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The Nikon Z-mount version of the Voigtländer Nokton 28mm F1.5.
Image: Cosina
In December last year, Cosina announced the Voigtländer Nokton manual focus 28mm F1.5 prime for Sony E-mount. It released an update last week that the lens will be available beginning January 23. Now, the lens maker has announced a Nikon Z-mount version of the same lens, which is expected to be available sometime in February. Cosina currently lists the suggested retail price of both versions at ¥130,000, or around $833 at the time of writing.
The two lenses are mostly identical, though there are some noteworthy differences. Naturally, the lens Cosina had to adjust each model to account for the different mounts, resulting in slightly different sizes. The Z-mount weighs 360g (12.7oz) and measures 67.6mm (2.7") in diameter and 57mm (2.2") long, while the E-mount weighs 320g (11.3oz) and measures 62.6mm (2.5") in diameter and 55mm (2.2") in length. Naturally, there is a difference in filter size as well. The Nikon Z-mount model features a 52mm filter thread, while the Sony E-mount uses a 49mm filter. The knurling texture is also slightly different between the E-mount and Z-mount versions.
While both versions feature an aperture control ring, which photographers will need to use to manually control the aperture, it does appear that one is more tailored to video than the other. Interestingly, the page for the Sony version specifies that the aperture ring can be de-clicked to operate silently while recording video, while the Nikon version does not mention this.
The Sony E-mount version of the Voigtländer Nokton 28mm F1.5.
Image: Cosina
The 28mm F1.5 is designed for full-frame cameras (though they can be used on APS-C models) and offers an aperture range of F1.5 to F16 with a 12-blade diaphragm to help produce round bokeh. It features ten optical elements in eight groups.
The lens is manual focus only, as we would expect from a Voigtländer lens. It is, however, equipped with electronic contacts, which provide Exif data and support in-body image stabilization when paired with a camera that offers it. Additionally, the contacts communicate focus distance, which allows for focus assistance features, which vary depending on what camera you're using them with.
Voigtländer Nokton 28mm F1.5 for Nikon Z-mount manufacturer sample images
Astronomy photographers, your time to shine is here. The 2025 Astronomy Photographer of the Year contest is now open for entries, giving you the opportunity to submit your favorite images of the night sky. The contest is hosted by the Royal Observatory, Greenwich and seeks to highlight epic space photography. Participants have the chance to win cash prizes, the chance to have their image displayed in an exhibition at the National Maritime Museum and a year's subscription to BBC Sky at Night Magazine. Entries are open until March 3, 2025, at noon GMT.
The contest includes eight categories for adults (anyone 16 and older). While some categories require powerful magnification, others focus on the night sky more broadly, so you don't need a powerful telescope to participate. A separate Young Competition is open to those 15 and younger. The Young Competition is completely open and has no individual categories.
The Astronomy Photographer of the Year website defines the adult categories as the following:
Aurorae: Photographs featuring the northern and southern lights (Aurora Borealis and Aurora Australis)
Galaxies: Photographs of deep-space objects beyond the Milky Way galaxy, including galaxies, galaxy clusters and stellar associations
Our Moon: Photographs of the Moon, including lunar eclipses and the occultation of stars and planets. Images of the Moon alongside earthly scenery may also be entered into this category, or into Skyscapes
Our Sun: Photographs of the Sun, including solar eclipses and transits. Images of the Sun alongside earthly scenery may also be entered into this category, or into Skyscapes
People and Space: Photographs of the night sky that include people or elements that show the presence or influence of human beings
Planets, Comets and Asteroids: Photographs of objects in our solar system, including planets and their satellites, comets, asteroids and other forms of zodiacal debris. Images of the Moon, Sun and Earth should not be entered into this category
Skyscapes: Photographs of landscapes, seascapes and cityscapes in which the night sky or twilight sky is a prominent feature. Star trails and images of noctilucent and nacreous clouds, halos, meteors and other upper atmospheric phenomena may also be entered into this category
Stars and Nebulae: Photographs of deep-space objects in the Milky Way galaxy, including stars, star clusters, supernova remnants, nebulae and other astro-photographic targets within the Milky Way galaxy.
The overall winner across all adult categories will win a prize of £10,000 (roughly $12,231 at the time of writing) and the title of Astronomy Photographer of the Year. The judges will also select a winner, runner-up and one highly commended entry from each category for the adult categories, plus a winner, runner-up and three highly commended images in the Young Competition. Prizes are £1,500 ($1,835), £500 ($611) and £250 ($305), respectively.
Additionally, there are two special prizes available. The Sir Patrick Moore Prize for Best Newcomer is for new astronomy photographers who have only been practicing in the genre since January 2024, are 16 or older, and haven't entered the competition before. The Annie Maunder Open Category is for rewarding innovative approaches to astronomy art. Both offer a prize of £750 ($917).
Honor has announced global availability for the Magic7 Pro, a flagship phone that features a 200MP sensor on its telephoto lens. While the phone has been available in China since October, it's now available many more countries.
Despite having the highest resolution, the 200MP camera actually isn't the phone's main shooter. The Magic7 Pro's 'wide' camera uses a 50MP Type 1/1.3 (9.8 x 7.4mm) with optical image stabilization and an aperture that can switch between F1.4 and F2, depending on the situation. The ultrawide camera also uses a 50MP sensor, though it's a smaller Type 1/2.88 (5.0 x 3.7mm) model, attached to an F2 lens that provides a 122° field of view.
Image: Honor
The 200MP Type 1/1.4 (9.1 x 6.9mm) sensor is used for the phone's 3x F2.6 telephoto lens, which rounds out the phone's trio of cameras, not counting the 50MP selfie camera. It likely uses the Omnivision OVB0A sensor, so likely utilizes an oversized 4 x 4 Bayer color filter array, similar to quad bayer technology found in many other phones. The Magic7 Pro isn't the first phone we've seen with a 200MP sensor. Some of the company's previous offerings have featured one, as have phones from competitors like Samsung and Xiaomi.
However, it does show that the company is at least somewhat serious about people being able to use the Magic7 Pro as a photographic tool. While a high resolution isn't an automatic sign of quality, it should give you a fair amount of flexibility when you run out of optical zoom and have to start cropping in. The company says you can achieve a "100x digital zoom," though by that point, the image will likely be noticeably softer despite all the megapixels.
Honor's site presents this image as an example of the Magic7 Pro's 100x digital zoom.
Image: Honor
Beyond the cameras, the Magic7 Pro seems like a very capable phone. It features Qualcomm's flagship Snapdragon 8 Elite processor, a 5750 mAh battery that you can quickly charge at up to 100W, and a 6.8" display that's capable of reaching a brightness of 1600 nits across the entire screen. Honor will also provide owners with five years of updates, according to GSMArena. While that's not best in class – Samsung and Google both promise to update their flagships for seven years, and Apple has been known to support phones for even longer than that – it's still nothing to sneeze at.
The phone starts at €1299, or £1099, and is available in "Europe, the Middle East and Africa, and Asia Pacific regions." The base model – which appears to be the only one currently available in some countries – comes with 12GB of RAM and 512GB of storage.
The Laowa 24mm T8 2X Macro Pro2be lens doesn't offer zoom like Laowa's upcoming lens but will share the tubular and attachment-based design.
Image: Laowa
Venus Optics announced that it will be releasing an innovative new zoom probe lens under its Laowa brand, set to come out sometime in Q2 of 2025. The Zoom Probe Lens builds on Laowa's unique series of probe macro lenses, including the probe that kicked it all off, the 24mm f/14 Probe.
Laowa is treating this announcement as a teaser of sorts, and as such, it shared little information regarding specific details of the lens. What we do know is that it will offer an ultra-wide 15mm focal length with 2.3x zoom. Venus Optics didn't share the full focal range beyond the widest focal length, but 2.3x zoom implies roughly 35mm when zoomed in.
The company says it will deliver "unmatched versatility and creative control for cinematographers and photographers alike." Given that macro photography can be challenging to set up in the first place, having the flexibility to simply zoom in or out to adjust the photograph could be a big time saver for macro photographers. The new zoom probe will be parfocal and offer direct, periscope, and 35-degree tilt views due to interchangeable parts, just like the Pro2be released in 2023.
The timing of the announcement is interesting as DZOFilm announced its X-Tract 18-28mm T8 Probe Zoom on the same day, as PetaPixel reported. The DZOFilm zoom probe is primarily intended for macro cinematography and offers a focal range of 18-28mm. It's available for pre-order now for $3,499 and is expected to start shipping next week.
Image: Laowa
Those interested in the Laowa Zoom Probe will need to wait a bit longer, though. The company simply says that "the forthcoming Laowa Zoom Probe Lens will be officially announced with more detailed specifications." It only mentions that it will be available for shipment sometime in Q2 2025, with no specific dates or pricing information.
Press release:
Laowa Sets the Stage for a Zoom Probe Lens with an Ultra-Wide 15mm Perspective, Broader Focal Range, and Dynamic Angles
Anhui, China, 15th January 2025 – Laowa, the originator of the 24mm f/14 Probe, Periprobe, and 24mm T8 Pro2be, is set to launch a groundbreaking Zoom Probe Lens in Q2 of 2025. Building on its legacy of innovation, this new lens combines the signature advantages of its predecessors with industry-first features, delivering unmatched versatility and creative control for cinematographers and photographers alike. Designed to outperform competitors and exceed market expectations, it offers:
15mm Widest Perspective for Enhanced Storytelling Possibilities
Powerful & Par-focus 2.3x Zoom Range for Greater Framing Flexibility
Direct, Periscope, and 35-degree Tilt View for Dynamic Angles
Up to 2x Magnification for Finer Details
Unrivaled Sharpness and Superior Image Quality
Waterproof Tubular Barrel for Confident Shooting in Challenging Environments
Laowa’s previous probe lenses revolutionized macro videography by capturing intricate details in hard-to-reach places, while also offering a unique, bug-like perspective that plunges viewers into a new and immersive world. Laowa is grateful that the probe lenses have been widely used and appreciated by professionals across the industry for decades. We listened closely to our users' feedback and remain committed to advancing our products. With the upcoming Zoom Probe Lens, Laowa once again pushes the boundaries of innovation—delivering a wider field of view and broader focal range to meet the ever-evolving demands of professional creators.
Availability The forthcoming Laowa Zoom Probe Lens will be officially announced with more detailed specifications. It will be available for shipment in Q2 2025. Stay tuned for more exciting news from Venus Optics.
Leica describes the SL3-S as its fastest-ever camera, able to shoot at up to 30fps. This can be done with Raw capture (12-bit), including full use of the camera's subject recognition and tracking autofocus.
In terms of autofocus, the SL3-S gains on-sensor phase detection and the ability to detect people (head/face/eyes) and animals.
In concert with this added speed, the SL3-S's Wi-Fi has been updated, now offering 2x2 Mimo for parallel connections. This allows transfers at up to eight times the speed offered by the SL2-S, with 40MB/s transfer allowing DNGs to be sent in around half a second.
High Resolution multi-shot
The SL3-S includes a multi-shot high resolution mode. Generally we find these to be of quite limited use (they tend to be fiddly and require absolutely static subjects to gain their full benefit) but, as part of the L² partnership with Panasonic, this is one of the better implementations.
You have the choice of a tripod mode or a handheld mode, which doesn't have such precise control of sensor movement, so doesn't give such detailed results. There's also a choice of how any motion in the scene is dealt with: either by combining shots to give blurred motion or by selecting a single frame to hide any intra-shot movement (but with lower detail in the areas of movement, as a result).
The nature of combining multiple shots gives a noise performance boost and this implementation has the benefit of letting you combine the images in-camera, rather than requiring desktop software.
Video
The SL3-S offers an extensive array of video modes, many of which map very closely to those offered by Panasonic's S5IIX model. So there's 6K Open Gate capture at up to 30p or 4K at 60p if you use the APS-C region of the sensor.
Open-gate shooting, which uses the whole sensor region, gives flexibility in the edit, letting you choose different crops from a tall 3:2 area, so you can add some movement to your framing by re-positioning the crop, apply post-shot stabilization, or cut both vertical and horizontal crops out of the same clip, if your target is social media.
Options include internal 5.8K ProRes 422 HQ capture or 4K/60 without record limits to a CFexpress card. Alternatively, 5.9K Raw at up to 30p or 4.1K Raw data from the APS-C region can be output over the HDMI socket for encoding by off-camera recorders. There's also the ability to capture compressed footage direct to an external SSD using the camera's USB-C output.
Content Credentials
The SL3-S also becomes one of the first publicly-available cameras to be able to embed 'Content Credentials,' the cryptographically-signed metadata authenticating the source of images it produces.
This lets you embed evidence that the image was taken using an SL3-S, in a manner that's becoming increasingly widely adopted. Popular editing tools such as Photoshop, Lightroom and Photo Mechanic can then add details of any edits they've conducted, letting you present a chain-of-custody to prove that no AI elements have been introduced.
The scheme has wide-enough backing across the industry that we'd expect some news services to start demanding content credentials on submitted images, and it's not impossible to imagine some photo contests going down the same path, if it becomes widely adopted.
Camera-to-cloud
Like recent Fujifilm models and several recent Panasonics, the SL3-S will gain the ability to upload images and footage directly to Adobe's Frame.io collaborative working platform. Once you've given the camera the login details for a Wi-Fi network, it can directly upload to a folder in Frame.io. In recent months, Adobe has been improving the integration between Frame and its other cloud-based applications, meaning images uploaded to Frame can then be ingested into a Lightroom catalogue, for instance.
Leica says this feature will be added during 2025.
Leica Looks
The SL3-S gains the latest 'Leica Look,' downloadable using the company's Fotos app, these include the 'Brass' look added in Fotos v.5.0.
The app now allows you to combine looks, with an option for the intensity with which each one is applied.
How it compares
As usual with Leica, the pricing of its cameras is inherently out-of-step with competing cameras with comparable specs from more quotidian brands. Here, we compare it with the Panasonic Lumix DC S5IIX, simply because they share a sensor, along with a fair number of features and capabilities, thanks to the L² tech-sharing partnership with Panasonic.
We also compare with the Nikon Z6III, which is a comparably fast 24MP full-frame camera. In terms of price, the more expensive Z8 is also relevant, but we're primarily looking at bodies that offer comparable resolution here.
Leica SL3-S
Leica SL3
Panasonic S5IIX
Nikon Z6III
MSRP
$5,295
$6,995
$2,199
$2,496
Sensor
24MP BSI Full-frame
60MP BSI Full-frame
24MP BSI Full-frame
24MP 'Partially Stacked' Full-frame
Maximum burst speed
30fps (12-bit)
5fps (14-bit, AF-C) 15fps (14-bit, AF/AE locked)
30fps (12-bit)
20fps Raw 60fps JPEG
Viewfinder res/mag
5.76M dots OLED 0.76x
5.76M dots OLED 0.76x
3.68M dots OLED 0.78x
5.76M dots OLED 0.8x
Rear screen
3.2" tilting 2.3M dots
3.2" tilting 2.3M dots
3" fully articulated 1.84M dots
3.2" fully articulated 2.1M dots
Max video res
6K 'open gate' up to 30p
UHD 8K up to 30p
6K 'open gate' up to 30p
6K 16:9 capture up to 60p in N-Raw
Other video options
4K/60 (APS-C)
4K/60 (line-skipped)
4K/60 (APS-C)
5.4K/60 ProRes
Media types
CFexpress Type B UHS-II SD SSD (via USB)
CFexpress Type B UHS-II SD
2x UHS-II SD SSD (via USB)
CFexpress Type B UHS-II SD
USB
3.2 Gen 2 (10Gbps)
3.2 Gen 1 (5Gbps)
3.2 Gen 2 (10Gbps)
3.2 Gen 1 (5Gbps)
Battery life rating (EVF / LCD)
– / 315
– / 260
370 / 370
360 / 390
Wi-Fi
2.4/5Ghz 'ac' 2x2 Mimo
2.4/5Ghz 'ac'
2.4/5Ghz 'ac'
2.4/5Ghz 'ac'
Weight
852g
854g
740g
760g
Dimensions
141 x 108 x 85 mm
141 x 108 x 85 mm
134 x 102 x 90mm
139 x 102 x 74mm
On paper, the SL3-S looks very expensive, compared to its peers. Part of this is because a specs comparison isn't very good at capturing some of the things that Leica brings to the table: the SL3-S's exceptionally solid-feeling build (backed up by an actual, albeit relatively modest, IP rating), and its distinctive, photo-focused user interface. Then, of course, there's the mythos of the Leica name and the promise of being "handmade in Germany." Ultimately, along with the exclusivity that the price ensures, that's one of the things you're paying for.
Our tables only mark green and red factors that are unarguably beneficial or disadvantageous; it's up to each individual to decide how important pixel count or brand history are to them.
Body and handling
The SL3-S has essentially the same body as the original SL3: an impressively imposing and solid-feeling lump of metal. It's an unusually large camera by modern standards and one that's hard to miss, despite its distinctly minimalist aesthetic.
It uses the same control system as the SL3, which is one of the most focused interfaces we've encountered in many years. The SL3 is full of options and special functions, but the main control points are primarily geared towards the core exposure parameters.
A large dial on the top right of the camera and a command dial on the rear right shoulder handle most of your exposure controls, with a third dial on the left shoulder being customizable to cover a third parameter.
Beyond these, there are a series of customizable buttons whose function can be re-assigned by holding them down for a couple of seconds. The list of functions then available to be assigned can be modified in the camera's main menu, meaning you only see a list of the features you're likely to want quick access to.
The SL3-S gains a 2.3M dot tilting touchscreen without reducing its IP54 protection rating.
Photo montage: Richard Butler
As with the SL3, swiping your finger right-to-left across the settings screen switches the camera from stills to video mode, indicated by all the highlighting in the menu switching from red to yellow.
The menus are comparatively sparse despite the presence of complex, multi-option features such as high-res mode. And, while I still get confused by pressing left, taking me one tab to the left in the menus but pressing right not having the opposite effect (it selects or changes the current option), overall, it's one of the cleanest, most focused user interfaces in the industry.
Video mode selection
Where the camera's behavior becomes very odd or, at least, very unfamiliar is in the way you select video modes. You can select a video mode based on any basic parameter: resolution, frame rate, chroma-subsampling method and so on. Unlike most cameras, this doesn't then filter your list of other available options: if you then choose another parameter that's incompatible with one you've already selected, the camera simply overrules your existing choice.
With the 6K option 'locked,' the other parameters are then limited to options that are compatible with that choice.
If it's important to you, you can choose to 'lock' your selection. Doing so indicates that you've made an inviolable choice, and only then are the other options filtered so that you can only make selections compatible with your 'locked' selection. It's a very unfamiliar way of working, but it means you don't have to wade through a long list looking for a specific combination of settings and can instead just filter the options based on which properties are most important to you.
Battery
The SL3-S uses the same battery as the SL3, and is also compatible with the HG-SCL7 accessory grip and DC-SCL6 dummy battery options designed for it.
Photo: Richard Butler
The SL3-S uses the newer, larger BP-SCL6 battery from the SL3 and Q3s. It's a 15.8Wh capacity battery, up around 20% from the 13.4Wh of the SCL4. That's enough to drive the SL3-S to a rating of 315 shots per charge, using CIPA's standard testing protocol.
We always point out that CIPA numbers tend to significantly under-represent most people's real-world use, but are usefully comparable between cameras of a similar type. And, while we typically say you can expect at least double the rated value, Leica has developed its own variation of testing, which extends the number to over 1000.
Either way, it's a reasonable – but not great – number for a camera this big. And you'll probably want to think about a second battery or a USB-charging pack of some sort for more intensive shoots.
Initial impressions
The SL3-S takes its blacked-out minimalism from its predecessor which, unfortunately, is the approach that Panasonic has subsequently taken with its similarly-specced S5IIX model.
Photo: Richard Butler
From Leica's position, this is a lower-resolution, faster SL3 for $1700 less. But these cameras don't exist in a vacuum.
The very nature of being a luxury brand is that the price premium is part of the appeal. This will sound absurd to some people. But the exclusive price tag, along with the distinctive design, innovative UI and use of impressively high-quality feeling materials, is part of what sets it apart from other products.
What risks undermining this is partly the commoditized nature of many of the components modern cameras are built from (they're primarily using sensors, EVF panels and LCD screens purchased from a very small number of suppliers), but also the explicit technology tie-up with Panasonic.
Full-sized HDMI, headphone and mic sockets suggest Leica is serious about the SL3-S's use as a video tool
Photo: Richard Butler
This isn't, in any way, to take away from Panasonic, but if you can count through the features on a $5000+ Leica camera and identify how many of them have come from this Panasonic collaboration, then the temptation is to look at the Lumix lineup and ask yourself how close to this camera could you buy, if you don't need the super-premium build or superbly focused user interface.
Even for the ultimate heart-over-head purchase, the existence of the S5IIX risks amplifying the 'head' voice in the conversation.
It's somewhat unfair to solely focus on the Leica's price, but it's also not really possible, from a reviewer's perspective, because it's essential that I acknowledge that it'll immediately rule the camera out for a decent proportion of readers. But it is worth acknowledging the effort that's gone into the SL3-S compared with its predecessor: the faster Wi-Fi and powerful Fotos app, the full-sized HDMI port and CFexpress card slot that have been added to support its more advanced video features. All these improvements, as well as the L²-sourced features such as multi-shot mode make it a much better camera.
The SL3-S is a beautifully-built camera with a genuinely compelling user interface. Our impressions of its autofocus are that, as with Panasonic, its dependability in terms of continuous AF and subject tracking is somewhere behind the best of its peers. But overall it's a well-designed, feature-packed camera. The question is, does it have enough Leica stardust to make it appeal to you?
A short loan period and Seattle winter weather meant we weren't able to shoot a sample gallery with the SL3-S, but the experience of the test shooting we did do was hugely enjoyable.
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Photo: Insta360
It's been less than a year since the Insta360 Flow Pro smartphone gimbal came out, yet the company is already releasing a follow-up. The Insta360 Flow 2 Pro builds on the features of the first iteration, promising improved Apple DockKit compatibility and adding even more tracking options and useful features. Insta360 aims to bridge "the gap between professional-grade tracking and user-friendly convenience" with the Flow 2 Pro, offering an all-in-one design for mobile creators.
The primary differentiating factor between Insta360's Flow and Flow Pro was the compatibility of the Apple DockKit. Insta360 says it updated Apple DockKit with the Flow 2 Pro, allowing for native subject tracking with the iPhone's built-in Camera app and more than 200 third-party apps, including Blackmagic, the Final Cut Camera app, Momen, Instagram, YouTube, Zoom and WhatsApp. The feature allows you to use photo, slow-motion, and Cinematic modes with tracking without additional software or workarounds. Insta360 wasn't clear on what it updated on the Flow 2 Pro's DockKit compatibility, simply promising that it offers extended integration, though the number it lists for compatible apps remains the same.
Photo: Insta360
Beyond tracking with Apple DockKit, Insta360 also updated its Deep Track AI-powered tracking technology to Deep Track 4.0. This feature is available in the Insta360 app, so it isn't applicable if you use other apps for content creation. The Flow 2 Pro adds the ability to zoom in up to 15x while tracking a moving subject, an ideal feature for capturing sports or working with subjects far away. Additionally, the new Multi-Person Tracking mode allows you to track multiple people at once, keeping your whole group centered and in the shot.
Also new with the Flow 2 Pro is the Pro Framing Grid feature. This AI-assisted feature, found when recording with the Insta360, incorporates the Golden Ratio into every shot, helping to guide your framing and composition. There are nine grid options to select from, prompting the gimbal to automatically analyze the subject position and composition, adjusting the framing accordingly. While this feature could be useful as you learn, it could also become a crutch, limiting creativity based on sticking to preset composition rules.
Photo: Insta360
Insta360 says it improved the build of the Flow 2 Pro, resulting in a sturdier design with a stronger tripod. However, whether this results from new materials or design choices is unclear. Many users complained about how flimsy the tripod portion of the Flow Pro was, so we hope this is addressed in the new iteration.
Additionally, the tilt function was an area of frustration for some with the Flow Pro. The mechanical range of the Flow Pro is -100° to 82°. Insta360 added what it calls "Free Tilt Mode," opening up the opportunity for crane shots, tilt shots and crane and tilt combinations. The specifications for the gimbal specify the mechanical range for tilt on the Flow 2 Pro is -99° to 231°, so in theory, tilt should be significantly improved from the original model.
Otherwise, physically, the two models are nearly identical regarding specifications. The primary difference is that the Flow 2 Pro's weight decreased very slightly from the first version, coming in at 357g (12.60z) compared to 366g (13oz). There's the addition of a selfie mirror to aid in recording shots while using the primary camera on your phone, but the rest of the gimbal is very similar to the Flow Pro.
Image: Insta360
The Insta360 Flow 2 Pro is available now and comes in Stone Gray and Summit White. The Standard Bundle is $159, while the Creator Bundle is $189.
Press release:
Meet Insta360 Flow 2 Pro: Revolutionary Smartphone Filmmaking with Advanced AI & Seamless iPhone Integration
Insta360 is excited to unveil the latest evolution in smartphone stabilizers: Insta360 Flow 2 Pro.
Designed for creators, solo adventurers, and professionals alike, this next-generation AI-powered gimbal combines groundbreaking technology with an all-in-one design to transform your smartphone into the ultimate content creation tool.
With extended Apple DockKit integration, all-new Deep Track 4.0 AI tracking, and professional-grade features like Active Zoom Tracking and Multi-Person Tracking, Flow 2 Pro pushes Insta360’s innovations in the mobile content creation space to new heights. Upgrades to its built-in tripod, power bank, and selfie stick, and Flow 2 Pro sets a new benchmark for smartphone filmmaking.
“The idea of Flow 2 Pro is simple: Bridge the gap between professional-quality tools and everyday accessibility,” shares JK Liu, founder of Insta360. “We're bringing our cutting-edge AI tracking to the table, with even more enhancements, as well as seamless iPhone and Android integration.”
Unprecedented Tracking Capabilities
Insta360 Flow 2 Pro elevates mobile videography by integrating Apple DockKit, an industry-first innovation that bridges the gap between professional-grade tracking and user-friendly convenience.
Designed exclusively for iPhones, Flow 2 Pro uses Apple DockKit to unlock seamless native subject tracking for iPhone’s built-in Camera app, as well as Blackmagic (including SmartWheel use) and over 200+ third-party iOS apps. From Photo and Cinematic modes to Slow Motion, Flow 2 Pro eliminates the need for additional software, offering a user experience that combines simplicity with performance.
DockKit transforms your device into a powerful production tool—perfect for content creation, virtual meetings, video calls, live streaming, and more.
Meet Deep Track 4.0
Flow 2 Pro introduces Deep Track 4.0, the ultimate evolution in AI-powered tracking technology. Available in the Insta360 app, the latest rendition is built for creators who demand the best, bringing a host of cutting-edge capabilities that ensure your shots are always perfectly framed and effortlessly smooth.
New Active Zoom Tracking
Zooming in up to 15x while tracking a moving subject is now possible thanks to Active Zoom Tracking. Perfect for capturing dynamic sports or distant scenes, this feature is a game-changer for creators looking to hone in on the action. Unlike competing products that cap zoom capabilities and are unable to track effectively at range, Flow 2 Pro ensures your shot is crystal clear and perfectly framed, no matter how the distance.
Multi-Person Tracking
Capture every moment—Flow 2 Pro tracks multiple people in real time, keeping your whole group perfectly framed. From family photos to group dancing videos, AI automatically adapts to your environment and keep up with every movement so your whole group is centered and in shot.
Pro Framing Grid
Storytelling is made richer with the built-in Pro Framing Grid, an AI-assisted feature designed to incorporate the Golden Ratio into every shot. By guiding your framing and composition, Flow 2 Pro helps even novice creators achieve professional, cinematic results.
When shooting in the Insta360 app, simply tap one of the nine grids, and the gimbal will automatically analyze subject position and composition to get a better result. Perfect for cinematic moments.
An All-in-One Content Creation Tool
Whether you're filming on the go, setting up a professional shoot, or exploring new creative angles, Flow 2 Pro has you covered. Its upgraded features ensure every creator can bring their vision to life, easier.
Sturdier Build, 360° Tracking and Free Tilt Mode
Flow 2 Pro's sturdier build offers enhanced durability with a stronger tripod, while the Free Tilt Mode unlocks creative potential for filmmakers and vloggers. With this feature, creators can achieve breathtaking shots like:
Crane Shots: Sweeping vertical and horizontal movements for cinematic storytelling.
Tilt Shots: Elevate perspectives with smooth, controlled angles.
Crane + Tilt Combinations: Combine movements for even richer narratives.
Flow 2 Pro also supports complete 360° Infinite Pan Tracking, which allows it to rotate endlessly for uninterrupted tracking. Whether you're following fast-paced sports, capturing live events, or experimenting with creative transitions, this innovation ensures you never miss a moment.
Advanced HDR and Codecs
Flow 2 Pro supports Dolby Vision and Apple ProRes for cinematic clarity, color depth, and dynamic range. Highlights include:
Dolby Vision: Boost brightness and color contrast for a vibrant, lifelike look.
Apple ProRes: Capture in HDR, SDR, or Log for detailed, professional-grade editing flexibility.
The result? Every shot, whether spontaneous or planned, shines with incredible visual fidelity.
New Selfie Mirror
The gimbal now sports a mirror right on its body, ensuring creators can frame without a screen, perfect for selfies or vlogging when using the rear camera of your phone for better image quality. The mirror’s adjustable angle ensures you look your best in every shot.
Teleprompter
For live streamers or content creation, forget memorizing lines or awkward pauses. With Flow 2 Pro’s Teleprompter Mode, creators can integrate scripts directly into their filming or livestream workflow.
Remote Control via Apple Watch or Second Smartphone
Control Flow 2 Pro remotely using either an Apple Watch or a second smartphone. This allows creators to adjust angles, start/stop recording, or manage tracking—all without interrupting the shot. Perfect for dynamic filming setups or solo creators who need flexibility.
New Accessories and Essentials
Expand your creative possibilities with Flow 2 Pro’s lineup of dedicated accessories, including:
Magnetic Phone Mount: Snap on for an easy setup. Doubles as a desktop stand.
Magnetic Cooling Mount: Optimized for iPhones with two sizes to fit different models.
Backpack Mount: Hands-free filming on the move.
Available Now
Insta360 Flow 2 Pro will be available globally starting January 16th 2025 in two colors: Stone Grey and Summit White. The Standard Bundle is priced at USD $159.99, and the Creator Bundle at USD $189.99. For more details and to purchase, visit Insta360.com, Amazon, and more.
Just days after news came out regarding a drone collision with a firefighting plane working to control the wildfires in California, DJI announced that it will no longer enforce its No-Fly Zones, as reported by PetaPixel. The company shared the news in a blog post, saying that the update follows a similar change put in place in the European Union last year.
For over a decade, DJI drone pilots have been somewhat limited in where they could fly drones, as the company's software would automatically stop users from flying over areas such as active runways, power plants, the White House and wildfires. These areas were defined as Restricted Zones, though they were commonly called No-Fly Zones, and they were a result of DJI geofencing datasets in the company's flight apps.
DJI claims that user awareness has evolved, suggesting that such boundaries are no longer needed.
Now, DJI is removing those geofencing datasets and will instead display Enhanced Warning Zones. DJI says this is "aligning with the Federal Aviation Administration's (FAA) designated areas" and is "placing control back in the hands of the drone operators, in line with regulatory principles of the operator bearing final responsibility." Instead of relying on "ICAO Annex 14 configurations for airspace around airports," which the company says "did not always align with official FAA data," it will now use the boundaries officially provided by the regulator.
DJI says that when it first implemented the GEO system in 2013, it did so because rules and regulations were sparse since consumer drones were novel at the time. It says the system was put in place "as a voluntary built-in safety feature to help foster responsible flight practices and prevent DJI drone operators from unintentionally flying in restricted airspace, such as around government buildings, airports, or prisons."
"The GEO system has always been an educational - not an enforcement - tool"
DJI claims that user awareness has evolved, suggesting that such boundaries are no longer needed. In a follow-up blog post, the company says that the geofencing tool was always meant to educate users about the law rather than enforce it and emphasizes that "warning zones and in-app alerts remain in place."
It also says the change could make things easier for commercial operators and "public safety agencies," as they will no longer need to wait for manual approval from DJI before being able to fly in restricted zones they've been permitted to operate in.
However, drone incidents are still clearly a problem, as the strike last week with the SuperScooper airplane shows. While that drone was a sub-250-gram model – made by DJI, according to photos released by the FBI – and thus not subject to the Remote ID rules that control No-Fly Zones, it highlights significant safety concerns due to poor understanding of flight safety.
This is a remarkable shift in drone safety strategy with a potentially enormous impact, especially among drone pilots who are less aware of airspace restrictions and high-risk areas. https://t.co/YJOpe2gcZe
Even the former DJI head of global policy, Brendan Schulman, doesn't think this is a wise move, as The Verge shared. Shulman has shared numerous posts on X (formerly Twitter) about how this could be problematic. Another user shared that the DJI Fly app says his drone could take off from Runway 27L at Philidelphia Public Airport, which certainly would not be a good situation.
Image: DJI
Regardless of whether this was a good move, the new process went live on January 13. To see the change, users will need to connect their flight app to the internet and select "Update" on the FlySafe pop-up notification.
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Sony announced its first firmware update of the new year, bringing changes to the a9 III (Ver. 3.00), a1 (Ver. 3.00) and a1 II (Ver. 2.00). The bulk of the update surrounds various shooting, movie and transfer functions of the three camera models. Perhaps more significant is the update to Sony's Camera Authenticity Solution, which aims to improve the implementation of the Coalition for Content Provenance and Authenticity (C2PA). The update will be available sometime in January 2025, though Sony didn't provide a specific date. You can check the status of the firmware availability on Sony's downloads page.
Camera Authenticity Solution updates
Sony is a member of the C2PA Steering Committee, playing a leading role in developing and implementing industry standards for digital content verification. As we all know, there are growing concerns with image manipulation and AI imagery, resulting in misinformation. The C2PA aims to provide publishers, creators and consumers with "flexible ways to understand the authenticity, and provenance of different types of media," according to a press release in March 2024.
Sony says that the latest firmware update expands the Camera Authenticity Solution compatibility with the a9 III, a1 and a1 II with the launch of an Image Validation Site and the Digital Signature Upgrade license developed for select news organizations and their staff photographers.
Sony says this "service is designed to enhance the implementation of C2PA (Coalition for Content Provenance and Authenticity), particularly within the news industry, by providing additional authenticity information and introducing a streamlined workflow for professionals requiring higher content verification standards." The expanded initiative will allow photographers to add digital signatures to their images, which allows for confirmation that the photographs haven't been tampered with.
Sony had previously only made this feature (on the a1, a7S III and a7IV) available to select news agencies, with a promise to expand it at a later date. It's slightly unclear from the current wording whether it's now more broadly available.
Chart: Sony
Sony a9 III Ver. 3.00 firmware update
The a9 III is the only camera of the three to receive a completely new function. With the Ver. 3.00 update, there will be a newly added option to use shutter speeds up to 1/80000 seconds at all aperture values when the Exposure Value Expand function is set to "On." This feature will be most helpful for sports and action photographers shooting at wide apertures in bright conditions.
The a9 III will see updated support for the Focus Magnifier and Auto Magnifier in MF in Bright Monitoring mode, making it easier to get precise focus in tricky lighting situations. Additionally, Sony says that users should see an improvement in image quality when applying user LUTs. There are also updates to the notification display when the latest software is available, an update to "scheduling of FTP transfers while writing data to the camera's storage media" and "improved operability including continued shooting during image transfer to the Creators' app."
Sony a1 Ver. 3.00 firmware update
The Sony a1 doesn't get any new features, but gets quite a few updates to existing features. First, it will see an update to focus bracketing support for continuous shooting while automatically shifting the focus position. Sony says there will be additional settings for exposure value adjustments and the number of shots in exposure bracketing. It will also see the same updates as the a9 III to the Focus Magnifier and Auto Magnifier usability.
Also like the a9 III, the a1 will see updates to new software notifications, FTP transfer scheduling, and continued shooting during image transfer. It will also have an update on the "use of the Custom Key settings on the AEL button and Delete button during playback."
Sony a1 II Ver. 2.00 firmware update
The a1 II sees the least updates of the three cameras, with no new features available and only a single function updated. With this firmware update, Sony promises an improvement in image quality when applying user LUTs, just like the a9 III.
Press release:
Sony Electronics Announces Firmware Updates for Alpha 1 II, Alpha 1, and Alpha 9 III
Updates include shooting function improvements and additional support for the Camera Authenticity Solution
SAN DIEGO, Jan. 14, 2025 – Today, Sony Electronics Inc. announces new firmware updates for the Alpha 1 II (Ver. 2.00), Alpha 1 (Ver. 3.00), and Alpha 9 III (Ver. 3.00) cameras. These firmware versions bring varying updates to shooting, movie, and operability functions, as well as added compatibility for Sony’s evolving Camera Authenticity Solution.
Shooting, Movie, and Operability Updates Per Model:
Camera Authenticity Solution Updates:
The new firmware updates bring compatibility with the Alpha 1 II, Alpha 1, and Alpha 9 III for Sony’s expanding Camera Authenticity Solution. This expansion includes the launch of an Image Validation Site and the Digital Signature Upgrade License¹, created for select news organizations and their staff photographers. The service is designed to enhance the implementation of C2PA (Coalition for Content Provenance and Authenticity)², particularly within the news industry, by providing additional authenticity information and introducing a streamlined workflow for professionals requiring higher content verification standards. As a member of the C2PA Steering Committee, Sony plays a leading role in developing these standards and driving their broader implementation.
Availability:
Alpha 1 II (Ver. 2.00), Alpha 1 (Ver. 3.00), and Alpha 9 III (Ver. 3.00) firmware downloads will be available in January 2025.
Venus Optics is developing a new Laowa 15-35mm zoom probe lens that will be released in q2/2025. Here are the details:
Laowa Sets the Stage for a Zoom Probe Lens with a Ultra-Wide 15mm Perspective, Broader Focal Range, and Dynamic Angles
Anhui, China, 15th January 2025 – Laowa, the originator of the 24mm f/14 Probe, Periprobe, and 24mm T8 Pro2be, is set to launch a groundbreaking Zoom Probe Lens in Q2 of 2025. Building on its legacy of innovation, this new lens combines the signature advantages of its predecessors with industry-first features, delivering unmatched versatility and creative control for cinematographers and photographers alike. Designed to outperform competitors and exceed market expectations, it offers:
15mm Widest Perspective for Enhanced Storytelling Possibilities
Powerful & Par-focus 2.3x Zoom Range for Greater Framing Flexibility
Direct, Periscope, and 35-degree Tilt View for Dynamic Angles
Up to 2x Magnification for Finer Details
Unrivaled Sharpness and Superior Image Quality
Waterproof Tubular Barrel for Confident Shooting in Challenging Environments
Laowa’s previous probe lenses revolutionized macro videography by capturing intricate details in hard-to-reach places, while also offering a unique, bug-like perspective that plunges viewers into a new and immersive world. Laowa is grateful that the probe lenses have been widely used and appreciated by professionals across the industry for decades. We listened closely to our users' feedback and remain committed to advancing our products. With the upcoming Zoom Probe Lens, Laowa once again pushes the boundaries of innovation—delivering a wider field of view and broader focal range to meet the ever-evolving demands of professional creators.
The forthcoming Laowa Zoom Probe Lens will be officially announced with more detailed specifications. It will be available for shipment in Q2 2025. Stay tuned for more exciting news from Venus Optics.
Here are the latest Canon rumors and predictions for 2025:
Canon EOS RC: a video-focused hybrid camera that could be a competitor to the Sony FX3. It could be a bridge between the EOS and Cinema EOS lines.
Canon EOS R6 Mark III: an updated version of the EOS R6 Mark II with a better EVF and a new OLED touchscreen. It could have a 24 MP sensor, an articulating flippy screen, and an OLED back-screen.
'Life in Another Light' infrared photography contest 2024 winners
The winners of the fourth Life in Another Light photo contest have been announced, showcasing unique views captured with infrared photography. The Biennial contest is hosted by Kolari Vision, a company specializing in infrared photography gear, camera conversions, and tips. This year's contest drew over 3,000 submissions across 11 photography categories and a short film category, a first for the contest.
While the main aim of the contest is to highlight infrared photography, Kolari Vision also included some categories focused on traditional visible light, opening up the competition beyond the niche of infrared imagery. Additionally, there was a category for ultraviolet light and categories specifically for Kolari Vision's Candy Chrome Infrared Lens Filter and IR Chrome FIlter.
The contest was judged by seven judges, including guest photographers Pierre-Louis Ferrer and Yann Philippe, who helped judge the filter-specific categories. Kolari Vision explains that each image was evaluated "based on technical execution, composition, and creativity in three rounds of judging before selecting the finalists." The resulting images are otherworldly examples of what's possible with this method of photography.
Landscape infrared – first place
Photographer: Gavin Spooner
Title: Switzerland
Gear used: Panasonic GX85 + IR Chrome Infrared Filter
Type of light: Infrared
Landscape infrared – second place
Photographer: Jonas Hangartner
Title: WA1K345
Gear used: Full spectrum Canon 5D MKII + 720nm filter from Kolari Vision
Type of light: Infrared
Infrared short film – first place
Cinematographer: Lambert Grand
Title: When Earth Took A Breath
Gear used: IR Chrome Infrared filter (camera used not provided)
Type of light: Infrared
Astro landscape – first place
Photographer: Jonas Hangartner
Title: Losing Track Of Time
Gear used: Panasonic GH5
Type of light: Visible light (normal)
Astro landscape – honorable mention
Photographer: Troy Casswell
Title: Luminous Jewels
Gear used: Canon EOS R5 (full spectrum converted) with 365nm UV light to induce fluorescence
Type of light: Visible light (normal)
Black & white – first place
Photographer: Carolyn Hinton Hutchins
Title: Alligator In Morning Mist
Gear used: Nikon Z6
Type of light: Visible light (normal)
IR Chrome – first place
Photographer: Mitja Kobal
Title: Dreams Of Reality, Dream 5: Plaza of Kanagawa, Japan
Gear used: Fujifilm GFX50S + IR Chrome Infrared Filter
Type of light: Infrared
Landscape – visible light – first place
Photographer: Yohan Raintung
Title: Merapi
Gear used: Nikon Z9
Type of light: Visible light (normal)
Aerial – first place
Photographer: Bobby Ritchey
Title: Black Sand Beach
Gear used: Not provided
Type of light: Visible light (normal)
Long exposure – first place
Photographer: Dibakar Roy
Title: People Mixture
Gear used: Not provided
Type of light: Visible light (normal)
Portrait – first place
Photographer: Rob Jemmett
Title: Meg With Scarf
Gear used: Fujifilm X-T2 (converted to full spectrum) + 720nm Infrared Filter
Type of light: Infrared
Ultraviolet – first place
Photographer: Michael Riffle
Title: Magnolia Grandiflora
Gear used: Nikon D750 + UV Bandpass Filter
Type of light: Ultraviolet Reflective
Candy Chrome – first place
Photographer: Ginny Taylor
Title: Bout To Bloom
Gear used: Canon EOS R5 + Candy Chrome Infrared Filter
"DJI Flip features a stunning compact design with exceptional imaging capabilities. It supports palm takeoff without a remote controller, and the AI Subject Tracking feature ensures the main subject stays perfectly framed, so you can set up captivating shots with ease. The innovative design of the Foldable Full-Coverage Propeller Guard seamlessly merges lightweight construction with optimal safety. Whether capturing distant landscapes or close-up portraits, DJI Flip brings visual beauty into every frame."
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