Compact and User-Friendly
Weighing just 78g and small enough to fit in the palm of your hand, the iM30 is easy to carry, ensuring that portability never compromises performance.
Superior Lighting Performance
With a guide number of 15 (ISO 100, meters), the iM30 delivers bright and natural fill light, significantly improving the quality of shots in various environments.
Seven Power Levels
The iM30 offers seven adjustable power levels (1/64 to 1/1), providing flexibility to adapt to different lighting conditions, making it suitable for diverse shooting scenarios.
Efficient Power Management
Powered by two AAA batteries, the iM30 delivers up to 230 flashes on a single charge, ensuring reliability and consistent performance throughout shoots.
Quick and Simple Operation
With a single-contact hot shoe design, the iM30 is easy to attach and use with a wide range of cameras, offering a plug-and-play experience without the need for complex setup.
Steve Gantlett is on a mission: to find whoever misplaced an SD card full of bird pictures in Norfolk county, England. According to his post on X, formerly Twitter, the card has around 3,700 bird pictures taken in Iceland.
Gantlett posted his original in-search-of on Monday but followed up on Tuesday, saying that the person hasn't been found yet. If it belongs to you, or you know someone who went to Iceland in May and then was in the UK, it may be worth reaching out to Gantlett; he's @cleybirds on X.
If you don't have an account on that site, feel free to leave a comment here and we'll see what we can do. We'll be sure to update this story if the rightful owner is found.
According to the outlet, over 15,000 images were submitted for consideration. The finalists and honorable mentions for each category are on the Oceanographic website. The images selected will be shown in a gallery at the Australian National Maritime Museum beginning on November 28th, 2024.
The Ocean winner: Rafael Fernandez Caballero
Image: Rafael Fernández Caballero
Winner of the Ocean Photographer of the Year 2024 award, Rafael Fernández Caballero, told Oceanographic that he shot the image during the Mexican sardine run in late 2023. He said "For years, I’ve visited the Mexican sardine run, always hoping to witness a whale feeding on a baitball," adding that "it’s not just about the image itself, but about the shared experience and the thrill of being in the right place at the right time."
The winning image depicts a Bryde’s whale opening its mouth to eat a school of fish.
Location: Baja California Sur, Mexico
Wildlife winner: Manuel Castellanos Raboso
Image: Manuel Castellanos Raboso
Artist statement: A triumphant mahi-mahi or common dolphinfish proudly displays its catch amidst a feeding frenzy.
Location: Baja California Sur, Mexico
Fine Art winner: Henley Spiers
Image: Henley Spiers
Artist statement: Born during the great mobula aggregations of spring, juvenile Munk's devil rays remain in the Sea of Cortez long after their parents have left, using the shallow bays of Espiritu Santo Island as a nursery.
Location: Baja California Sur, Mexico
Adventure winner: Tobias Friedrich
Image: Tobias Friedrich
Artist statement: A scuba diver looks tiny swimming in front of a shipwreck.
Location: The Bahamas
Conservation (Impact) winner: Frederik Brogaard
Image: Frederik Brogaard
Artist statement: The second biggest whale, the fin whale, lies waiting for its turn to be butchered at a whaling plant in Iceland before getting sent to Japan.
Location: Iceland
Conservation (Hope) winner: Shane Gross
Image: Shane Gross
Artist statement: A green sea turtle is released by a researcher after being caught while trying to catch sharks.
Location: Seychelles
Human Connection: People & Planet Ocean winner: Zhang Xiang
Image: Zhang Xiang
Artist statement: A traditional Chinese fisher makes their way across the beach as the sunset’s golden haze is reflected in the sand and water.
Location: Fujian, China
Young Photographer of the Year winner: Jacob Guy
Image: Jacob Guy
Artist statement: The algae octopus is an elusive creature.
Location: North Sulawesi, Indonesia
Ocean Portfolio winner: Shane Gross
Image: Shane Gross
Artist statement: Baby plainfin midshipman fish, still attached to their yolk sacs.
Location: British Columbia, Canada
Female Fifty Fathoms Award winner: Ipah Uid Lynn
Image: Ipah Uid Lynn
Artist statement: A whale shark surrounded by a swirling school of fish.
Apple Intelligence can do many things, but the company limits how you can use it to edit photos for now.
Image: Apple
Apple has said that the pictures its devices take are meant to depict "something that really, actually happened," a view that starkly contrasts how many of its competitors are approaching photography in the age of generative AI. The quote comes courtesy of The Verge, which asked Apple's vice president of camera software engineering about what the company was trying to achieve with the pictures its phones take.
Here's his full response, which was published in The Verge's iPhone 16 Pro review:
Here’s our view of what a photograph is. The way we like to think of it is that it’s a personal celebration of something that really, actually happened.
Whether that’s a simple thing like a fancy cup of coffee that’s got some cool design on it, all the way through to my kid’s first steps, or my parents’ last breath, it’s something that really happened. It’s something that is a marker in my life, and it’s something that deserves to be celebrated.
And that is why when we think about evolving in the camera, we also rooted it very heavily in tradition. Photography is not a new thing. It’s been around for 198 years. People seem to like it. There’s a lot to learn from that. There’s a lot to rely on from that.
Think about stylization, the first example of stylization that we can find is Roger Fenton in 1854 – that’s 170 years ago. It’s a durable, long-term, lasting thing. We stand proudly on the shoulders of photographic history.
Let's compare that to what Google has said. Isaac Reynolds, a product manager for the Pixel Camera, told Wired that the company is "not just inserting [itself] into this narrow slot built for cameras" during a discussion about its phones' myriad AI-powered features. "You could have a true and perfect representation of a moment that felt completely fake and completely wrong. What some of these edits do is help you create the moment that is the way you remember it, that's authentic to your memory and to the greater context, but maybe isn't authentic to a particular millisecond."
"These edits... help you create the moment that is the way you remember"
Google's phones give you several tools to "help you create the moment that is the way you remember it." The Pixel 9 series is able to use AI to 'expand' a photo, generating imagery beyond the borders of what your phone's camera captured. It can look at a series of group photos and create a composite where everyone is smiling and has their eyes open. It can add the photographer to a group picture. And perhaps most strikingly, it can help you 'reimagine' a photo by adding in AI-generated imagery.
Samsung, Apple's main competitor, has a set of features similar to Google's. The company's Head of Customer Experience told TechRadar that it's trying to serve two different needs: the need to capture a moment as it happened and the need to create something new. Talking about the company's generative AI-powered editing, he said: "When people go on Instagram, they add a bunch of funky black and white stuff – they create a new reality. Their intention isn’t to recreate reality, it’s to make something new."
His explanation of how Samsung meets that first need wasn't free of AI mentions either: "One intention is wanting to capture the moment – wanting to take a picture that’s as accurate and complete as possible. To do that, we use a lot of AI filtering, modification and optimization to erase shadows, reflections and so on. But we are true to the user's intention, which was to capture that moment."
He also addressed the controversy of Samsung phones potentially adding detail to people's pictures of the moon, clarifying what the company considers to be true to the user's intention: "There is no such thing as a real picture. As soon as you have sensors to capture something, you reproduce [what you’re seeing], and it doesn’t mean anything. There is no real picture. [...] You can try to define a real picture by saying, ‘I took that picture’, but if you used AI to optimize the zoom, the autofocus, the scene – is it real? Or is it all filters? There is no real picture, full stop."
We encourage you to read both Wired and TechRadar's interviews in full, but by now, it should be obvious that Apple is thinking about photos very differently than Samsung and Google. Or, at the very least, it wants to give the impression that it is.
Arguably, the iPhone's photos aren't exactly "authentic to a particular millisecond" either; its imaging pipeline stitches together several shots to create images with detail, tones, dynamic range and noise levels that its relatively small sensor wouldn't be able to capture otherwise. That's even true when you're shooting in its supposed 'Raw' mode.
However, even this advanced level of processing isn't the same as letting you move people around in your photos or add a photorealistic herd of cows to them with the tap of a button. And while Apple's planned 'Image Playground' feature will let you use AI to generate images of your friends and family whole-cloth, it will only do so in a cartoonish or illustrated style, at least for now.
That's not to say that Apple has completely opted out of AI photo editing. The company is currently working on launching a feature called 'Clean Up,' which uses Apple Intelligence to remove a subject from a picture, be it a photobombing bird or someone in the background who distracts from whatever or whoever you were trying to take a picture of. The feature is remarkably similar to Google's Magic Eraser, which the company has included on its phones for years.
Before: An unedited photo taken with an iPhone 15 Pro.
Photo: Mitchell Clark
To make matters even more uncomfortable, the AI-edited photos do have a metadata watermark, but YouTuber Evan Zhou has already demonstrated that it can be easily removed by editing the EXIF. It is worth noting that the feature is currently in beta, so that may not be the case by the time it's publicly released, though at time of writing that's theoretically only a month away.
After: people in the background were erased using a beta version of Apple's AI 'Clean Up' feature. Is this still a moment that really, actually happened?
The existence of Clean Up is already a little hard to square with the phrasing of 'something that really, actually happened.' Perhaps that's why the company specified that its photos are meant to be a 'personal celebration' of those moments (emphasis ours). But where this quote may really come back to bite Apple is if it adds more extensive generative AI features into its photo editing experience. If the company keeps this stance, it has to decide what amount of editing will make it so a picture no longer represents something that actually happened.
Speaking of tough decisions, Apple will also have to weigh that stance against its ability to compete with other phones. If, in a few years' time, every Android phone comes with a suite of AI tools that let people turn their 'photos' into whatever they want, Apple will have to add similar features if it doesn't want to seem woefully out of step with the times – just like it did with Clean Up...
... won't it? Looking at how much attention tech companies are paying to AI features, you'd think that consumers are beating down their doors, demanding the ability to ask a personal AI to whip up a custom emoji or reduce what used to be minutes or hours of Photoshop work into a task that takes seconds. It seems inevitable that people will start to use and value this tech now that it's built into almost every phone.
It's not clear yet if generative AI-powered editing is a clear win for the companies feverishly adding it to their products
And yet generative AI features – especially ones related to creative pursuits like writing, drawing and photography – are currently contentious in a way that technology usually isn't outside of early 1800s England. The comments sections of articles covering the tech are filled with boosters, but there are just as many, if not more, detractors who view companies' work on generative AI as genuinely harmful. Researchers at Washington State University recently published a report showing that adding the term 'artificial intelligence' to a product or service's description made people less likely to say they'd buy it.
In other words, it's not clear yet if generative AI-powered editing is a clear win for the companies feverishly adding it to their products. And while that list certainly includes Apple, which said its new iPhones were 'built from the ground up' for its AI features, the company has, for now, planted a flag on how it views the tech's role in photography. It remains to be seen whether that flag is planted in granite or sand.
7Artisans announced a new and improved 60mm f/2.8 full-frame 2x ultra-macro lens for E/RF/Z mount (see coverage of previous version). The new lens is priced at $335, additional configure l:
Hot air balloons inflate during the blue hour at the 'Balloons over Bend' balloon festival in central Oregon.
Canon EOS R3 + EF 24-70mm F2.8 L II | 24mm | ISO 25,600 | 1/100 | F2.8 Photo: Dale Baskin
It's time to prepare for another DPReview Editors' Choice photo challenge. This time, we're celebrating the 'blue hour,' a period shortly before sunrise or after sunset when the sun is below the horizon but still provides enough light to make the sky appear deep blue in photos.
For this challenge, shoot and submit one or more blue hour photos. They don't need to be taken someplace exotic, but creativity is encouraged. You can enter up to three photos in this challenge.
How it works
DPReview editors will review every photo you upload to an Editors' Challenge. We'll publish our favorites in a gallery and share your work on the DPReview homepage.
Submissions will open on September 29, and you have until Saturday, October 5 (GMT), to submit entries. User voting will begin after that and will help inform DPReview Editors' picks, but will not select them. They are one factor in our evaluation of submissions.
Post-processing is allowed, but this is a photo contest, not a post-processing contest. Please, no composite, altered or fabricated images.
Capture date rules:
Images must be shot after the announcement date of the challenge.
Additional rules:
Photos must be at least 2400 pixels long on one edge.
Include a title for your photo.
Include a caption that tells us the story behind the photo, including when and where it was taken.
Share what gear was used and your camera settings. If you used an interchangeable lens camera, please tell us what lens was used.
Tell us about any edits you made in post-processing beyond basic things like white balance, exposure adjustments, etc.
Please ensure your account's contact information is current; we may contact you if your photo is selected as an Editor's Pick. User voting will inform DPReview Editor's Picks, but will not select them. They are one factor in our evaluation of submissions.
When you use DPReview links to buy products, the site may earn a commission.
Nikon's 1 J1 (left) and V1 (right), were an attempt at selling interchangeable lens cameras to people that would never consider a DSLR, and were packed with technologies that would become widely adopted in later years.
Photo: Richard Butler
If I were to ask you which was the first brand to bring on-sensor phase detection to a mirrorless camera, would you remember that it was Nikon? How about the first cameras to feature dual conversion gain sensors? Yup, again it was Nikon. In fact both these breakthroughs, which have become near essential technologies in modern mirrorless cameras first debuted in the same models: the Nikon 1 V1 and 1 J1.
In fact these cameras also marked the first appearance of the Type 1 (13.2 x 8.8mm) sensors, so were significant in a number of ways.
To me the Nikon 1 highlights that it wasn't clear, early on, who Mirrorless was going to be for, and what it was meant to achieve. Nikon was the sixth brand to enter the mirrorless market, at a time when Olympus and Panasonic were using Four Thirds sized sensors and Samsung and Sony were offering APS-C cameras. It wasn't obvious what role these cameras were going to play: primary cameras for photographers, secondary cameras to work alongside a DSLR system or primary cameras for people who weren't ever going to buy a DSLR.
With the small retractable kit lens (another innovation that's become commonplace), the Nikon 1s could let you take better images than contemporary compact cameras, but in an easier-to-bring-with-you package than a DSLR.
Nikon 1 V1 with Nikkor 1 10-30mm F3.5-5.6 @ 12.7 mm | 1/500 sec | F5.6 | ISO 100 Photo: Lars Rehm
Nikon said it was targeting that third group, presumably in an attempt not to undermine its own DSLR sales. But even then, the V1 and J1 didn't give coherent messages about whether they were supposed to be point-and-shoots or cameras you were expected to take some control over. And the prices: $649 for the J1 and $849 for the V1 each bundled with a 10-30mm zoom were higher than the asking price of the Panasonic GF3, which launched for $599 with a lens.
There was much about them that was impressive: their fast-readout sensors gave a taste for where autofocus on Mirrorless cameras was going. Their continuous AF, in particular, was significantly ahead of the pack, as was their ability to shoot Raws at up to 60fps.
However, their interfaces were frustratingly simplistic, with limited customization if you wanted to take control, yet their auto exposure and ISO systems often selected shutter speeds that would almost guarantee subject motion blur, undermining their appeal to beginners.
That wasn't the only drawback. The rather unambitious F3.5-5.6 and F3.8-5.6 zooms rather blunted the image quality potential of sensors that were impressively fast but pretty noisy, even for their size (dual conversion gain was a necessity, rather than a nicety for their Aptina sensors).
It's fair to say Nikon was bullish about the performance of the 1 Series
Presentation slide: Nikon UK
Nikon did eventually introduce two more photographer-focused lenses: an 18.5mm F1.8 (50mm F4.9 equiv) arrived a year later for around $200, with a ∼$900 32mm F1.2 (87m F3.3 equiv) hitting the shelves another eight months hence. But that's a lot of money just to get access to the camera's full photographic abilities.
The alternative was an FT-1 adapter that let you mount F-mount lenses on the 1 series cameras. But anyone who's questioned how many of Nikon's lenses make sense with the 1.5x crop of APS-C will not have found the situation any better with the 2.72x crop imposed by what Nikon called its 'CX' format.
The Nikon 1 cameras prompted one of DPReview's first forays onto YouTube, apparently before we'd worked out how to set up microphones or choose appropriate outfits for appearing on camera.
Nikon stuck with the 1 series for another few years: the last Nikkor 1 lenses were launched in March 2014, with the Sony-sensored Nikon 1 J5 bringing down the curtain on the whole affair a year later. With the benefit of hindsight, a small-sensor Mirrorless system looks like a difficult sell, but you can't blame Nikon for trying to appeal to an audience that didn't want the bulk and inconvenience of a DSLR.
Nikon wasn't alone in creating a small-sensor mirrorless system it later abandonned.
Photo: Andy Westlake
Nikon didn't give up on Type 1 as a format, developing a trio of photographers' compacts in 2016 that were promoted and then withdrawn at the eleventh hour. But who knows, maybe these false-starts meant Nikon was able to get up-and-running that bit quicker, when it finally decided the mirrorless was the future for its core audience.
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 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.
Connexion
