I am not an expert in economics, and I am not interested in a political discussion here, so I simply asked AI, "How will the new Trump tariffs impact the camera and lens imports to the US?". Here is the AI answer:
The new Trump tariffs, as of April 2, 2025, will likely have a notable impact on camera and lens imports to the U.S., particularly from key manufacturing hubs like Japan and China. Here’s a breakdown of the effects:
Higher Import Costs: The tariffs include a 24% increase on camera products from Japan and a 34% rate on goods from China, plus a 10% baseline tariff on imports from all trading partners. This directly raises the cost of bringing in cameras, lenses, and components from major players like Canon, Nikon, Sony (Japan), and third-party lens makers in China. For example, a lens or camera body that cost $500 to import could now face an additional $120-$170 in tariffs, depending on its origin.
Rising Consumer Prices: Historical data from Trump’s earlier tariffs (e.g., 2018-2019) shows that U.S. consumers typically absorb most of these costs. Importers and retailers are likely to pass on the tariff burden, potentially increasing the price of a $1,000 camera to $1,200-$1,340, factoring in the tariff, shipping, and taxes. This aligns with projections from groups like the Consumer Technology Association, which warned of significant price hikes in tech-related imports.
Supply Chain Shifts: Manufacturers may try to offset costs by relocating production. Many Japanese firms already moved some factories to Southeast Asia (e.g., Thailand) during Trump’s first term to dodge China-specific tariffs. However, if critical components still come from China, the 34% tariff applies, limiting the relief. Building U.S.-based production isn’t a quick fix—optics manufacturing requires specialized skills and infrastructure the U.S. currently lacks.
Inventory and Market Reactions: Uncertainty around tariff exemptions (e.g., temporary relief for Canada/Mexico auto imports) could prompt importers to stockpile goods pre-tariff, a trend seen in late 2024 with consumer hoarding. This might delay price spikes, but once stockpiles run dry, costs will climb. Demand could also soften if U.S. prices outpace those in untariffed markets like Europe.
No Quick Domestic Boost: Trump’s tariffs aim to spur U.S. manufacturing, but the camera industry has little domestic presence. Unlike steel or cars, camera production can’t easily shift stateside due to missing expertise and supply chains, meaning imports remain the lifeline—and the target of cost increases.
In short, expect pricier cameras and lenses in 2025, with limited immediate relief from domestic production. Manufacturers might eat some costs to stay competitive, but the bulk will likely hit U.S. buyers, echoing patterns from past tariff rounds where consumer prices rose without significant job gains in affected sectors. Retaliatory moves from Japan or China could further complicate the picture, but for now, it’s a cost-driven story.
Yesterday, Viltrox had some fun with April Fool's Day and announced a lens in its Air lineup that was, well, literally air. But today, the company has revealed a real addition to the Air series of compact and lightweight lenses. The AF 50mm F2.0 Air was initially announced and displayed at CP+, though details were extremely slim at that point. Now, though, things are more official, with full details available.
The AF 50mm F2.0 Air is available for Z-mount and E-mount. It joins the 20mm F2.8 and 40mm F2.5 full-frame lenses already in the lineup, along with 25mm F1.7, 35mm F1.7 and 56mm F1.7 APS-C Air lenses. The 50mm focal length, affectionately called the nifty fifty in the photography world, is a versatile option. It's ideal for everything from street photography and travel to portraits and more.
Image: Viltrox
Viltrox's take on this classic focal length is compact and lightweight, with the E-mount model weighing 205g (7.2oz) and the Z-mount version weighing slightly more at 220g (7.8oz). The optical design features thirteen elements in nine groups, which include three ED lenses, four high-refractive elements, and one aspherical element with HD nano-coating. Viltrox says it will provide "vivid, distortion-free images."
The lens offers an aperture range of F2.0 to F16 and it features a nine-blade aperture, resulting in what Viltrox says is "stunning bokeh." An STM motor drives autofocus, which works with eye and face detection, promises minimal focus breathing and supports in-body image stabilization. It can focus as close as 0.51m (20").
The Viltrox AF 50mm F2.0 Air is available today. It's currently on sale for $183, though it will cost $199 at full price.
Viltrox has just released the previously reported 50mm f/2 full-frame autofocus AIR lens for E and Z-mount. Pre-orders are now open (reg. price is at $199, intro price is $183 only at Amazon and Viltrox):
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Photo: Richard Butler
Some years ago, when I was relatively new to the camera industry, I wrote a post for DPReview's short-lived blog, suggesting it was high time someone re-thought the way camera interfaces work.
I used Apple as an example of a company making inroads into an established market by developing a completely different way to interact with a device. I had no idea, back then, just how much impact the iPhone would go on to have, of course. The iPhone 3G, the first to offer competitive communication speeds, had only been launched a few months earlier and it seemed impossible that the likes of Nokia would be swept away by a relatively small computer company.
I explicitly wasn't advocating for cameras to move to a smartphone-style touch interface, more for a blank-sheet reconsideration of what a camera needs to provide and how best to prioritize those things.
When I wrote a blog post in 2008 asking for an Apple-style re-think of the way cameras operate, I had no idea just how significant the iPhone would go on to become.
Rendering: Apple
Sixteen years later, no one's really attempted it. A lot of cameras still operate like film cameras with a dizzying array of digital functions clumsily added on top. Most manufacturers haven't significantly re-thought menu systems originally designed for 20-or-so options despite them now having to accommodate around 100. Arguably none of them work well at this point: the difference is in just how badly they cope.
The result is cameras that are only really usable by people who've spent quite a lot of time learning how to use them, which is why I quietly seethe every time I hear a camera being described as 'intuitive.' Photography's core elements are complex enough that there'll always be something of a learning curve, but there's probably a middle-ground between a smartphone that does everything from focus and exposure to adaptive processing for you and a camera that operates like a 1980s SLR with a text-based choose-you-own-adventure computer game glued to the back.
Small steps
There has been some innovation since then, of course: Pentax created the TAv (time and aperture priority) exposure mode that has now become commonplace in the form of allowing Auto ISO while in Manual exposure mode. And its Hyper Program mode where you could override its aperture or shutter speed decisions while retaining a high degree of automation.
Likewise, Canon introduced its Flexible Priority exposure mode (along with the disappointingly useless M-Fn swipe bar) on the EOS R, which let you select which of aperture value, shutter speed and ISO you controlled and which were automated, on-the-fly. I'll confess I never quite managed to get my head 'round using it quickly enough for it to be beneficial.
The Sigma BF is not the answer
With its dedicated settings screen, the Sigma BF represents a radical new approach to camera operation.
Photo: Richard Butler
The Sigma BF is one of the most radical attempts I've witnessed to re-think how a camera operates. That's why I've put so much time into making videos about it over the past few weeks: because it's so different to anything you might have used before that it's hard to appreciate without seeing it in action.
To be absolutely clear: it is not the future of photography. It's a fascinating, back-to-fundamentals way of controlling a camera that makes you really think about shutter speed, aperture and exposure compensation (and by extension, ISO), in a way I've found quite inspiring. However, it engenders (perhaps even enforces) a slow, contemplative way of shooting that wouldn't be appropriate for most photography or most photographers.
I'll admit when I first heard the underlying specs of the BF I was worried Sigma had somehow taken five years to make a more limited version of the fp, which would appear to be a complete waste of everyone's time. But when I got to actually use it, the interface turned out to make it one of the most interesting cameras I've used in years. Again, not as an all-round, do-anything camera: even if you added a mechanical shutter, it wouldn't be that. But as an attractive device for documenting the world, it's strangely compelling.
All about the detail
Whatever you might think about the BF, a little bit of time spent using it reveals just how much thought has gone into its interface. Learning to operate each function one at a time through the dedicated settings display, then using the main LCD solely for composition and focus, with no incomprehensible icons distracting you, is unexpectedly engaging.
Whereas on the single-dial Panasonic S9 I find myself constantly frustrated, pressing buttons, cursing and wishing for a second control dial, on the BF I've found myself intentionally passing the aperture control back to the camera's single dial. It's difficult to rationalize, and yet, it makes sense when the camera is in your hand.
There are two details that have jumped out at me. The first is that: when you half-press the shutter, just as you're about to take your shot, the BF switches the dial's function to exposure compensation. It's a lovely little touch: it assumes you've selected the aperture and/or shutter speed you want, creatively, but makes it easy to give it a little tweak at the last moment, if needed.
It just works
But the detail that really stood out to me is the way White Balance is handled. Not something you might usually notice or pay attention to, but the way it's handled on the BF is so clever that it makes you realize how much thought has gone into it.
When you first turn the camera on, the White Balance icons are arranged in order of color temperature, so that you can scroll from correcting too much orange light to correcting too much blue. That's standard enough.
Custom White Balance presets get saved along the white balance continuum in the menus. You can tap the trash icon to delete them.
But what jumped out at me is what happens when you set a custom white balance. For this you have to bring up the 10-setting function menu to access the Custom WB option, but whatever value it records is then saved as a preset, in sequence along the color temperature spectrum.
So if you set a custom white balance that isn't quite as cooling as the Incandescent preset, that custom preset will now appear between the Incandescent and Fluorescent settings as you scroll through your white balance options. If you find you no longer need that preset, you can delete it.
Becuase the custom presets appear in sequence, they can be easily selected from the dedicated settings screen at the top corner of the camera. The two presets displayed in Kelvin are custom settings I've created.
Animation: Richard Butler
Manually defined white balance values are treated a little differently: they still appear in their relative position on the scale, but have to be selected from the function menu because, once selected, the rear dial adjusts their value, rather than jumping between presets. I was annoyed by this inconsistency at first, but it makes sense that you're more likely to want to constantly fine-tune a white balance value you've chosen yourself, rather than setting from a grey card.
Ultimately, the handling of white balance is a tiny little detail for a setting most people don't regularly interact with, but a detail that's redolent of the degree of consideration that's gone into ensuring the BF can be operated using a screen that displays a single parameter at a time.
There's still need for revolution
As I hope I've made clear, I'm not saying the Sigma BF is the iPhone of the camera industry: far from it. But sixteen or so years after asking for it, it's lovely to see someone willing to radically rethink how a camera could work. And I want to acknowledge Sigma and whoever designed the BF's White Balance system for doing so.
The National Association of Broadcasters (NAB) is still a few days away, but Adobe has announced updates coming for video users in anticipation of the annual trade show. Most of the changes are focused on Adobe Premiere Pro. The latest features, all of which have already been available in beta, aim to streamline the editing process even more with the help of various AI-based tools. Frame.io is also getting a few updates, making collaborating and controlling your files easier.
Adobe Premiere Pro updates
Image: Adobe
One of the more exciting beta tools that is getting general availability is Generative Extend. Powered by Adobe Firefly, Generative Extend uses AI to create a few extra frames when clips are just a bit too short. Firefly essentially uses the audio and video from your clip as a prompt and adds a few frames. It's ideal for holding on to a character reaction for an extra beat, extending sound effects or cutting an awkward gesture or facial expression right at the end of a clip.
DPReview's Mitchell Clark tested Generative Extend when it was announced at Adobe Max last year and was quite impressed. At the time, there were quite a few limitations, but luckily, Adobe addressed those. Now that it's moving out of beta, it works with up to 4K video and also works on vertical videos. It also works in the background, so you can keep editing while it processes.
Adobe says Generative Extend is safe for commercial use and that appropriate Content Credentials are embedded in the file. Adobe has also said that your content remains your own and is not used to train these AI models. The tool is free to use for now, though, after a "limited time" (Adobe didn't provide any more detail), Generative Extend will require Firefly generative credits. Pricing will vary based on the format, frame rate and resolution of your video.
Media Intelligence, an AI-powered search tool, is also coming out of beta. A search panel in the upper right-hand corner of Premiere Pro allows users to search for everything in one spot, with the AI recognizing the content of your clips, including objects, locations, camera angles and more. Adobe released the beta version of Media Intelligence and the AI-powered search panel in January, but now there will be full access to the feature.
Image: Adobe
Media Intelligence allows you to search using natural language, and it will find any matching visuals, spoken words or even embedded metadata. The AI recognition happens locally, so no internet is required. It promises to significantly speed up the editing workflow for those who need to pull from large libraries or are working on big projects.
Image: Adobe
Caption Translation, yet another January beta release, is also coming out of beta. This tool allows for AI-powered multilingual caption generation, saving users quite a bit of time when translating captions. It currently supports 27 languages and can be accessed in the Text Panel. You can even display multiple visible caption tracks simultaneously for greater flexibility.
Finally, a non-AI-based tool is also on the list of beta features going mainstream. Adobe's new Color Management feature allows users to transform Log and Raw from nearly any camera to SDR and HDR without LUTs. Adobe says it is a simple and approachable feature with six presets that any video editor can use, no matter their experience level. It also says it will be easier to match videos from different cameras and to define the look and feel of your videos.
All of the new Premiere Pro features are generally available today.
Adobe Frame.io updates
Frame.io is Adobe's take on collaborative media management. Last fall, Adobe added Lightroom integration for the platform, making it more usable for those who need access to more than just video work. Now, the company has added more tools for collaboration. Many of the tools are only available (or applicable) to larger teams, but there are some useful features even for smaller collaborations.
An example of the watermarking tool in Frame.io
Image: Adobe
Admins now have the option to create brand templates that any user can apply, making it easier for teams to create consistent content with a branded visual identity. It's also possible to protect work-in-progress content with custom watermarks, though you'll need a Pro, Team or Enterprise account to use those.
While you may want to share your files with collaborators, you don't necessarily need everyone to have editing or even commenting access. Adobe has added restricted folders, which allow you to keep things organized while protecting sensitive assets and discussions. These folders will allow you to set customizable permissions, changing who has access to view, comment or edit.
The Frame.io features are generally available today.
Working with lights can be challenging for many reasons, but partly because of the manual adjustments necessary as you dial in your setup or when changing your lighting. Accessory maker Falcam, a sub-brand of Ulanzi, aims to take some of that work out of the equation with its latest release, the Move LightGo.
The Move LightGo essentially adds a motorized head to your light stand, giving you remote access to angle adjustments. The device mounts to the light stand and attaches to the front of the light via Bowens mount. Unfortunately, lights with other mounts aren't compatible with the Move LightGo.
Image: Falcam
Once attached, you can control the Move LightGo with a wired remote (included), a wireless remote with up to 30m (98.4') of range (for purchase separately), or an app with up to 10m (32.8') of range. It supports dual-axis movement with 170 degrees of tilt and 450 degrees of panning. Having the option to rotate and tilt the light without having to physically be near it could save a lot of time. Perhaps even more helpful, though, is the option for remote adjustment when the light stand is extended and out of arm's reach.
Falcam explains that the Move LightGo even adds tilt capabilities. Most light setups can't adjust a full 170 degrees with certain lighting modifiers attached because the stand gets in the way. However, since the Move LightGo extends the light away from the stand, it allows for extra tilt when working with larger modifiers.
The MoveLight Go Wireless Remote.
Image: Falcam
The Move LightGo allows users to assign unique numbers to each unit, so if they have multiple, they can control each one individually. You can also save and recall preset light positions for even faster adjustments. It also features screw holes and Arri location holes for adding additional accessories.
The device requires power, but it is compatible with multiple power solutions. That includes AC power input with USB-C connection (a standard power cable is included), power-sharing modules or a V-mount battery or power bank. Falcam sells two power adapter modules – the Move LightGo Cannon 600 and DC 200 – both of which are available for purchase separately for $15. It can hold up to 6kg (13.2lbs) and weighs 1.68kg (3.7lbs).
The Move LightGo is available for purchase starting today for $249. It includes a wired controller, but from April 2nd to April 13th, Falcam is including a free wireless remote control with every Move LightGo order.
Venus Optics will announce the world's widest Laowa probe full-frame zoom lenses at the NAB show next week. Two different versions will be introduced: 15-24mm T8 and 15-35mm T12 with 3 different interchangeable barrels: Direct View, 35-Degree View & Periscope View (previously reported here). Additional information:
The new lenses offer the longest zoom range ever of 2.3x with the longest tube length in its class for enhanced framing and creative freedom.
The default lens mount option is ARRI PL mount with optional interchangeable mounts available for Sony E, Canon EF, Canon RF, Nikon Z, and Leica L-mount.
A new lens manufacturer from China called Songraw will soon announce a 50mm f/1.2 full-frame AF lens for Sony E and Nikon Z-mount priced at around $860:
GCCA Concrete in Life 2024/25 photography competition winners
Photo contests typically have some sort of central theme or guiding topic, but that isn't often centered around a building material. The Concrete in Life contest, however, does just that. Run by the Global Cement and Concrete Association (GCCA), the contest aims to highlight concrete's beauty and essentiality worldwide. The winners of the sixth annual running of the contest have been announced, having been selected from more than 20,000 entries.
"The stunning images highlight concrete’s positive impact on our lives right across the planet," said Thomas Guillot, GCCA Chief Executive who helped to judge this year’s competition. "Whether it’s the vital infrastructure such as bridges, railways and roads that we travel along or the homes, offices and schools we inhabit, concrete is a truly versatile material. Our competition gives anyone with a smartphone as well as professional photographers, the chance to show just how essential concrete is to our lives, as well as how beautiful it can be."
The contest is open to any type of camera, from smartphones to professional equipment. The contest awards an overall winner with a prize of $10,000. There are also four category winners – Urban Design and Use, Concrete Infrastructure, Concrete in Daily Life and Beauty and Design – with one winner per category winning $2,500. Finally, a People's Choice award winner receives $5,000.
Concrete in Life Photo of the Year 2024/25: Henrik Hagerup
Photographer: Henrik Hagerup
Image title: Venice Beach Skating
Image location: Venice Beach, Los Angeles, USA
Description: A magical morning where the skaters work their magic on the concrete rink with the Pacific Ocean as a backdrop, the picture illustrates the professional skater and the little boy who dreams big dreams.
Statement: I am truly honored, overjoyed, and deeply humbled that you have chosen my image as the Overall Winner of the Concrete in Life 2024/25 Competition.
I captured my picture at Venice Beach in Los Angeles, a vibrant destination where people from all over the world come to enjoy the sun, the ocean and not least, the iconic skate park, this vibrant space is a magnet for creativity, where something exciting is always unfolding. When in L.A. I often spend hours here, camera in hand, patiently waiting for the perfect moment to emerge.
From the very start, I noticed a young boy who I instinctively knew could become an essential part of my story. Through this image, I aimed to illustrate how concrete shapes the lives of those who play, dream, and push the limits of possibility. The experienced skater, who has mastered the smooth surface through dedication and skill, stands as an inspiration to the child, whose hopes and ambitions are just beginning to take form.
My image is a tribute to the way concrete, when embraced by creativity and passion, fosters connection, dreams, and boundless potential not just in skate parks, but in communities across the world.
Urban Design and Use winner: Anvar Sadath TA
Photographer: Anvar Sadath TA
Image title: Urban Flow
Image location: Dubai, UAE
Description: The iconic Burj Khalifa rises above the futuristic skyline, framed by surrounding architectural marvels and concrete curves, all mirrored in the shimmering waters of the city.
Statement: I am honored to be the winner of the Concrete in Life 2025 competition in the Urban Concrete category! My winning photograph captures the dynamic relationship between concrete structures and the vibrant cityscape, reflecting how concrete shapes our urban experiences.
This recognition reinforces my passion for storytelling through photography, and I hope my image inspires others to find beauty in the everyday structures that define our cities. My heartfelt thanks to the GCCA for this incredible honor. I also extend my sincere gratitude to the judges and the entire GCCA team for supporting photographers and celebrating visual storytelling.
Concrete Infrastructure winner: Wentao Guo
Photographer: Wentao Guo
Image title: Structure as Aesthetics
Image location: Washington D.C. USA
Description: In Harry Weese’s Washington subway station, concrete transcends time and function: its light and shadow align precisely with the motion of countless trains passing through; its rectangular division aesthetically resonates with the sense of security and austerity of the mass transportation station in the United States’ capital city.
Statement: I took this photo at one of the Washington DC subway stations designed by Harry Weese. I was captivated by the moment when the transience of transportation runs into the permanence of concrete. Its obscurity becomes its greatest presence: its functionality, its aesthetic and its enduringness. Concrete is such an essential part of our lives and it constructs so many characters of our built environment. I am very honored to be a winner of the Concrete in Life 2425 competition, having a valuable opportunity to reveal the essence of concrete in our built environment through my lens.”
Concrete in Daily Life winner: Wellington Kuswanto
Photographer: Wellington Kuswanto
Image title: Daily Life in Bedok Jetty
Image location: Bedok Jetty, Singapore
Description: Bedok Jetty serves as an urban public space in Singapore, offering people a serene retreat for fishing, sport & leisure activities, and scenic waterfront view. Urban public space like this is vital for fostering community engagement, social interaction, and a sense of belonging among people.
Statement: I’m truly thrilled that the judges selected my photo as the winner in the daily life category.
Bedok Jetty holds a special place for me, as I cycle and hang out there every weekend. It inspired me to submit the image of this particular place for the competition, as it showcases a public space made of concrete structure that is actively used by many people engaging in various activities as part of their daily lives
Beauty and Design winner: Artemio Layno
Photographer: Artemio Layno
Image title: Broken Building
Image location: Amsterdam, Netherlands
Description: Valley is a residential and office tower on the Zuidas in Amsterdam. The three towers are respectively 100 metres (north), 66 metres (west) and 76 metres (south) high. The 75,000-square-metre building, which was recently declared the world’s best new skyscraper by the Emporis Awards, stands out in Amsterdam. The construction of Valley took four years, with the first residents and entrepreneurs moving into the building at the end of 2021.
Statement: I am really happy and grateful that my photo is chosen to be a winner of the Concrete in Life 2425 competition. I took the photo at Amsterdam, Netherlands and I was amazed how creative and modern the design of the building is, it looks like it was cut-out and separated in the middle of the main structure, the design is created by a large number of terraces. Concrete is not just used as a necessity in creating structures but it can also be used to showcase artistic works that are amazingly beautiful.
People's Choice winner: Mohamed Rafi
Photographer: Mohamed Rafi
Image title: Fluttering Through Life
Image location: Pondicherry, India
Description: When I saw this wall near Pondicherry Beach, I waited for someone to enter the frame. I captured a few casual shots, then this elderly woman walked in. Dressed in a floral outfit with a black shawl, she moved with quiet grace. I clicked my shutter as much as possible, not wanting to miss the moment. For me, it was a powerful intersection of reality and art, symbolizing unseen strength and the beauty of everyday life.
Statement: I am truly honoured to win the People’s Vote Category of the Concrete in Life 2024/25 competition. This photograph, taken in Pondicherry India, captures an everyday moment transformed by art: an elderly woman walking past a mural, unknowingly aligning with its butterfly wings painted in a wall. To me, it symbolizes resilience, unseen beauty, and how our surroundings shape us in ways we don’t always realise. Street photography is about finding meaning in fleeting moments, and I’m thrilled that this image resonated with so many people.
Shortlist: Febina Nabeel
Photographer: Febina Nabeel
Category: Beauty and Design
Title: Where Nature and Architecture come together!
Image location: Abrahamic Family House, Abu Dhabi, UAE
Description: Abrahamic Family House combines the three Houses of Worship - Eminence Ahmed El-Tayeb Mosque, St.Francis Church and Moses Ben Maimon Synagogue.
The olive tree representing peace and friendship.
Shortlist: Edwin Loyola
Photographer: Edwin Loyola
Category: Beauty and Design
Title: The Oculus
Image location: New York City, USA
Description: The World Trade Center’s Oculus, designed by the visionary Spanish architect Santiago Calatrava, is a triumphant transportation hub that embodies the unbreakable spirit of New York City. Situated in the heart of Manhattan, the Oculus serves as a vibrant gateway to the city, seamlessly connecting millions of people to 12 NYC Transit subway lines, while also offering an unparalleled shopping and dining experience.
Shortlist: Jason Balaba
Photographer: Jason Balaba
Category: Beauty and Design
Title: Futuristic Ithra Library
Image location: Dhahran, Saudia Arabia
Description: The futuristic design of Ithra Library is inspired by natural, organic shapes, and the building as a whole feels like it is in constant transformation, symbolizing progress and cultural growth.
Shortlist: Ee Long Tan
Photographer: Ee Long Tan
Category: Concrete in Daily Life
Title: Colorful Stairs
Image location: Batu Caves,Selangor, Malaysia
Description: The most striking thing in the photo is the bright colors of the stairs,red,orange,yellow,green,blue,and purple,with distinct layers,as if a rainbow fell from the sky. These colors not only make the stairs more beautiful,but also give it deeper cultural and religious significance.
Shortlist:
Photographer: Ricardo Funari
Category: Concrete in Daily Life
Title: Maracanã
Image location: Outside Maracanã stadium, Rio de Janeiro, Brazil
Description: My eyes were attracted by the curious and funny shadow of the boy playing with his soccer ball projected by the mid-afternoon sun on the concrete floor surrounded by palm trees at Maracanã stadium in Rio de Janeiro.
Shortlist: Shibasish Saha
Photographer: Shibasish Saha
Category: Concrete in Daily Life
Title: Drying incense sticks
Image location: Hanoi, Vietnam
Description: Quang Phu Cau Incense Village is a picturesque place where vibrant red incense sticks are laid out under the golden sun, creating a surreal scene. The air is filled with a calming aroma as friendly artisans dye and dry the incense with skilled, rhythmic movements. The village buzzes with quiet activity, children's laughter, and the warmth of a timeless Vietnamese tradition. It's a beautiful, unforgettable experience.
Shortlist: Ian Payne
Photographer: Ian Payne
Category: Concrete Infrastructure
Title: Hyperboloid
Image location: Slough, UK
Description: A beautiful summer's day with the temperature around 30°C, I did what any sensible person would do, walk around an industrial estate to photograph newly painted concrete cooling towers. The heat shimmered off the tarmac, but the towers stood out, sharp and clean against the sky. Worth the sweat? Absolutely.
Shortlist: Serdar Aydin
Photographer: Serdar Aydin
Category: Concrete Infrastructure
Title: Varyant
Image location: Izmir, Turkey
Description: In İzmir, Türkiye, buses navigate a winding road called Varyant. This uniquely shaped route, made of concrete and asphalt, might be an uncomfortable ride for passengers, but from above, it offers a stunning view.
Shortlist: Anna Kropf
Photographer: Anna Kropf
Category: Urban Concrete
Title: Arch_ES_Valencia
Image location: Designed by Santiago Calatrava and Félix Candela. Museu de les Ciències Príncipe Felipe (2000) – an interactive museum of science that resembles the skeleton of a whale.
Description: The City of Arts and Sciences (Valencian: Ciutat de les Arts i les Ciències, Spanish: Ciudad de las Artes y las Ciencias)[a] is a cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia and one of the 12 Treasures of Spain.
Shortlist: Jacob Surland
Photographer: Jacob Surland
Category: Urban Concrete
Title: Door to the Unknown
Image location: Aalborg, Denmark
Description: I shot this photo in February 2024. It is of a side door to the old power plant Nordkraft (North Power). It is now a recreational and cultural center including a cinema and concert hall. When I was a child, it was the new Power Plant and it was a Monument of the city and the first thing you would see, when driving towards Aalborg. It was a sign that told you, that you were soon home.
On a recent trip to Japan, I found myself in one of those situations universally dreaded by travelers: showing up for an international flight with a pocketful of unspent local currency and nowhere to spend it except a duty-free shop. I was swimming in a Scrooge McDuckian sea of unused Yen.
The idea of bringing home yet another Toblerone bar, that triangular brick of duty-free despair, was soul crushing. I desperately searched for something – anything – else to needlessly throw my money at.
Then I saw the Hello Kitty Toy Camera, a small rangefinder-shaped camera complete with an optical viewfinder and removable memory card. You can find these toy cameras all over Japan at stores like Bic Camera, but I never considered buying one until I was in a use-it-or-lose-it cash scenario.
Watch our hands-on review of the Hello Kitty toy camera.
Given the choice of drowning my sorrows in yet another Toblerone bar, snagging a box of Tokyo Bananas or dropping a pocketful of Yen on the Hello Kitty camera, my duty to DPReview came first. Which is why, dear readers, I'm going to tell you about yet another camera you never knew you didn't want.
Key specifications
1.3MP Type 1/10 CMOS sensor (approximately 1.28 x 0.96mm)
3.2mm F2.8 fixed-focus lens
Optical viewfinder
ISO 100 (fixed)
Single Micro SDHC card slot
Video capture (720x480/30p)
Fake buttons and controls
Pink Hello Kitty styling
How it compares
It's hard to find cameras that are directly comparable to the Hello Kitty Toy Camera, so we decided the best course of action would be to compare it to another rangefinder-style camera: the Fujifilm X100VI.
As the table below illustrates, we can make the Hello Kitty camera appear competitive with the more expensive X100VI by picking just the right specs to compare.
Hello Kitty Toy Camera
Fujifilm X100VI
MSRP
$45
$1599
Sensor size (crop factor)
1.25mm² * (27x)
369mm² (1.53x)
Resolution
1.3MP
40MP
Max aperture
F2.8
F2
Viewfinder
Optical
Optical
Hello Kitty-themed art
Yes
No
Trendy color options
Yes
No
Fake buttons to look more professional
Yes
No
Memory card type
Micro SDHC
UHS-I SD
Number of existential mid-life crises induced in the average camera reviewer during testing
3
0
Weight
18g
521g
On paper, both cameras earn superlatives in some areas. While the Fujifilm wins on key specs like sensor size and resolution, it's hard to ignore the price tag and uber-light weight of the Hello Kitty camera. Along with the fact that the Hello Kitty camera can fit in a real pants pocket, not the ambiguous 'jacket pocket' reviewers always talk about.
The number of existential mid-life crises induced in a camera reviewer is a spec that's often overlooked in reviews. The Hello Kitty camera definitely wins here. As long as we're clear that by 'wins', we mean 'loses'.
Body and handling
Photo: Dale Baskin
The Hello Kitty camera is a rangefinder-shaped camera with silver-colored top and bottom plates and an optical viewfinder. I call it a 'rangefinder-shaped' camera because it's not actually a rangefinder. But, then again, neither is the Fujifilm X100VI.
You won't use the viewfinder. It's either so bad that it makes you dizzy, or it's a window into 4-dimensional space the human brain isn't wired to comprehend. Either way, it will drive you to madness.
The optical viewfinder is a nice touch, but trying to use it will drive you to madness.
Photo: Dale Baskin
The camera includes two functional controls along with two other controls that are just for show. The On/Off button on the top plate doubles as the shutter button, and the Mode button adjacent to it lets you switch the camera between photo, video and audio recording modes.
The other controls are fake, fooling absolutely no one.
The 3.2mm F2.8 lens, which I'm pretty sure is made of a chunk of polished candy, has ridged edges that beg to be rotated. But trying that would be a mistake as it would break the camera. You just have to embrace it for what it is.
Here's a picture of the Hello Kitty camera that better illustrates its size. Yep, it's that small. Also, that lever on the front is fake.
Photo: Dale Baskin
Taking photos is best accomplished with a 'spray and pray' approach. You point, shoot and hope. I say 'hope' because the camera doesn't actually take a photo of what's in front of you but something off to one side. It's like having an integrated AI that guesses what you're trying to photograph, then fails spectacularly every time.
Image quality
No DPReview camera review would be complete without our studio test scene.
A quick glance at the studio scene doesn't reveal anything except digital despair. The camera captures light, but it's notably short on fine detail. Or any detail. The sensor's dynamic range can best be described as 'on' or 'off'.
I have to come clean. I didn't take this photo in our studio because I couldn't justify the time it would have taken to do so. Instead, I used a life-sized print of the studio scene I keep at home, captured using a $45,000, 150MP Phase One camera. Don't worry; you won't be able to tell the difference in the images from the Hello Kitty camera.
For that matter, you probably wouldn't be able to tell the difference between the real studio scene and an impressionist painting of it.
The photos from the Hello Kitty camera are so bad as to border on some kind of avant-garde art.
Photo: Dale Baskin
The one redeeming quality I can see in the images is that they're so bad as to border on some kind of avant-garde art. They have a certain je ne sais quoi, if the 'quoi' is 'blurry, pixelated and eye-watering.'
Video
This clip shows the video capabilities of the Hello Kitty camera, which captures 720x480 resolution at 30fps. And yes, of course it's a cat video.
It's incredible that this camera even shoots video, capturing 720x480 resolution, which I'm pretty sure is the same resolution my not-inexpensive Panasonic DVX100 video camera captured about 20 years ago. Though the Panasonic had the advantage of being a 3-CCD system. And having a lens that could fully resolve an image of an avocado.
If your idea of quality video is watching a bootleg copy of the movie ET your parents recorded on network television in 1984, you'll be delighted with the results.
Conclusion
With my journalistic integrity now hanging by a thread – or a pink piece of yarn – I have to find some way to wrap up this review. My professional reputation is in the hands of an animated cat, and I'm strangely OK with that.
Photo: Dale Baskin
I'm not sure if this camera is a toy or a subtle form of psychological warfare aimed at photographers. I've temporarily convinced myself it was a sound purchase, knowing a crushing pink wave of buyer's remorse will eventually hit me like a pixelated tsunami; after all, this is one of the worst photography products I've ever used.
And yet, I have a weird affinity for it.
My six-year-old niece loves using the Hello Kitty camera. So does my cat. But instead of taking photos, he mostly just wants to kill it. I don't know if he has some kind of Hello Kitty issue he's working through or if it's just because cats are basically little killing machines who happen to be cute.
But it does make me wonder if it might actually be possible to put a price on happiness: $45 (plus the cost of therapy).
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Nikon has scheduled events for April 2-3, but as usual, it is still not certain whether this is the official camera announcement or the internal presentation to the press and the influencers. If the official Z5II announcement doesn’t happen this week, it will most likely be next week.
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Super Focus v2: A second-generation of Super Focus and now our most powerful sharpening and focus recovery model EVER. Powered by the same architecture as Recovery v2, this model is 500% faster than before.
Super Focus is MEGA FAST in the Cloud: It’s true! This model is even FASTER in the cloud than some of our standard sharpening and upscaling models. This means the credit cost is super low in comparison to before. If you can’t run Super Focus v2 on your machine - no worries, because you’re gonna love this in the cloud.
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Lynsey Addario is a renowned photojournalist whose work has been published in prominent publications like The New York Times, National Geographic, and Time. She documents conflicts, humanitarian crises and women's issues around the Middle East and Africa, highlighting the human elements of war and crisis. She wrote a New York Times Bestselling memoir in 2025 and has received numerous awards, including a MacArthur fellowship and two Emmy nominations. She was also part of the New York Times team to win a Pulitzer prize for overseas reporting from Afghanistan and Pakistan and holds three Honorary Doctorate Degrees.
Patience Zalanga is a freelance photographer from Minneapolis-St. Paul, Minnesota. Her work is documentary in style, and, for the past six years, primarily focuses on capturing social movements across the United States. Zalanga's images have been featured in Time, The New York Times, NPR, Buzzfeed News and more.
Luisa Dörr is a Brazilian photographer known for her powerful portraiture and storytelling, which often focuses on themes of femininity, cultural identity and resilience. She has been widely published in outlets such as Time, National Geographic and The New York Times. Additionally, she has received international recognition for her Firsts project with Time magazine, where she photographed 46 trailblazing women and has received numerous awards, including a World Press Photo Award for her series on Falleras.
Cassy Athena is a Los Angeles, California-based photographer renowned for her sports photography, specifically with the NBA. She has captured candid and personal moments of some of the NBA's biggest stars, including LeBron James, Kevin Durant and Stephen Curry. Her work has been featured in Sports Illustrated, Slam Magazine and Billboard, and she is also a Getty Images contributor. Athena has also collaborated with brands like Nike, Under Armour and Jordan Brand.
Kim Powell is an architectural photographer based in Greece. She, along with her partner, Thomas, captures a variety of projects, working with architects, interior designers and home builders. Her imagery is clean and fresh, highlighting the unique characteristics of each space.
Tawni Bannister is a photographer and director based in Los Angeles and New York. She works across various genres, including commercial, editorial and fashion. Her photographs blend elements of fine art and documentary photography, embracing color and texture to showcase personality. Bannister's images have been featured in publications like Vogue, Harper's Bazaar and The New York Times, and she has worked with Allbirds, Allure, Athleta, Climique, J.Crew, Samsung and more.
Jamie Beck is an American photographer, visual artist and author who is currently living and working in Provence, France. She is known for her romantic and expressive style, drawing inspiration from classical art and nature. Her floral still-life images and self-portraits are reminiscent of classical paintings, with rich texture and dramatic light. Beck's photographs have been featured in Vogue, The New York Times, Fobes, Travel + Leisure and more. She, along with her husband, Kevin Burg, created the Cinemagraph, a hybrid of photography and video.
Emily Maye is a photographer and film director known for her narrative-driven approach to capturing athletes. Her images show the humanity behind the athletes' discipline, focusing on intimate, behind-the-scenes moments rather than traditional action shots. She has photographed Serena Williams, Usain Bolt, Jayson Tatum, Steve Nash and more and has collaborated with Nike, Adidas, Lululemon, Rapha, The North Face, Gatorade and Puma.
Cig Harvey is a fine art photographer, writer and educator. Her imagery is deeply personal and evocative, exploring themes of nature, family, belonging and the passage of time. She is known for her rich use of color and natural light, capturing the magic in the mundane with a dreamlike quality. Harvey has exhibited her work internationally and received numerous awards.
Alison Arena is a professional photographer and founder of Ignite Media, a full-service agency. Much of her work is centered around motorsports, creating photographs and videos for clients such as Mazda, Red Bull, Ferrari NA and Wired. She travels around the country to capture IMSA events, the Spec Miata Series, the 24 Hours of Daytona and more.
Emily Howe is a Brooklyn-based photographer and award-winning creative. Her photographs span multiple genres, including portraiture, travel and street photography, all with a focus on storytelling. Her work has been featured in Time, NY Mag, Refinery29, Google and Netflix.
Jasmine Quiñones is a Texas-based filmmaker and director. She crafts commercial and narrative film projects with a gritty, documentary-based style. Quiñones often combines sports and urban lifestyle into her projects and has worked with various clients, including Fujifilm, Nike, Ladder and more.
Mykim Dang is a media producer and full stack creator who works across mediums. She is currently the Director of Video and Voices here at Gear Patrol and DPReview, crafting much of the video content that you see on the site and our social media channels. Beyond her video work, she also takes spectacular photos with an eye for storytelling.
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