features hand-embroidered "Hasselblad" text on its exterior and a precision laser-engraved "Earth Explorer" on the interior.
The Hasselblad X2D 100C Earth Explorer Limited Edition is priced at USD $13,999 / EUR €14,999 and is available to purchase online and at selected retail stores worldwide.
CIPA (Camera & Imaging Products Association in Japan) published their latest camera production data (orange: 2024, black: 2023, blue: 2022):
July 2024 CIPA numbers by ZoetMB
(All comparisons to YTD 2023) Narrative: July 2024
Highest shipments of the calendar year so far for DSLRs, Mirrorless, Compacts and Lenses for cameras with smaller than 35mm sensors. But cumulatively, DSLR units are down 38% compared to 2023 and lenses for smaller sensors are down 3.2%.
CIPA has predicted 5.89m ILCs, 1.52m compacts and 9.57m lenses for calendar 2024. Based on 2023 shipping patterns, ILC’s could conceivably come in at 5.9-6.5m units. (That’s higher at the low end than we predicted last month). That compares to:
A list of participating CIPA companies can be found here.
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The X100 didn't hit the shelves until early 2011 but it generated interest from the moment it was announced.
Photo: Andy Westlake
As part of our twenty-fifth anniversary, we're looking back at some of the most significant cameras launched during that period. Without question, the Fujifilm FinePix X100, announced fourteen years ago today, is one of those cameras.
It wasn't the first large-sensor fixed lens compact: that honor goes to Sigma's DP1, which squeezed one of its 20.7 x 13.8 mm Foveon chips into a small, minimalist body, but it was the first to really catch the collective photography imagination.
Back in 2010, the first Mirrorless cameras were arriving, so you could buy a Panasonic GF1 with the company's 20mm F1.7 lens or an Olympus PEN, also with the Panasonic 20mm F1.7 if you had any sense. But those were the only options if you wanted a small camera with good image quality. Both were, at that point, very obviously a technology and lens system that was still developing.
Beyond these you only really had two choices: you could buy a DSLR if you wanted a Four Thirds sensor or anything larger, or an enthusiast compact based around a Type 1/1.7 chip (7.4 x 5.6mm), which was, at best, one-fifth of the size. Maybe a Type 2/3 (8.8 x 6.6mm) if you were really lucky, but that's still a two-stop difference compared with the smallest-sensor DSLR, simply because the sensor is no better than 1/4 the size. But even the smallest DSLRs weren't particularly small, especially once you put a lens on them.
With its APS-C sensor and F2 lens, the X100 had an immediate image quality benefit over any existing compact camera, and its self-contained nature meant it made more sense as a second camera for DSLR owners who didn't want to have a foot in two lens mounts by becoming a Mirrorless early adopter.
Then there were its looks. These may not play a part in the end images (though the "is that a film camera?" response from bystanders wasn't a bad way to raise the idea of taking their photo), but they made the camera look and feel a bit special. And who ever said photography is a pursuit based on cold rationality?
This is probably what people mean when they refer to 'classic styling.'
Photo: Andy Westlake
So the X100 had appeal on multiple levels: it was one of the smallest cameras to offer such high image quality, it would work alongside other systems without complicating your commitments, it looked good and took really good-looking photos.
It was also, at launch, recognizably a work in progress. Our original review had a page dedicated to bugs and odd behaviors, many of which got ironed-out over a series of firmware updates. It was slow, it was quirky and yet it caused an awful lot of photographers to fall in love with it.
I still have my original X100 and will sometimes still use it (which probably wouldn't have been the case were it not for the significant improvement in autofocus that came nearly three years after its original launch). After fourteen years it really shows its age, and my experience is somewhat spoiled by having spent a considerable amount of time shooting with its five successor models.
The X100 (Rear) has long ago been superseded but its most recent descendent, the X100 VI (Front) is still very much in demand.
Photo: Richard Butler
We've seen many attempts by other manufacturers in this space: Leica's APS-C X series pre-dated the X100 but seems to have been superseded by the full-frame Q models, while the 28mm equiv Nikon Coolpix A and X70 and XF10 from Fujifilm seem to have fallen by the wayside. Only Ricoh's move of its much-loved GR premium compacts to APS-C seems to have had anything like the longevity of the X100 series. And, while there's plenty of skepticism from people who aren't 35mm equiv fans and those put off by its recent five minutes of fame on TikTok, the X100 started a series that's still very much in demand, fourteen years later.
The latest trick for the Osmo Action series is subject-centering.
Image: DJI
DJI has announced a new action camera, the Osmo Action 5 Pro. The announcement comes hot on the heels of GoPro's recent unveiling of its new flagship camera, the Hero13 Black.
The Osmo Action 5 Pro can record 4:3 4K at 120fps, something the Action 4 could only achieve at 16:9. The company also says the camera has 'excellent low-light performance,' with the ability to shoot up to 4K 60fps in low light.
There's also a separate 'SuperNight' mode, which shoots up to 4K/30 footage at 16:9. The company says the mode uses 'AI noise reduction algorithms' to 'overcome the darkness in extremely low-light environments.'
The camera now has a subject tracking mode, which works similarly to modes we've seen in vlogging-focused cameras from DJI and Sony. The camera can detect a subject and keep them centered in the frame, adjusting the composition as they move. Because this mode involves cropping in, it's unsurprising it's only available at resolutions up to 2.7K.
DJI says the Osmo Action 5 Pro uses a 'next-gen' sensor.
The Action 5 Pro is built around a 40MP Type 1/1.3 (10 x 7.5mm) sensor with 2.4 μm pixels. While it's the same size as the sensor in the Osmo Action 4 – albeit with nearly four times the resolution – it's substantially larger than the Type 1/1.9 (6.3 x 5.5mm) sensor GoPro has been using for the past few years. DJI also claims its sensor can capture up to 13.5 stops of dynamic range.
In front of the sensor is an F2.8 lens with a 155-degree field of view. DJI says the lens can focus as close as 35cm (approx. 14"), slightly closer than the Osmo Action 4 could.
The Osmo Action 5 Pro is waterproof to 20m (65.5ft) without a case.
Images: DJI
DJI also claims the Action 5 Pro will last substantially longer than its predecessor. Not only is its battery physically larger – 7.5Wh versus 6.8Wh – but its processor is also now built on a more efficient 4nm process. The company says it'll be good for 'up to 4 hours of continuous use' and that it can even 'reliably record video for up to 3.6 hours' in temperatures down to -20°C (-4°F). The Action 5 Pro also has quick charging, with the company saying you should be able to get up to two hours of recording time with only 15 minutes of charging.
The Action 5 Pro now includes 47GB of onboard storage, which can be expanded with a microSD card. You can offload footage from it via Wi-Fi 6 or USB; like its predecessor, the Wi-Fi connection can also be used for live streaming.
The dual screens on the Action 5 Pro are a little larger and brighter than the previous generation's. The Action 4 had a 3.6cm (1.4") front screen and a 5.7cm (2.25") rear screen, which both run at around 750 nits. The Action 5 Pro's front screen is now 3.7cm (1.46") with a max brightness of 800 nits, and the rear screen is 6.4cm (2.5") with a peak brightness of 1,000 nits, which should make it a bit easier to see in harsh sunlight.
The Osmo Action 5 Pro is available today. The standard kit* will cost $349, while an 'Adventure Combo' will cost $449 and includes a mini quick-release adapter mount, battery case, and 1.5m extension rod.
* The standard kit includes the Osmo Action 5 Pro, a battery, a protective frame, quick release adapter mount, curved adhesive base, locking screen, USB type C to C cable, a rubber lens protector, glass lens cover, and anti-slip pad.
Press Release:
DJI Advances Action Camera Industry with Osmo Action 5 Pro’s Revolutionary Image Quality
DJI delivers action camera with industry-first professional features, including a groundbreaking 13.5-stop for both an exceptional high dynamic range and excellent low-light performance
September 19 – DJI, the global leader in civilian drones and creative camera technology, today unveils the Osmo Action 5 Pro. The latest generation of DJI’s popular Osmo action camera series delivers several industry-first features rivaling professional cameras. From the 13.5-stop dynamic range and 4-hour battery life to the built-in subject centering and tracking, the Osmo Action 5 Pro sets a new quality standard for action photography, capturing every adventure from the sea to the mountains, whether in the sun or the snow.
"By combining the image quality of a professional camera with the rugged durability of an action camera, we continue to innovate and set new standards for the industry, ” said Paul Pan, Senior Product Line Manager at DJI. “Creators have evolved, becoming more sophisticated in the stories they tell and the moments that they capture. Instead of making incremental improvements, we strive to push the entire action camera category forward and evolve with these creators.”
13.5-stops of dynamic range deliver groundbreaking image quality
Osmo Action 5 Pro features a next-gen 1/1.3” sensor with a 2.4 μm pixel size and a high dynamic range of up to 13.5 stops, making it the first action camera with specs that rival professional cameras. Images can be captured in 10-bit D-Log M and support hybrid log-gamma (HLG) high-brightness displays. It can also shoot high-dynamic, low-light video at 4K/60fps, capturing intricate shadow details without overexposing highlights, thereby enhancing overall image quality. Additionally, SuperNight mode with AI noise reduction algorithms can overcome the darkness in extremely low-light environments to yield cleaner and clearer footage.
Extended 4-hour battery life for longer shoots
Osmo Action 5 Pro delivers up to 4 hours of continuous use with a single battery – a 50 percent improvement from its predecessor. This new innovation is made possible with a lower power consumption 4nm chip, a larger 1950mAh battery, and a proprietary DJI algorithm that optimizes for energy savings. Even in temperatures as low as -20° C (-4°F), the camera can reliably record video for up to 3.6 hours. The industry average for action camera battery life is approximately 2 hours. Moreover, the battery can deliver 2 hours of shooting from a 15-minute charge using the fast-charging DJI 30W USB-C Charger.
Industry’s first built-in subject centering and tracking
Osmo Action 5 Pro is the first action camera to offer built-in subject centering and tracking, allowing creators to shoot without a gimbal. Powered with a high-performance 4nm chip and machine learning algorithms, the camera can intelligently detect a subject's position and dynamically adjust the composition to keep the subject centered in every frame.
Optimized for underwater photography
Osmo Action 5 Pro offers the industry’s deepest waterproofing depth at 20m without a case. The built-in color temperature sensor captures true-to-life colors under the sea. The camera can also be set to start recording automatically while submerged and to stop after surfacing. It also has a built-in pressure gauge to record underwater depth, duration, and altitude data to ensure the user’s safety. Certified with EN13319, it meets globally recognized standards for diving accessories.
Larger dual OLED high-brightness touchscreens
Osmo Action 5 Pro features larger front and rear tempered glass touchscreens upgraded with OLED high-brightness displays. With an impressive peak brightness of 1000 cd/㎡, daytime shooting becomes easier. In increasing the screen size and narrowing the bezels while retaining the camera body’s size, the screen-to-body ratio increased by 16% from its predecessor.
Compatible with DJI OsmoAudio™ connectivity ecosystem
Osmo Action 5 Pro can connect directly to the DJI Mic 2 Transmitter via Bluetooth, enabling ultra-high-sampling-rate audio recording. This setup provides studio-quality sound while eliminating the need for a receiver. When Built-in Mic Audio Backup is enabled, ambient sounds can be recorded to add a richer layer of authenticity.
Other practical features for enhanced performance
47GB Built-in Storage with a further optimized bitrate for smaller file sizes
High-Speed Transfer up to 80MB/s via Wi-Fi 6.0 or USB 3.0
Wi-Fi Livestreaming supported for various resolutions
Timecode allows footage to be quickly synchronized from multiple cameras
Live photos enable 3-second videos converted into dynamic photos
Pre-Rec starts recording moments before the official recording starts
Highlight to quick mark key moments to speed up the editing process
Intelligent shooting and editing with Mimo app
Creators can quickly preview the camera view, adjust settings, and edit their footage by connecting the Osmo Action 5 Pro with the DJI Mimo app via Wi-Fi and Bluetooth. Some new Mimo features include taking live photos and capturing 4K high-resolution frame captures, reproducing D-Log M flat color profiles for more stylized adjustments, and exporting videos in 4K/120fps, 4:3 aspect ratio. Creators can also download photos and videos from their DJI camera in the background, allowing them to continue using their smartphones for other tasks.
Powerful accessories, reliable assistance
A range of dedicated accessories for every adventure can enhance the Osmo Action 5 Pro filming experience. Each is sold separately.
Osmo Action Multifunctional Charging Handle
Osmo Action Cold Shoe Expansion Kit
Osmo Action Helmet Chin Mount
Osmo Flexible Mount
Osmo Action GPS Bluetooth Remote Controller
DJI Mic 2
Osmo Action Mini Extension Rod
Osmo Backpack Strap Mount
Osmo Action Hanging Neck Mount
Osmo Action Mini Handlebar Mount
Osmo Action Chest Strap Mount
Osmo Action 360° Wrist Strap
DJI Care Refresh
DJI Care Refresh, the comprehensive protection plan for DJI products, is now available for Osmo Action 5 Pro. Accidental damage is covered by the replacement service, including natural wear, collisions, and water damage. For a small additional charge, you can have your damaged product replaced if an accident occurs.
DJI Care Refresh (1-Year Plan) includes up to 2 replacements in 1 year. DJI Care Refresh (2 Year Plan) includes up to 4 replacements in 2 years. Other services of DJI Care Refresh include official warranty, international warranty service and free shipping. For a full list of details, please visit: www.dji.com/support/service/djicare-refresh
Price and Availability
Osmo Action 5 Pro is available today from store.dji.com and most authorized retail partners in several configurations.
Osmo Action 5 Pro Standard Combo ($349) includes the Osmo Action 5 Pro, Osmo Action Extreme Battery Plus (1950 mAh), Osmo Action Horizontal-Vertical Protective Frame, Osmo Action Quick-Release Adapter Mount, Osmo Action Curved Adhesive Base, Osmo Locking Screw, Type-C to Type-C PD Cable, Osmo Action 5 Pro Rubber Lens Protector, Osmo Action 5 Pro Glass Lens Cover, and Osmo Action Anti-Slip Pad.
Osmo Action 5 Pro Adventure Combo ($449) includes everything in the Standard Combo, plus the Osmo Action Quick-Release Adapter Mount (mini), Osmo Action Multifunctional Battery Case, and Osmo 1.5m Extension Rod.
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Image: Hasselblad
Hasselblad has announced a limited edition of the X2D 100C called the Earth Explorer. It comes as a kit that includes a 'Tundra Brown' version of the medium format camera, a 55m F2.5 lens, limited-edition camera strap, UV filter, two batteries, and a charging dock.
The company says the camera's color was inspired by "the resilient ecosystem of the Nordic tundra," but it's not the only thing that'll differentiate the limited edition version from the regular X2D. The camera will also have a different startup screen that displays an icon of mountains, and the four-digit serial number will be engraved on the side of the body. Hasselblad says it'll only be selling 1,000 units worldwide.
Both the camera and the strap are laser-engraved.
Image: Hasselblad
The strap is also limited edition and is made from 'eco-friendly recycled plastics' and 'high-tech, soft, skin-friendly fabric.' Like the camera, it will have the 'Earth Explorer' branding engraved on the inside of the strap.
The Earth Explorer logo on the box will also display when you boot up the camera.
Image: Hasselblad
Getting the limited edition won't come cheap. If you were to assemble a similar kit with the regular versions of Hasselblad's products, it'd cost a touch over $12,000 US. The Earth Explorer kit, meanwhile, comes in at $13,999 or €14,999 in Europe. The company says it's available 'online and at selected retail stores worldwide.'
Press Release:
Hasselblad Unveils the X2D 100C Earth Explorer Limited Edition, An Exclusive Kit for Adventurous Photographers
The Limited Edition Includes a Hasselblad X2D 100C Camera Body, XCD 55V Lens and Accessories
The Hasselblad X2D 100C Earth Explorer Limited Edition is a unique kit designed for photographers who explore and capture the beauty of Earth's natural landscapes. Limited to 1,000 units worldwide, this exclusive edition combines the exceptional features of the Hasselblad X2D 100C with a Tundra Brown exterior, a color inspired by the Nordic landscapes.
Tundra Brown, a hue native to Hasselblad's homeland, stands out among the captivating spectrum of colours found in the natural world. Daring adventurers search out unique colours like this, venturing into extreme environments with courage and determination, capturing the extraordinary with unwavering dedication. Utilizing the Hasselblad Natural Colour Solution (HNCS), they accurately depict the shades of the Nordic tundra and other landscapes, inviting a broader audience to admire nature’s allure and distinct hues.
Embark and Discover with the Explorer Kit
Designed to honour the spirit of exploration and inspire the creative journey, the kit includes the Hasselblad X2D 100C Earth Explorer Limited Edition camera body, an XCD 2,5/55V lens, a limited-edition camera strap, UV filter, X System battery charging hub, and two X System batteries. These accessories provide users everything they need to embark on their next great adventure right away.
Nature's Palette – Tundra Brown
Inspired by the resilient ecosystem of the Nordic tundra, where life thrives in harsh conditions, the Tundra Brown colour embodies the spirit of perseverance that Hasselblad aims to convey with the Earth Explorer Limited Edition. The colour melds the grey-green of the arctic vegetation with the deep brown of the soil, reinforcing the minimalist elegance of the camera's metal body.
Exclusive Features and Design
Each kit features a laser-engraved "Earth Explorer" and a unique serial number from 0001 to 1000 on the side of the camera body, ensuring a one-of-a-kind identity. The unique "Earth Explorer" start-up screen heralds the start of an extraordinary creative journey whenever the camera is turned on.
The exterior of the kit's limited-edition strap is made from eco-friendly recycled plastics interlaced with traditional weaving techniques. The interior uses high-tech, soft, skin-friendly fabric for outstanding performance, lightweight comfort, and easy maintenance. It features hand-embroidered "Hasselblad" text on its exterior and a precision laser-engraved "Earth Explorer" on the interior.
The Hasselblad X2D 100C Earth Explorer Limited Edition is priced at USD $13,999 / EUR €14,999 and is available to purchase online and at selected retail stores worldwide. For more information, visit www.hasselblad.com.
I received a tip that Tamron is rumored to announce a new 20-400mm f/4-7.1 Di III VC VXD 20x super zoom lens. The new lens, which is scheduled for release this November, should weigh approximately 1 kg and have image quality similar to that of the new 28-300mm lens.
The updates also add support for Sony's AF Assist function, which lets you manually focus even when autofocus is enabled. That should be handy for videographers who want to use autofocus to initially grab focus but then rack focus to something else in the frame, provided they have a Sony body that supports the feature.
It's that time of year: Apple has announced its new suite of iPhones, raising the question of whether current owners should upgrade or stick with their older model.
There are many factors to consider – those still using the Lightning port could potentially justify an upgrade for USB-C alone – but we'll mainly focus on the cameras for this article. This year, more than ever, the price premium on the Pro phones doesn't make much sense if you're not using them for photography and videography, so we'll be trying to answer a straightforward question: will upgrading let you take better pictures?
Note: unlike last year's models, the iPhone 16 Pro and Pro Max appear to have identical camera setups. We'll talk a lot about the 'iPhone 16 Pro's' cameras in this article, but anything we say will apply to both size options.
Scenario 1: You have an iPhone 15 Pro
We'll start by comparing the 16 Pro to the last-generation 15 Pro since it lets us talk about the brand new features that will be an upgrade over the 14 Pro and 13 Pro too. However, we'll start by saying it's hard to recommend the year-over-year upgrade unless you have a specific use case that requires the new features.
Even Apple quietly admits this; during the announcement, whenever it compared the iPhone 16 Pro to previous models, it was usually put up against the iPhone 14 Pro instead of its direct predecessor. The iPhone 15 Pro is also the only other phone in Apple's lineup capable of running all the Apple Intelligence features, which are the main selling point of the iPhone 16 line.
Image: Apple
However, there are still some improvements to be found in the iPhone 16 Pro's camera system. Apple says that the 16 Pro uses a 'second-generation' sensor for its main camera, which can read out data two times faster, 'enabling zero shutter lag' even when taking Raw photos.
The 5x, 120mm equiv. camera from the 15 Pro Max is also now available on the regular-sized iPhone 16 Pro, replacing the 3x, 77mm equiv. camera from the 15 Pro. That's not necessarily a clear win, though. The extra reach may be useful if you often shoot far-off subjects, but it makes it a little bit harder to take portraits; you'll have to stand further away from your subject if you want to get the classic 80mm portrait framing, which will also compress the foreground and background more. However, if you want a 5x camera in a smaller phone, the 16 Pro is Apple's first model to offer it.
iPhone 16 Pro cameras vs iPhone 15 Pro cameras
iPhone 16 Pro / Pro Max
Focal length
Pixel count
Sensor size
f/number
Crop factor
24mm equiv.
48MP / 24 / 12MP
Type 1/1.28 (9.8x7.3mm)
F1.78
~3.5x
13mm equiv
48MP
Type 1/2.55 (5.6x4.2mm)
F2.2
~6.2x
120mm equiv
12MP
Type 1/3.2 (4.5x3.4mm)
F2.8
~7.6x
iPhone 15 Pro / Pro Max
Focal length
Pixel count
Sensor size
f/number
Crop factor
24mm equiv.
48MP / 24 / 12MP
Type 1/1.28 (9.8x7.3mm)
F1.78
~3.5x
13mm equiv
12MP
Type 1/2.55 (5.6x4.2mm)
F2.2
~6.2x
77mm equiv / 120mm equiv. (Max)
12MP
Type 1/3.5 (4x3mm) / Type 1/3.2 (4.5x3.4mm)
F2.8
~8.7x / ~7.6x
There are a few other minor improvements to the 16 Pro's camera system compared to the 15 Pro's. It can now shoot 3D-esque Spatial Photos, and Apple has upgraded the Photographic Styles system, which lets you apply different looks to your photos straight out of camera. Previously, they were baked-in, meaning you couldn't shoot a picture with the 'Warm' Photo Style and then change it to the 'Cool' or 'Rich Contrast' one - now you can.
The 16 and 16 Pro also have slightly larger screens than their predecessors, which makes taking and viewing photos nicer, and the QuickTake video that you can access from the photo mode is now 4K60p instead of 1080p30p.
The most significant changes relate to the iPhone 16's ultrawide camera and video modes. That brings us to a few reasons you might be able to justify an upgrade.
Scenario 1a: You're a macro/wide-angle photography enthusiast
The ultrawide camera used for macro shots now has a much higher-resolution sensor.
Image: Apple
The iPhone 15 Pro's 0.5x, 13mm equiv. F2.2 ultrawide camera uses a 12MP, 5.6x4.2mm sensor and produces broadly disappointing photos. While the ultrawide camera on the iPhone 16 Pro appears to be using the same size sensor, it's now using 48MP quad-Bayer technology.
This will allow for pixel binning, though the real-world effect remains to be seen. Given that the sensor is the same size and will likely bin down to the same resolution, it's hard to imagine there being much of an improvement in low-light performance, which is where the previous iteration of the camera struggled.
If the 0.5x camera is your favorite, it's probably worth waiting for the reviews to see how much of a difference the resolution bump makes. We'll be sure to update this article as soon as we can with some wide-angle comparison shots.
Scenario 1b: You are going to shoot The Weeknd's next music video with your iPhone
The Weeknd's new music video is the latest addition to the Shot On iPhone gallery.
Image: Apple
The next-generation sensor in the iPhone 16 Pro's main camera enables a big jump in video performance: it can now shoot 4K footage at 120fps, double the speed of the previous Pro. You can even shoot at 120fps in Apple's ProRes codec, provided you're recording to external storage via USB-C.
Apple also claims the 16 Pro has much-improved audio with the addition of a 'studio-quality' four-microphone array. The microphones allow for wind noise reduction and some fancy software tricks called 'Audio Mix' that enable you to fine-tune how a video's subjects sound.
As with the iPhone 15 Pro, Apple showed off the 16 Pro's video prowess by having a famous artist shoot a music video with it. This year, it was The Weeknd, whose video for 'Dancing in the Flames' (seen above) was shot with the iPhone 16 Pro, making heavy use of the new slow-motion features. Feel free to judge how the footage fares, though do keep in mind that the video was shot by top-tier professionals using thousands of dollars of lighting and grip equipment.
Scenario 1c: You can't live without the Camera Control
Image: Apple
We get it: new buttons are exciting, especially when they're providing a new function. Apple's new Camera Control button promises to let you launch the camera from anywhere, will act as a shutter button once you've opened the app, and you can slide your finger across it to adjust parameters like the focal length or aperture.
Apple also promised to improve the button via a software update that will make it act like a traditional shutter button that locks focus and exposure with a half press, and takes a picture with a full press. The Camera Control will also be available for third-party developers, so you may get some milage out of it even if the default iOS camera app isn't your go-to.
There will be some people who call the Camera Control a gimmick, and who say that there's no way it'd be worth upgrading from a perfectly good phone that's only year old for it. And sure, it's possible it won't end up being very useful because of its placement, or its relatively complicated control scheme, which mixes gentle taps and press with swipes.
But if it actually improves the ergonomic experience of taking pictures with an iPhone, it could a real nice-to-have - though it's up to you whether it's 'immediately upgrade' compelling, or 'look forward to it the next time you get a new phone' compelling.
Scenario 2: You have an iPhone 14 Pro
The iPhone 14 Pro introduced the 48MP, 9.8x7.3mm quad-bayer sensor that Apple has iterated on for the iPhone 16 Pro, but that doesn't mean that there haven't been improvements in the past two years. The 16 Pro's faster readout speeds should provide the same speed boost compared to the 14 Pro as they did to the 15 Pro.
The lenses on the 16 Pro's cameras also have a variety of coatings not found on the 14 Pro, and, similar to the 13 Pro, the 14 Pro is stuck with the slower Lightning port instead of the near-universal USB-C one found on the 16 Pro.
The 16 Pro can shoot slow-mo ProRes 4K. The 14 Pro can't. (The 128GB 14 Pro can't shoot ProRes 4K at all; it's limited to 1080p.)
Image: Apple
For the main camera, many of the iPhone 16 Pro's upgrades lie in software, not hardware. The 14 Pro can only shoot 4K ProRes at 30fps, which rules out the possibility of using it for slow motion like you can with the iPhone 16 Pro's 120fps 4K mode. The 16 Pro also has a 'next-generation' portrait mode, which Apple says offers '2x better low-light performance.' Given that the iPhone 16 Pro's camera hardware isn't taking in any more light, that's almost certainly down to changes in how it handles multi-shot photography.
By default, the 16 Pro will also bin images to 24MP, versus the 12MP that's the only option for the 14 Pro. (Do note that it's not available in all modes, though; night mode and flash photos are still binned to 12MP.)
The ultrawide camera is one of the iPhone 16 Pro's most notable upgrades.
Image: Apple
The iPhone 16 Pro's other lenses have more notable improvements. The iPhone 14 Pro's ultrawide camera is the same as the one found on the iPhone 15 Pro, so any jump in quality provided by the 48MP sensor will apply here as well.
The 16 Pro's telephoto lens also has a larger sensor, and tighter focal length; the 14 Pro's 3x (77mm equiv.) camera has a 4x3mm sensor, where the 16 Pro's 5x (120mm equiv.) camera bumps that up to 4.5x3.4mm - a 27.5% increase. Both cameras produce 12MP images, and have F2.8 lenses.
iPhone 16 Pro cameras vs iPhone 14 Pro cameras
iPhone 16 Pro / Pro Max
Focal length
Pixel count
Sensor size
f/number
Crop factor
24mm equiv.
48MP / 24 / 12MP
Type 1/1.28 (9.8x7.3mm)
F1.78
~3.5x
13mm equiv
48MP
Type 1/2.55 (5.6x4.2mm)
F2.2
~6.2x
120mm equiv
12MP
Type 1/3.2 (4.5x3.4mm)
F2.8
~7.6x
iPhone 14 Pro / Pro Max
Focal length
Pixel count
Sensor size
f/number
Crop factor
24mm equiv.
48MP / 12MP
Type 1/1.28 (9.8x7.3mm)
F1.78
~3.5x
13mm equiv
12MP
Type 1/2.55 (5.6x4.2mm)
F2.2
~6.2x
77mm equiv
12MP
Type 1/3.5 (4x3mm)
F2.8
~8.7x
Overall, the 16 Pro's cameras are iterative improvements over the 14 Pros. However, if you take tons of images on your phone or are serious about video, there's probably enough there for you to notice a difference. If you're more of an occasional shooter, though, it may be worth sitting this one out.
Scenario 3: You have an iPhone 13 Pro
If you have an iPhone 13 Pro or one of its predecessors, the 16 Pro's cameras should be an upgrade in pretty much every way. The 13 Pro has a 12MP F1.5 main camera, while the 16 Pro bumps the resolution up to 48MP. While its F1.78 lens is slower, its 9.8x7.3mm sensor also has 65% more area versus the 13 Pro's 7.6x5.7mm sensor – that equates to around 0.3EV more light gathering ability, even with the brighter aperture.
That extra resolution enables a lot of camera features on the 16 Pro that the 13 Pro doesn't have. The most obvious is the pixel-binned 12MP or 24MP shots, as well as the 48MP ProRaw mode. It also allows for the 24mm, 28mm, and 35mm 'faux-cal' lengths for the main camera, which work by taking different crops off the sensor. The iPhone 13 Pro also lacks the '2x' option, which crops in to the 12MP middle section of the sensor.
The 16 Pro's main camera is a notable improvement from the 13 Pro's.
Image: Apple
The ultrawide and telephoto cameras also use larger sensors, and the 16 Pro's 5x camera offers a 120mm equiv. focal length compared to the 13 Pro's 3x 77mm equiv.
The iPhone 16 Pro also includes the latest iterations of Apple's image stabilization and HDR systems, though the company hasn't said much about what benefits they offer over the predecessors found on the iPhone 13 Pro.
iPhone 16 Pro cameras vs iPhone 13 Pro cameras
iPhone 16 Pro / Pro Max
Focal length
Pixel count
Sensor size
f/number
Crop factor
24mm equiv.
48MP / 24 / 12MP
Type 1/1.28 (9.8x7.3mm)
F1.78
~3.5x
13mm equiv
48MP
Type 1/2.55 (5.6x4.2mm)
F2.2
~6.2x
120mm equiv
12MP
Type 1/3.2 (4.5x3.4mm)
F2.8
~7.6x
iPhone 13 Pro / Pro Max
Focal length
Pixel count
Sensor size
f/number
Crop factor
26mm equiv.
12MP
Type 1/1.7 (7.6x5.7mm)
F1.5
~4.6x
13mm equiv
12MP
Type 1/3.5 (4x3mm)
F1.8
~8.7x
77mm equiv
12MP
Type 1/3.5 (4x3mm)
F2.8
~8.7x
The 16 Pro has several video features not found on the 2021 model, such as Apple Log, Spatial Video, the super-stabilized 'Action Mode,' and access to 60 and 120fps frame rates when shooting 4K. And if you're shooting a lot of video and want to offload it to a computer, the iPhone 16 Pro will offer a much better experience; its USB-C port can transfer files at 10Gbit per second. That's 20 times faster than the USB 2.0 speeds that the 13 Pro's Lightning port provides.
Outside of the camera, the 16 Pro has a lot of quality-of-life improvements. To name a few, there's satellite SOS, tougher front glass, faster charging, an always-on-display and both the Action button and the new Camera Control button. It's also 5g lighter despite being physically larger because its frame is made of aluminium and titanium instead of stainless steel.
None of this is to say that you must upgrade your iPhone 13 Pro. In fact, two of the winning photos from this year's iPhone Photography Awards were shot with an iPhone 13 or 13 Pro. If you're happy with your phone, by all means keep using it. However, if you do feel ready for an upgrade the iPhone 16 Pro should offer enough features and camera improvements to make it well worth it.
Improved Autopilot: Automatically selects the best adjustments for noise reduction, sharpening, and upscaling based on your image. The new AI engine better understands each photo’s subject, allowing for more accurate results with minimal effort.
NEW Natural Sharpen Model: This new model stands out as a great alternative to the Standard and Strong models for improving images with fine details to create a realistic, subtle sharpening result.
Canon RAW Color Accuracy: RAW color accuracy is better than ever before in Photo AI for Canon cameras, and this is just the beginning. We are now using the camera profiles that ship with your Canon cameras, allowing us to display your CR2, CR3, and CRW files with exact color reproductions.
New Enhancement menu: The new model selection interface shows examples of when to use each of Video AI's Enhancement models, and will automatically suggest models.
Frame-accurate trimming with the new Timeline: All-new timeline experience that allows for much more responsive and accurate navigation. Trim, seek, and preview exact sections of a video and jump across hours or comb through frames with ease.
Gen 2 Face Recovery: This upgrade makes Face Recovery significantly more intelligent and precise, delivering superior results across a broader range of images such as improved quality in optical glasses frames and in facial features such as the teeth.
Gigaprint Now in the US: Gigaprint makes it easy to produce incredibly high quality prints directly from the app on high-quality archival-grade Hahnemühle photo paper, with sizes up to 40" x 60" shipped straight to your door.
Now available in PhotoLab 8 is DeepPRIME XD2s the pinnacle of DxO’s Raw processing technology, giving unprecedented levels of noise reduction and detail extraction.
With PhotoLab 8, lens softness compensation has been enhanced via DxO’s Optics Modules which are mathematical models developed from observing the performance of each lens across the entire field of view and focal range. With DxO’s newly improved exclusive lens softness algorithms revealing detail without adding fringing artifacts in high-frequency areas, bringing new levels of lens performance to your images.
Image Preview has evolved within PhotoLab 8, you can now visualise the changes and effects you want in your images faster by using the new Loupe tool to see the effects applied by for example: DeepPRIME XD2s, Exposure, ClearView, Smart Lighting, Tone Curve, etc. This tool can be repositioned, enlarged and used at various resolutions, to visualise the changes the photographer is making.
Local Adjustments get a new Hue Mask tool giving even more options for making precise selections, using DxO’s unique U Point technology. Enabling photographers to select individual hues for targeted editing.
DxO has further developed the Tone Curve palette, with the addition of some great new features.
Luma Curves, which enables photographers to neutrally adjust image tones while avoiding unexpected color shifts when modifying brightness and contrast. With the new Tone Picker tool the photographer can now see where a tone value is on the Tone Curve, thereby enabling you to make precise image adjustments.
The Histogram is now displayed in the Tone Curve Palette, photographers working in either R,G,B channels now get a visual guide with bi-colour tints and can now edit using numerical values to precisely dial in their adjustments, followed up with a new ability to save presets within the Tone Curve palette.
The new Correction Rollover gives a live preview of effects when the cursor hovers over rendering settings (eg; Color Renderings, LUTs, Tone Curve Presets) making correction choices easier to see.
Faster workflow, DxO has boosted the library performance, with browsing and image loading speeds noticeably faster.
Compare mode has evolved enabling the photographer to set a reference image to then use as a reference point when processing multiple images.
The EOS 5D Mark II was also one of the first mass-market cameras to use the ‘Mark II’ naming system. In an era of R5 IIs, K-3 IIIs and a7RVs, this has become the norm, but it wasn't standard practice at the time.
Just five days after the arrival of first Mirrorless camera, and 16 years ago today, Canon revealed a camera that would help define the final years of DSLR dominance: the EOS 5D II.
This was no simple upgrade to the original EOS 5D, though in a move from 12.8MP to a better performing 21MP CMOS sensor, the addition of an improved viewfinder and the gain of features such as liveview, it was that, too.
What famously set the 5D Mark II apart was its ability to capture Full HD video, the first DSLR to do so. The Nikon D90 had added 720p HD capture about two weeks before but it was the Canon that caught the world’s imagination.
This was helped by the option to download the Cinestyle color preset developed by film processing company Technicolor and a successful PR stunt that involved an entire episode of the TV show ‘House’ being filmed using the camera.
In hindsight, the 5D II is a relatively basic filmmaking tool: all is footage is 8-bit, so has limited grading latitude (an official Canon Log option wouldn't arrive until the Mk IV), there were no tools such as focus peaking to help with focus and to monitor your sound you needed all manner of adapters to get at the audio feed from the A/V socket. It didn't even gain full manual exposure control in video mode until a post-launch firmware update.
The 5D II became a popular video camera at colleges and schools around the world
But the 5D II became a popular video camera at colleges and schools around the world, putting the flexibility and ‘look’ of a full-frame sensor in the hands of budding film makers and letting them use relatively affordable EF lenses.
Beyond this, the Magic Lantern open source software project created an extensive array of video support tools to boost the 5D II's capabilities way beyond those that Canon had developed for it, including focus peaking, false color and control over the A/V output level.
There are plenty of people that used the 5D II solely as a stills camera, and it certainly represented a major step forward, compared with its predecessor: it had a larger, higher resolution screen, a sensor happier to shoot at higher ISOs and could shoot 30% faster than the Mark 1, despite the much higher pixel count. It also gained features that we take for granted, such as Auto ISO.
The newer sensor in the 5D II allowed a maximum expanded ISO of 25,600: three stops higher than on its predecessor.
Image: Don Wan
Its top speed of 3.9fps looks disappointing once you've got used to the option to capture the 30fps burst that its spiritual successor, the EOS R5 II can manage. But, even though 4K and 8K modes have become commonplace in the sixteen years since the 5D II’s launch, a well lit, well-exposed and interesting video shot with the 5D II still looks pretty great, even on a big TV.
In the original review we referred to its video capabilities as its ‘party trick.’ Well it proved to be quite the trick, and over a decade and a half later, we’re all still at that party.
The cinematography nod is particularly interesting, especially for cinematography and camera nerds. Even if you've only watched the trailer, it's clear that Shogun has a distinct visual style. The show is shot on anamorphic lenses with lots of character; in many shots, the frame is filled with aberrations, the background has a strong swirling look (fans of vintage lenses will be familiar with the effect), and the edges of the frame are blurry or even downright vignetted.
The show uses a lot of shallow depth of field and interesting bokeh.
Image: FX
Thankfully, the show's creators have gone into a lot of detail about the how and (perhaps more importantly) why of the aesthetic decisions that impressed the Television Academy. FX's website even has a page dedicated to the show's cinematography, which mainly focuses on the choices made around lighting a show set before the advent of electricity.
American Cinematographerprovides a deeper look into the technical aspects of how they shot the show. According to the feature, the cinematographers relied heavily on the Sony Venice and FX3, outfitted with several varieties of Hawk anamorphic lenses. The article also goes into even more lensing and lighting choices and contains a plethora of interesting details. For example, the show was apparently shot at 6K but cropped to 4K to meet FX's delivery standards while maintaining a 2.0:1 aspect ratio.
The American Society of Cinematographers also had Sam McCurdy, who shot five episodes of the show, on its interview series. During the conversation, he talks about the lightning and grip setups (complete with diagrams), 'butchering' light bulbs to get a convincing simulation of firelight, and how the story informed the show's aesthetic, down to which aperture was used for certain shots.
Shogun's look has its detractors, with some commenters going as far as saying it made them think something was wrong with their TVs. But even those who didn't like it would likely agree that it's great to live in a time when we can get such an in-depth look at the creative process behind such a critically acclaimed show. Television hasn't always gotten the behind-the-scenes treatment that movies have, but fans of the medium or even people looking to get a job in the industry now have great resources available from the people out there making it.
Ensure sharp shots every time with precise autofocus powered by Lidar technology. Your subjects will always be crystal clear, no matter the shooting conditions.
Auto Exposure:
Simplify your shooting experience with automatic exposure settings. Let the camera handle the exposure settings, allowing you to focus on capturing the perfect shot without worrying about technical details.
Flash or No-flash Options:
With just two straightforward choices, decide whether to use flash or go without it. Adapt easily to different lighting conditions for stunning photos every time.
Built-in Flash:
Built-in electronic flash with auto-brightness balance. The flash will adjust its intensity based on the subject's distance for optimal lighting. Whether you're shooting in a dimly lit interior or in the evening, the flash ensures your subjects are beautifully illuminated.
Aperture Flexibility:
With an aperture range from f/2.8 to f/16, explore the art of depth and detail, from dreamy bokeh at f/2.8 to crisp landscapes at f/16, to craft visually stunning images that resonate with your creative vision.
Manual Shutter Speeds:
From lightning-fast 1/500 to artistic 1-second exposures, take full command of your shot's timing with precision.
Long Exposure:
Unleash your creativity with long exposure capabilities spanning from 2 to 60 seconds. This feature enables you to experiment with light trails and create mesmerizing night-time scenes that stand out.
Tripod Socket + Self-Timer:
Improve your shooting experience with the tripod socket, offering stability for long exposure and still shots. Make use of the self-timer's 10-second countdown feature for added convenience in capturing perfect, shake-free images and photos that include you.
Viltrox displayed for the first time a new Luna 42-420mm T5.6 10x zoom cinema lens at the 2024 IBC show in Amsterdam. The lens is expected to cost around $100,000.
LLL released a new stainless steel limited edition Light Lens Lab 35mm f/2 "Eight Element" lens for Leica M-mount - now available for order at LLL and PopFlash. The lens is priced at $1,599. Orders will begin to ship this coming week.
Additional information:
M-Mount Lens
Aperture: f/2 to f/16
Double-Gauss design, 8 elements / 6 groups
10-Blade Aperture Diaphragm with Uniform Half-Stop Clicks
Minimum Focus Design: 2.5 ft. / 0.7 meters
Manual Focus Design
39mm Filter Thread
Recreation of the famous 35mm f/2 V1.
Body construction will mark our first-time use of the material SUS316 Corrosion-Resistant Stainless Steel, with matching accessories also made with SUS316 Stainless Steel.
Adjustments and changes to our element spacing, coating, and element fitment assembly are being made to achieve close render performance to the original 35mm f2 Eight Element and optimize for analogue photography.
Lenses are made by hand and assembled in limited quantities at the highest quality control and tolerance.
Limited to 300 copies worldwide
Items included with purchase:
35mm f/2 Eight Element in Stainless Steel Limited Edition
Matching E39 UV Filter in Stainless Steel
Matching IROOA Lens Hood in Stainless Steel
Stainless Steel Front Lens Cap
Stainless Steel Rear Lens Cap
Box
Instructions
Lens Pouch
The Light Lens Lab 35mm f/2 8-Element Stainless Steel Edition Lens is a prime M-mount lens featuring a classic double-gauss design with a lens barrel made fully of Stainless Steel. The Lens Hood and Filter are painted brass to match the lens. Precisely assembled and adjusted by Light Lens Lab technicians, this lens delivers performance very close to the famous first version of the 35mm f/2 lens, the so-called "8-element". This lens also includes the classic infinity lock that appeared in the early 35mm f/2 lens.
Connexion
