Several other similar events are also happening around the same time - for example, OM SYSTEM Touch & Try Day at London Camera Exchange is on February 16th:
The OM SYSTEM expert David Smith will also have a “try the latest OM SYSTEM cameras and lenses“ event on February 13th at SRS Microsystems:
Instagram announced that it is launching its own free video editing app named Edits. The move makes sense for a platform that's been pushing video content for quite some time, yet lacked any refined editing tools. The timing, however, is interesting, as it coincided with the ban on a very similar free editing app, CapCut.
Instagram head Adam Mosseri shared the news about Edits in an Instagram post on Sunday, covering some of the features we can expect. The description of the app and its features sounds remarkably similar to CapCut, with a long list of tools for creating videos and finding ideas for new content.
Instagram built the app with a tab-based approach, with tabs for inspiration, trending audio and for keeping track of ideas. It also provides access to what it says is a "much higher-quality camera." The app features all the editing tools most people would use in a phone-based editing app, including the ability to edit down to single-frame precision, settings for resolution, framerate and dynamic range, background adjustment tools, fonts, filters and more. It can also generate captions automatically, hopefully with more accuracy than the auto-generated captions in Instagram Stories.
Beyond editing tools, there will also be insights into how your Reels are performing with a live insights dashboard. Plus, you'll have access to the various metrics available in Instagram, such as a breakdown of engagement, what impacts if your Reel gets recommended and more.
Screenshots: Instagram
Instagram says it supports videos up to 10 minutes long, so this is only a tool for short-form videos. Mosseri stressed in his video announcement that this app is not a replacement for desktop editing tools or a good option for those who rely on templates. Instead, it is very specifically created for creators who edit videos on their phones. Mosseri also stressed that the first version will be incomplete and asked people to be patient as it works on the app.
Screenshot: Abby Ferguson
Many of these features are also currently found in CapCut. It's not unusual for people to edit their Instagram Reels using CapCut, as it has a reputation for being much more user-friendly than the integrated Instagram Reels editor. CapCut, though, is owned by TikTok parent company ByteDance, which meant that it was also part of the ban that took effect (briefly) on Sunday. While TikTok returned very quickly, as of Monday morning, CapCut users were still unable to access the app unless they were in Airplane mode, though it seems that it has returned to functional as of this afternoon. If you didn't already have the app downloaded, though, that is still unavailable at the time of writing, as The Verge reports.
The Instagram Edits app is now available for pre-order in the Apple App Store. The App Store listing says it won't be available for download until March 13, but Mosseri said it will launch in February. The Android app is supposedly "coming soon" with no specific date mentioned as of yet.
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Image: Tamron
Tamron has announced a firmware update for its 50-400mm F4.5-6.3 Di III VC VXD lens, which will allow users who pair it with a Sony a9 III to shoot at up to 120fps. The company says the update also improves the lens' autofocus performance while zooming in continuous autofocus mode.
The lens is the latest in Tamron's lineup to get the capability; the company added it to its 70-180 F2.8 G2 last year. Like with that lens, the ability to shoot at 120fps using the 50-400mm does come with a notable exception: it doesn't work with continuous autofocus like some of Sony's first-party lenses. Instead, you'll only be able to use the blistering shooting rate in single autofocus, manual focus, or direct manual focus modes.
Still, it's nice to see that Tamron's continuing to update its lenses to add additional functionality, even to lenses that have been out for a while – the 50-400mm was announced in 2022.
TAMRON Lens Firmware Update Enhances AF Performance During Zooming and Supports Continuous Shooting with Sony α9 III
For 50-400mm F/4.5-6.3 Di III VC VXD (Model A067)
Commack, NY, January 20, 2025 – TAMRON announces a new firmware update scheduled for release on January 20, 2025, 11pm ET, for the TAMRON 50-400mm F/4.5-6.3 Di III VC VXD (Model A067) for Sony E-mount.
With this new firmware update, AF performance during zooming is improved when shooting videos and still images in AF-C mode. Additionally, with the Sony α9 III, when the focus mode is set to AF-S, DMF, or MF, the lens will support continuous shooting at up to approximately 120 frames per second.
Sony is rumored to announce a new FE 50-105mm f/2.8 G lens for the 2025 CP+show in Japan next month. The company also has three recently registered but not yet officially announced cameras:
As one of the few brands to still make rangerfinder cameras, there's no question that this is a Leica.
Photo: Barney Britton
The Leica SL3-S is an interesting camera in many respects, including being one of the first mirrorless cameras to make Content Credentials metadata available to the general public. But that's not the factor that caught a lot of people's attention.
Instead, the SL3-S ends up putting a spotlight on what it means for a camera to be a Leica. And, by extension, raises interesting questions about what branding means in the modern camera industry.
Just what makes it a Leica?
In the past, Leica made the M-series models itself, then sold badge-engineered versions of Panasonic compacts, with a mark-up. But the distinction has become less clear-cut, with time. The M-series remains distinctively Leica, but the SL series, made from similar components and with ever more feature crossover with Panasonic's L-mount cameras, blurs the line somewhat.
What about this? It's hard to imagine many other brands building a full-frame fixed lens camera, especially one with a lens that works so nicely in manual focus mode. But its lens was designed by Panasonic. So is it a 'real' Leica?
Photo: Richard Butler
The revelation that Panasonic holds the patent to the Q3 43's lens design caused further doubt, despite it being a model that it's impossible to imagine Panasonic ever making. After all, Leica had turned to another company with more experience of AF lens design for the Q3's 28mm lens, but that didn't prompt many people to question whether it was a 'real' Leica.
Finally, we have the D-Lux8, a refresh of the Panasonic LX100 II/Leica D-Lux7. It gains Leica's fairly radical and rather excellent user interface, which makes it feel like a very different camera as you use it, but it's hard to ignore the Osaka origins of so much of its underpinnings. Or the significant mark-up of its price tag.
Red dot, full stop
What about the D-Lux8 (left)? It's clearly developed from the Panasonic LX100 II (right), but Panasonic doesn't make its own version, and again it has Leica's distinctive user interface. Also, it says Leica on the top. And any camera that does so is, by definition, a Leica, whether that fits with your perception of the brand or not.
Photo: Richard Butler
To an extent, the answer to "what makes it a 'real' Leica" is simply "the presence of the red dot*." If the company chooses to let that red dot be put on cameras and phones made by and with other companies, then that's what the brand stands for. It's just snobbery to decide that only the products you respect or revere are truly representative of the brand.
But, once you start asking these questions, it's interesting to apply them more broadly.
Commonality is commonplace
If the concern is commonality, then it's interesting to look across the rest of the market. Every clever feature, from on-sensor phase detection to dynamic range compression (Active D-Lighting, DRO, etc), subject recognition autofocus, pre-capture and eye detection AF get imitated across the different brands.
The specifics differ, whether in terms of the performance of features such as AF or the implementation of more gimmicky add-ons such as multi-shot high res modes, but there are very few fundamental features setting different camera makers apart, at this point.
The Nikon Zf is styled after the company's cameras from the early '80s and is built around Nikon's user interface, right down to its peculiar Auto ISO behavior. Is this somehow less of a Nikon because (like the majority of large-sensor cameras the company has ever made) it uses a sensor from Sony's semiconductor division? Of course not.
Photo: Richard Butler
And look under the hood and the level of common componentry has always been very high. There are only a couple of suppliers of large camera sensors and only one major one in compacts. It's bizarre to see comments questioning Nikon's dependence on Sony Semiconductor for its sensors, when that's where they, and most of the rest of the industry, have been sourcing the majority of their sensors for much of the history of digital photography. Not just coming before Sony's (separate) camera division became a major player, but pre-dating Sony making ILCs at all.
Just as the bulk of camera screens are sourced from a single supplier (which used to be part of Sony) and most viewfinder panels come from a single manufacturer (another parts supply division of guess-which electronics maker), most digital cameras ever made have tended to be based on a small number of sensors.
What is the difference between brands?
And yet the cameras aren't all the same. The things that define what a camera is like to use: from body style and button position to user interface, menu structure and lens choice, still vary significantly. As do the respective lens choices offered by each manufacturer, further differentiating the experience.
And it's always worth remembering that, in the film era, every camera used essentially the same light-sensing medium. Whether you shot with a Leica or the cheapest Russian knock-off, you had essentially the same sensor and probably less difference in user experience.
The differences in handling, in user interfaces and in what lenses a brand chooses to offer (and allow to be offered) are, ultimately, the main differences between any two camera brands. Nikon vs Sony, just as much as Leica vs Panasonic.
So why the focus on Leica?
The L² technology sharing deal between Leica and Panasonic means that their features behave more similarly than we'd typically see across brands, but that's perhaps a relatively minor factor, given how different their cameras are to use.
Instead, I suspect what draws most attention to any Leica / Panasonic similarity is the German brand's luxury pricing model. Much like Swiss watches, Leica's high prices, as well as promises of high quality engineering, are part of the appeal. The exclusivity that it brings is part of the value proposition of Veblen goods.
This has always been the factor that splits opinion about Leica. The commonality with Panasonic simply brings it into stark relief.
*More precisely I mean "have the Leica name on it," I haven't forgotten all the Monochrom and 'P' cameras without red dots.
Fujifilm has announced that it's bringing another hybrid camera to its popular Instax lineup. The Instax Wide Evo builds on the success of the smaller Instax Mini Evo, which the company released in 2021. As the name implies, the new camera uses the larger Instax Wide film, producing prints that are twice as wide and have a 115% larger area than the Mini film.
Like its little sibling, the Wide Evo's main selling point is that it combines some of the convenience of digital photography with the tactility of instant film. A 3.5" display on the back lets you see the image you've taken before committing it to film, saving you from the experience of taking a picture, waiting for it to develop, and then discovering that it's not quite right and that you've wasted a relatively expensive shot. It can store around 45 photos on its internal memory, though you can expand that capacity with a microSD card.
The camera's display lets you apply effects, manage photos saved to the camera's memory and preview your shots and prints.
Image: Fujifilm
To take those photos, the Wide Evo has a 16mm (equiv) F2.4 lens, which Fujifilm says is "the widest lens on any Instax instant camera." By default, the camera doesn't seem to make use of the entire field of view – there's a switch to activate "Wide Angle mode," which the company's press release says "maximizes Wide Evo’s lens capabilities." It doesn't say what kind of focal length you can expect to see in standard mode.
The camera's sensor is Type 1/3 (4.8 x 3.6mm), which creates images that are up to 4608 x 3456 (around 16mp). Fujifilm's spec sheet says that this resolution is dependent on using wide angle mode, and having a microSD card inserted; otherwise it'll shoot at 2560 x 1920. It can go up to a max of ISO 1600 and supports exposure times from 1/4 second to 1/8000 second.
Image: Fujifilm
The camera also lets you apply lens effects such as vignetting, light leaks, and soft focus, as well as film effects that change the colors of the image. The Wide Evo takes the customizability a step further than the Mini, letting you change how strong your selected lens effect is. It also adds five "Film Styles," letting you add "cinematic" black bars to the top and bottom of your image, a film strip effect, a date and time stamp, a "retro contact sheet look," and a "collodion process effect" that lets you emulate wet plate photography.
The Wide Evo adds new "Film Styles" to push your photos' vintage aesthetic even further.
Image: Fujifilm
Design-wise, the Wide Evo carries on the Mini Evo's tradition of a retro-inspired design. While the Mini Evo featured a print lever – reminiscent of a film advance lever – the Wide Evo's physical print control takes after a film rewind dial. The camera is 139 x 125 x 63 mm (5.5 x 4.9 x 2.5") and weighs around 490g (17.3oz) before you put a film pack in it.
Image: Fujifilm
Fujifilm says the integrated battery should let you print up to 100 images per charge. Those 100 images need not all be taken with the Wide Evo; an app lets you connect your smartphone and print images from its camera roll onto film. It also lets you remotely control the camera, adds "additional image enhancement options," and gives you access to what Fujifilm calls the "Discover Feed," which lets you see images that other Wide Evo owners have uploaded and apply the effects they've used onto your own images if you see an aesthetic that you like.
The Instax Wide Evo will be available in February and will cost $349. An accessory case with a shoulder strap will be available for $49, and the company is also releasing a new edition of Instax Wide film – called "Brushed Metallics" – alongside the camera. A 10-exposure pack will cost $24.99.
The Instant Evo-lution Continues: Fujifilm Introduces instax WIDE Evo Hybrid Instant Camera
VALHALLA, N.Y., January 20, 2025 – FUJIFILM North America Corporation, Imaging Division, today announced the latest addition to its popular instax line of instant cameras and smartphone printers with the introduction of its instax WIDE Evo Hybrid Instant Camera (Wide Evo), whose unique hybrid format combines the excitement and satisfaction of traditional instant camera functionality with the capabilities of digital imaging technology to select, share, edit and store photo images. Wide Evo takes these capabilities a step further, with the ability to create wide format images that print onto instax WIDE instant film (sold separately), along with a host of other advanced capabilities designed to enhance the photographic image taking experience.
“Like the groundbreaking instax mini Evo Hybrid Instant Camera that came before it, Wide Evo offers a creative way to chronicle life’s milestones, creating a bridge between digital and analog photography,” said Bing Liem, division president, Imaging Division, FUJIFILM North America Corporation. “Hybrid photography gives the photographer the flexibility to choose which images to instantly print, which images to share, and which images to store for later access. Wide Evo does all of that, in a new wide format body, and with a host of new and improved lens and film effects and modes to enhance the user experience even more.”
Wide Evo outputs high-quality prints directly from the camera. Images can also be printed from a user’s iOS or Android smartphone camera roll using the free instax WIDE Evo Smartphone App. The app also features remote shooting capabilities and additional image enhancement options. Additionally, to inspire creativity and encourage image sharing, the instax WIDE Evo Smartphone App offers the newly introduced “Discover Feed”. The feed allows the user to view images uploaded by other Wide Evo users in a photo gallery format and apply their lens, film, and degree effects and film style settings to their own images.
The main features of Wide Evo include:
Integrated Wide Angle Option
Wide Evo features the widest lens on any instax instant camera, at 15.67mm. Users can choose to take images at the standard width, or opt for Wide Angle Mode, which maximizes Wide Evo’s lens capabilities to get all of the action into the photo.
10 Lens Effects x 10 Film Effect Options = 100 Combinations of Creative Expression, Now with Added Degree Control
Like the instax mini Evo instant camera, Wide Evo features 10 lens effects and 10 film effect options, offering 100 different combinations for users to express themselves. Wide Evo adds Degree Control, which allows the user to determine the degree to which each lens effect is applied to their image.
5 Film Styles to Enhance the Look of the Image
In addition to the lens and film effects, Wide Evo offers 5 film styles to customize images even further, with options including a cinematic look with black bars across the top and bottom of the image, a classic film strip look, a traditional date/time stamp format, a retro contact sheet look, or a vintage collodion process effect.
Selfies, Storage, and More
Wide Evo also features a 3.5-inch LCD Monitor on the back of the camera to allow users to select images, add effects, edit, print, and adjust image settings, supported by a built-in Lithium-Ion battery which enables the camera to print up to 100 images per charge, depending on the specific use case. A Micro SD card slot (Micro SD Card sold separately) ensures there’s plenty of room to store additional images for later enjoyment (approximately 45 images can be stored in the camera’s internal memory), while the Selfie Mirror helps users nail selfies every time.
In addition to the new camera, new accessory and film options have also been introduced:
New instax WIDE Evo Hybrid Instant Camera Case
Accompanying the introduction of the Wide Evo is the instax WIDE Evo hybrid instant camera case (sold separately). Made from premium faux leather, the case features an adjustable shoulder strap for optimal carrying comfort and portability. For added convenience, the top portion can be removed, allowing users to keep the camera in its case during use.
New instax WIDE Brushed Metallics Instant Film Pack
The instax WIDE Brushed Metallics instant film pack features a metallic, dark gradient border. Available in a 10-exposure pack, the film is compatible with all instax WIDE instant cameras, the instax Link WIDE Smartphone printer, and the WIDE Evo.
The instax WIDE Evo Hybrid Instant Camera will be offered in a classic black and gray combination finish at a manufacturer’s suggested retail price of $349.95 USD and $479.99 CAD.
The instax WIDE Evo Hybrid Instant Camera Case will be offered in black at a manufacturer’s suggested retail price of $49.99 USD and $69.99 CAD. The instax WIDE Brushed Metallics Instant Film Pack will be offered at a manufacturer’s suggested retail price of $24.99 USD and $17.99 CAD.
The Instant Evo-lution Continues: Fujifilm Introduces instax WIDE Evo Hybrid Instant Camera
VALHALLA, N.Y., January 20, 2025 – FUJIFILM North America Corporation, Imaging Division, today announced the latest addition to its popular instax line of instant cameras and smartphone printers with the introduction of its instax WIDE EvoHybrid Instant Camera (Wide Evo), whose unique hybrid format combines the excitement and satisfaction of traditional instant camera functionality with the capabilities of digital imaging technology to select, share, edit and store photo images. Wide Evo takes these capabilities a step further, with the ability to create wide format images that print onto instax WIDE instant film (sold separately), along with a host of other advanced capabilities designed to enhance the photographic image taking experience.
“Like the groundbreaking instax mini Evo Hybrid Instant Camera that came before it, Wide Evo offers a creative way to chronicle life’s milestones, creating a bridge between digital and analog photography,” said Bing Liem, division president, Imaging Division, FUJIFILM North America Corporation. “Hybrid photography gives the photographer the flexibility to choose which images to instantly print, which images to share, and which images to store for later access. Wide Evo does all of that, in a new wide format body, and with a host of new and improved lens and film effects and modes to enhance the user experience even more.”
Wide Evo outputs high-quality prints directly from the camera. Images can also be printed from a user’s iOS or Android smartphone camera roll using the free instax WIDE Evo Smartphone App. The app also features remote shooting capabilities and additional image enhancement options. Additionally, to inspire creativity and encourage image sharing, the instax WIDE Evo Smartphone App offers the newly introduced “Discover Feed”. The feed allows the user to view images uploaded by other Wide Evo users in a photo gallery format and apply their lens, film, and degree effects and film style settings to their own images.
The main features of Wide Evo include:
Integrated Wide Angle Option
Wide Evo features the widest lens on any instax instant camera, at 15.67mm. Users can choose to take images at the standard width, or opt for Wide Angle Mode, which maximizes Wide Evo’s lens capabilities to get all of the action into the photo.
10 Lens Effects x 10 Film Effect Options = 100 Combinations of Creative Expression, Now with Added Degree Control
Like the instax mini Evo instant camera, Wide Evo features 10 lens effects and 10 film effect options, offering 100 different combinations for users to express themselves. Wide Evo adds Degree Control, which allows the user to determine the degree to which each lens effect is applied to their image.
5 Film Styles to Enhance the Look of the Image
In addition to the lens and film effects, Wide Evo offers 5 film styles to customize images even further, with options including a cinematic look with black bars across the top and bottom of the image, a classic film strip look, a traditional date/time stamp format, a retro contact sheet look, or a vintage collodion process effect.
Selfies, Storage, and More
Wide Evo also features a 3.5-inch LCD Monitor on the back of the camera to allow users to select images, add effects, edit, print, and adjust image settings, supported by a built-in Lithium-Ion battery which enables the camera to print up to 100 images per charge, depending on the specific use case. A Micro SD card slot (Micro SD Card sold separately) ensures there’s plenty of room to store additional images for later enjoyment (approximately 45 images can be stored in the camera’s internal memory), while the Selfie Mirror helps users nail selfies every time.
In addition to the new camera, new accessory and film options have also been introduced:
New instax WIDE Evo Hybrid Instant Camera Case
Accompanying the introduction of the Wide Evo is the instax WIDE Evo hybrid instant camera case (sold separately). Made from premium faux leather, the case features an adjustable shoulder strap for optimal carrying comfort and portability. For added convenience, the top portion can be removed, allowing users to keep the camera in its case during use.
New instax WIDE Brushed Metallics Instant Film Pack
The instax WIDE Brushed Metallics instant film pack features a metallic, dark gradient border. Available in a 10-exposure pack, the film is compatible with all instax WIDE instant cameras, the instax Link WIDE Smartphone printer, and the WIDE Evo.
Pricing and Availability
The instax WIDE Evo Hybrid Instant Camera will be offered in a classic black and gray combination finish at a manufacturer’s suggested retail price of $349.95 USD and $479.99 CAD.
The instax WIDE Evo Hybrid Instant Camera Case will be offered in black at a manufacturer’s suggested retail price of $49.99 USD and $69.99 CAD. The instax WIDE Brushed Metallics Instant Film Pack will be offered at a manufacturer’s suggested retail price of $24.99 USD and $17.99 CAD.
All are expected to be available for purchase in the U.S. and Canada in February 2025.
The 2025 BCN Awards for the Japanese market are out (BCN collects sales data from approximately 2/3 of all Japanese retail stores):
Digital cameras with integrated lenses:
Canon 23.4%
Kodak 21.2%
Fujifilm 15.8%
Digital cameras SLR:
Canon 69.4%
Nikon 20.9%
Ricoh 9.7%
Digital mirrorless single-lens cameras:
Sony 35.8%
Canon 26%
Nikon 14.5%
Digital video cameras:
DJI 48.1%
Panasonic 23.8%
Sony 23.4%
Action cameras:
GoPro 34.3%
DJI 32.1%
Shenzhen Arashi Vision 26..9%
Interchangeable lenses:
Tamron 17.5%
Sigma 16.8%
Sony 15%
What is BCN AWARD?
“BCN AWARD” is a year (January 1st to December 31st) for each department based on the data collected by BCN, which aggregates the actual sales data of major home electronics mass retailers, computer specialty stores, and online shops nationwide. Sun) This is a system to commend the manufacturer with the highest cumulative number of sales. “BCN AWARD 2022” was decided by totaling the annual sales volume in 2021 for 23 companies / 2643 stores (*) nationwide. In deciding the award-winning company, we have set up a certification committee consisting of five experts and have introduced a fair evaluation system that is certified by the committee.
Canadians now have a new way to access gear and earn money, thanks to the launch of an Ontario-based startup called Rentovault, as reported by EIN Presswire. Rentovault is a peer-to-peer gear rental option offering photography and outdoor equipment. It aims to provide better access to outdoor and photography gear by connecting those who own it with individuals seeking to rent. It's essentially like Turo or Airbnb but for outdoor and photography gear.
According to the company, "Rentovault is an outdoor gear rental platform dedicated to connecting Adventure and Photography enthusiasts. By facilitating the sharing of high-quality equipment, Rentovault empowers individuals to explore their passions without the burden of high costs." It serves as an alternative to renting from companies like Lensrentals in the U.S. and Vistek in Canada.
Rentovault isn't the first peer-to-peer photography gear rental company created, though it is the first Canadian company, as far as we've been able to ascertain. In the U.S., those looking to rent gear peer-to-peer style have more options, with the two most well-known being KitSplit and ShareGrid. KitSplit operates in Canada, though its options are extremely limited at the time of writing. ShareGrid doesn't currently operate in Canada.
Of course, any peer-to-peer rental structure depends entirely on users putting up their equipment for rent. People won't bother checking the site if there isn't much selection. Even though Rentovault is so new, is does appear to have a fairly good selection already, at least in major cities. There's still plenty of room to grow, though, so don't expect to find an expansive selection right off the bat.
Rentovault charges a 20% commission on rentals, but even so, if you have gear you aren't using regularly, this could be a useful way to help pay for the cost of said piece of equipment. To provide those who are putting their stuff up for rent with some peace of mind, Rentovault says it "assumes full responsibility to reimburse you, the lender, to cover damages or loss during the rental period provided that there is proper proof of damages."
One benefit to such a website over a larger rental company like Lensrentals (which doesn't operate in Canada) is that you aren't stuck waiting for something to ship. Rentovault is designed as a local pick-up option, so you can schedule a time and place to pick up what you're renting instead of waiting a few days or even a week to receive it. Finding the exact piece of kit you need may be harder, but it could provide a lot faster access. Additionally, Rentovault is unique because it has outdoor gear. If you're looking to get into outdoor adventure but don't want to buy everything right away, this could be a convenient option.
Canon has announced the 'Live Switcher Mobile' app, designed to let you livestream from multiple iOS devices, providing multiple angles "without the need for special equipment or complex wiring." 'Special equipment' apparently also includes Canon's cameras, as the app will currently only take in videos from iOS devices.
Let's break down what using the app will look like: you'll have one iOS device – an iPhone or an iPad – that acts as the control device. Using it, you can switch between wireless video streams coming from multiple iOS devices, and from the host device's own cameras as well. You'll also use the device to manage your stream, adding and adjusting layouts and overlays that include text and still images. The company says it'll also be able to show you user comments.
The app is free, but you'll have to pay $17.99 a month to unlock its full capabilities
The video sent from the external devices can either be footage from their cameras, or screen capture. As an example setup, you could have an iPad set up as your switcher, have a smartphone pointed at you as your face cam, and be playing a game on a second smartphone. Using the controlling iPad, you could set up a picture-in-picture layout, with the face cam in the corner of the screen, overlaid on top of the gameplay footage. The company also uses the example of livestreaming from your kitchen using phones to capture multiple angles – you could use an iPhone to control it all without taking up valuable counter space with a laptop running streaming software.
The app is free, but you'll have to pay a $17.99 a month subscription to unlock its full capabilities. The paid version is required if you want to add still image overlays to the stream, change the size and / or position of your picture-in-picture overlay, remove a watermark, or work in 1080p Full HD instead of 720p 'HD.' The free version will also display Google ads on your device's screen, though they won't appear on your livestream itself.
Overall, the app seems relatively powerful despite the fact that it's being pitched toward people who don't want to manage a streaming computer or hardware switcher. It can create recordings, mix audio from your sources, take in external audio, and output your stream directly to platforms like YouTube or Facebook, as well as via RTMP. It also has a feature that will automatically cycle through the different sources you have set up every 8, 12, 16, or 20 seconds if you don't want to manually switch up your angles.
It is worth noting that the monthly $17.99 price tag for the paid version is relatively expensive, given that much of the livestreaming world revolves around a free piece of software called OBS, that can be used with a variety of input devices – including iPhones and Andriod phones. However, OBS has a relatively steep learning curve and has to be run on a computer, adding to the complexity that Canon is promising to resolve with its app.
Canon launches "Live Switcher Mobile" iOS app for one-person multi-angle livestreaming with single touch camera switching
TOKYO, January 20, 2025—Canon Inc. announced today that it will begin providing "Live Switcher Mobile," an iOS app for livestreaming, free of charge1 on January 20, 2025.
With the increase in video content on social media, there has been a growing demand for livestreaming video content, such as cooking, gaming, and product reviews in which content creators can simultaneously communicate with the viewers. The “Live Switcher Mobile” app2 meets this demand by providing multi-camera switching between up to three devices, such as iPads or iPhones, all connected under the same Wi-Fi network. Simply by downloading the app to an iPhone or iPad acting as a camera, users can broadcast the footage through a livestream platform3 of their choosing.
“Live Switcher Mobile” drastically facilitates setting up a livestreaming environment. By eliminating the needs for bulky additional equipment including PCs and complex wiring, users can freely position the devices to achieve the most effective angles. Additionally, users can specify the number of seconds4 before the shooting device automatically changes over to another to broadcast video with dynamic flow even when they are working alone and cannot manually operate multiple devices.
Users can harness the app to customize their livestreams to make them more engaging. By freely adding text and graphics5 to the screen, users can create a unique and original livestream screen that makes their content stand out. They can also check6 comments from viewers in real time, thereby achieving two-way communication.
The app can also livestream the screens of the devices to easily produce videos showing live gameplay or application operations with just an iPhone or iPad. Additionally, video from another device camera can be layered on top of the livestream screen so that viewers can see the streamer’s facial expressions and reactions alongside the video of the smartphone screen.
“Live Switcher Mobile” will also support digital camera connection in the future to make high quality live streaming easier and more flexible.
1 Although the app can be used free-of-charge, some functions may require registration (at a cost) for periodic use.
2 Compatible with iOS 16/17/18 and iPadOS 16/17/18. The application is not guaranteed to work on all devices. For more information, please see the following website: https://ssw.imaging-saas.canon/lsm/faq.html Please note that the app must be downloaded to all devices in use.
3 Livestreams can easily be made on YouTube and Facebook. For streaming on other platforms, users must enter the streaming URL issued on each platform.
4 The available settings are 8, 12, 16, and 20 seconds
5 Adding graphics aside from those including in the application requires a fee.
6 Comment display function is limited to YouTube and Facebook
Japan is a street photographer's paradise, but it's the rain that really transforms Japanese cityscapes into something magical. City lights reflect off wet pavement, creating depth and dimension that only exist when it rains, and everyone carries umbrellas, creating captivating shadows and silhouettes. This image, taken in Tokyo during a downpour last year, encapsulates the feeling of wandering through the city's intimate side streets and alleys on a rainy night.
Panasonic S5II X and Panasonic 28-200mm F4-7.1 lens | ISO 1600 | 1/100 sec | F4 Photo: Dale Baskin
Show us your black-and-white street photography!
The January edition of our Editors' Photo Challenge is now open for submissions. Our theme this month is 'B&W Street'. We want to see the city through your lens, whether it's an unexpected scene, a candid portrait, or some other "decisive moment." Our favorites will be featured on the DPReview homepage later this month.
Important: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story! (Hint: the caption for the photo above is a good example.)
Photos can be submitted between Sunday, January 19, and Saturday, January 25 (GMT). This challenge is open to photos taken at any time.
Also, don't forget to check out some of the other open and upcoming photo challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.
We're back with another accessory roundup! This weekend, we're taking a look at some big flashes, new bags, color calibration tools, and more, but first – as always – let's see what's on sale.
Sales of the week
Photo: Richard Butler
The Nikon Z8 – a powerful camera that essentially stuffs the company's sports / action flagship Z9 into a smaller body – is currently on sale for $600 off. At $3,400 it's still an investment, but you'll be getting a ton of camera for your money.
Lighting company Westcott has introduced two new flagship-tier flashes: the FJ400 II, which is an update to an existing model, and the FJ800. Both feature OLED touchscreens that display your settings, give you access to a guide, and let you control the flash.
The FJ400II, as its name implies, has 400Ws of power, which it can recycle in 0.01 to 0.9 seconds. The FJ800 puts out 800Ws, and can recycle in 0.01 to 1.8 seconds. Both feature a 30W, bi-color modeling light, include a rechargeable battery, and have a Bowens mount for attaching accessories like softboxes or reflectors.
ThinkTank has released two new backpacks, the DarkLight 14L and DarkLight 20L. The bags, which come in black or green, feature the standard suite of photography-focused features you'd expect from the company: they come with padded dividers, let you access your camera from the top or back of the bag, and have points for attaching tripods.
If you're into hooking other things onto your bag, though, the DarkLights give you far more options than most of the company's other backpacks. The front panel is covered in MOLLE loops that let you attach standardized pouches and other accessories, and also features a few hook and loop strips for attaching patches. The side of the bag has additional webbing for strapping things down.
The 20L can hold more gear but weighs 600g (1.32lb) more.
Image: ThinkTank
The company says the 14L model, which has a detachable waistbelt made out of webbing, can hold a "standard-sized camera body with lenses attached and 1–3 standard zoom lenses." The 20L model, which has a removable padded waistbelt, can hold a 16" laptop and "two bodies with lenses attached and 2–3 lenses, or one body with lens attached plus 3–5 lenses." They cost $169 and $199, respectively.
25 years ago, Datacolor came out with its first Spyder color calibrator tool, and now it's created a "Spyder Celebration Kit" to commemorate the anniversary. The company says the kit is a celebration of "the essentials of precision color management for photography from capture through editing."
It gathers three of the company's products – the 2024 Spyder calibrator, a Spyder Checkr 24 color chart, and the "Spyder Cube" white balancing tool – and puts them into a metal carrying case. And, as a bonus, the kit's $199 price is around $70 less than you'd pay for the products if you bought them separately.
We don't generally talk about lenses in the accessory roundup, but if any lens counts as an accessory, it's this one. 7Artisans has released an 18mm F5.6 pancake lens made for full frame cameras with E, L, or Z mounts... and it costs just $89.
Image: 7Artisans
Of course, you'll have to cut some corners to make a sub-$100, 146g full-frame lens – the lens is manual focus only, and the aperture is fixed – but it's hard to complain about those things when the lens doesn't cost that much more than a good SD card. If you've never shot with wide-angle prime before or have always wanted to play around with a low-cost, compact lens, it may be worth picking this one up.
Fujifilm has been adding stabilization to its cameras' sensors, but it hasn't stopped there; this week, the company announced two new pairs of stabilized binoculars, the Fujinon Techno-Stabi TS-L1640 and TS-L2040. Their respective 16 and 20x magnifications give you a lot of reach when you're surveying the landscape, whether you're doing so for fun or you're looking for an interesting subject for your next shot.
Despite packing the electronics and motors used to stabilize the optics while you're looking through them – powered by two AAA batteries – the binoculars are still relatively compact and lightweight. The company says they're IPX7 certified, so you won't have to worry about them if you suddenly get caught in a rainstorm.
The technology and optics don't come cheap, though. The TS-L1640 comes in at $1,199, and the TS-L2040 costs an extra $100. But if you're serious about your binoculars and are willing to pay the price, they'll be available starting January 31st.
Air Traffic Control
Image: DJI
DJI may sell its own first-person view, or FPV, drones, but that hasn't prevented it from making tools for the enthusiasts who want to build their own. It recently announced the O4 Air and O4 Air Pro, kits that let you attach a DJI camera and transmission system to a DIY drone. The company says the regular model is the "smallest and lightest 4K digital video transmission solution available" and says the Pro model is aimed towards people who want to capture high-quality video without the need for a separate camera like the GoPro Bones.
Both units can transmit 1080p 100fps footage back to the pilot and support the DJI Goggles 2, Goggles 3, Goggles N3, and Goggles Integra, as well as the second and third-gen DJI FPV Remote Controllers.
The regular O4 air costs $109 and can record 4K 60 fps video from its Type 1/2 (6.4 x 5.8mm) sensor. It has a range of 10 km (6.2 mi) and can transmit video with as little as 20ms of latency. The Pro, meanwhile, can record 4K footage at 120fps from its Type 1/1.3 (9.6 x 7.2mm) sensor, supports DJI's 10-bit D-Log color mode and can be fitted with the ND filters DJI makes for its Avata 2 drone. It has a range of 15 km (9.3 mi), a minimum latency of 15ms, and costs $229.
Connexion
