After the City 100 (3x zoom) and City 200 (10x zoom) models, Yashica is teasing a new City 300 camera (Yashica cameras are sold at Amazon):
Here is a closeup of the City 300 model:
The post Yashica is teasing a new City 300 camera appeared first on Photo Rumors.
The Canon PowerShot V1 compact camera is already in short supply, even though it has not been officially released in all markets yet:
Thank you for your continued patronage of Canon products.
We are currently experiencing delays in delivery for the following products due to more orders than expected. We apologize to our customers and business partners for the inconvenience.
The products are scheduled to be shipped one after another, but it is expected that it will take a long time for the new camera body, PowerShot V1.
We apologize again for keeping our eager customers waiting for so long. We will continue to take measures to ensure a stable product supply so that we can deliver the products as soon as possible. We appreciate your understanding.
| Product name (model number) | Availability |
|---|---|
| PowerShot V1 | We plan to ship the products one by one, but even for customers who have already placed orders, it will take a long time for delivery. |
| PowerShot G7X Mark III | We plan to ship the products one by one, but we are currently suspending orders. We will inform you of the resumption of orders and delivery dates as soon as we have a clear idea of when the products will be shipped. |
| PowerShot SX740HS | We plan to ship the products one by one, but we are currently suspending orders. We will inform you of the resumption of orders and delivery dates as soon as we have a clear idea of when the products will be shipped. |
The post The new Canon PowerShot V1 camera is in short supply appeared first on Photo Rumors.
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Product photos: Richard Butler
The Sigma BF is a minimalist 24MP full-frame mirrorless camera that offers distinctive design and an unconventional user interface.
The Sigma BF is available in Black or Silver at a cost of $2000. Sigma has also made versions of all its i-series primes to match the silver version of the camera.
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The Sigma BF is explicitly not trying to be a do-everything, Swiss Army Knife of a camera. Sony's a7C II already exists, bringing an EVF, multiple dials, a mechanical second-curtain shutter mechanism and in-body image stabilization, for a list price just 10% higher than the BF's.
But if Sigma was trying to go head-to-head with Sony in the mass market, it probably wouldn't be spending seven hours milling each camera out of blocks of aluminium, nor doing so in Japan: neither of which is the approach you take if you're primarily driven to hit a specific price point.
Similarly, just looking at the specs, the BF might be mistaken for an unstabilized Panasonic S9 in a fancier body, but despite sharing a sensor, the two cameras couldn't be more different.
Instead Sigma explicitly says the BF is designed for 'everyday' photography. An elegant object designed to be carried with you, rather than a utilitarian device you take when you're taking photos. It's absolutely not optimized for rapid operation, it's not teeming with clever features. Instead it includes only the bare essentials for photography (or, arguably, slightly less than that, given its lack of mechanical shutter).
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Think of it like a Moleskine notebook: in many respects it's not as practical for taking notes and recording ideas as the smartphone you're already carrying, but the very process of carrying it with you acts as a prompt to look at the world and capture the thoughts you were having. The BF is trying to do the same.
It's the difference between a camera that you'd grab when you want to go and take photos of something, vs a tool that encourages you to look for things to photograph.
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The best way to understand the BF is to note the dedicated settings display towards the top right-hand corner on the back of the camera. This displays one of ten parameters:
| Drive mode | File format | Aspect ratio | Focus mode | White balance |
| Shutter speed | Aperture value | Exp comp. | ISO | Color mode |
These are also the ten parameters that appear on the main screen if you press the center button on the back of the camera, in the pattern shown in the table above.
You can navigate between them by pressing the cardinal points on the rear dial, then scroll the dial to change the current setting.
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Pressing the center button lets you see and edit the camera's core ten parameters, but the chosen setting is also shown in the dedicated settings display to the top right of the screen. In this instance the aperture value is shown in dark grey because it's being controlled from the lens. |
But you don't have to press the center button and bring them up on the main screen: once you've learned their relative positions (and chances are it's the ones in the bottom row you'll change regularly), you can navigate around them just using the settings display. And, for me, that's the key to understanding the BF: it's designed so that the core settings can be adjusted without looking at the main screen. You can set the camera to show all the settings on the main screen,
In keeping with this idea, the touchscreen is almost solely used for positioning the AF point or selecting a subject to track: even if you summon-up the settings on the main screen, you can't tap to change settings, just choose what to focus on.
The BF has no mode dial, so exposure mode is set by selecting which parameters you want to be controlled by the camera. This is done via the main screen. Press the center button to bring up the settings then press it again to edit them, and the ISO, aperture value and shutter speed indicators show 'Auto' options above them, letting you engage and disengage automated control of each parameter.
Any of the exposure parameters that can't be changed by spinning the dial, either because they're set to Auto or because aperture value is being set by an aperture ring, is rendered in darker grey, both in the settings display and on the main screen display.
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| Ten further settings, including the level gauge and options to display information such as focal length and focus distance are accessed via the three-dot button. Navigating down to the word 'System' takes you to the menu where fundamental settings such as date and time are edited. |
Another ten settings, six of which relate to how much detail appears on the main screen (exposure parameters, guides, virtual horizon, etc), can be accessed by pressing the 'three dots' settings button. At the bottom of this settings menu is the word 'System' which gives you access to a ten-option-long list of fundamental camera settings, including firmware information, copyright information, menu language and date/time.
That's the extent of the BF's interface: ten top-level parameters, ten settings and ten menu options. But what this doesn't fully convey is the degree to which it's a camera in which Shutter speed, Aperture value, Exposure compensation and ISO can all be set using just the settings display, leaving the monitor solely for focus and composition.
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The BF is a very solid-feeling camera, as you might expect from something hewn from a solid block of metal. The body itself is relatively light but the weight adds up as soon as you mount a lens of any appreciable size on it.
Despite it's minimalist appearance, it's quite easy to hold. The textured front-plate and raised thumb rest at the back mean you can get a pretty solid grip on the camera, and you can cradle the weight of the lens in your left hand if you're working with anything larger than one of the compact primes offered by Sigma or Panasonic.
However, we found that it was common for our ring finger to wrap around to the base of the camera as we held it, which quickly makes apparent how sharply angled the edge of the BF is. It's not hard to imagine users adding a little tape to the lower edge of the camera or being tempted to chamfer the edge with a fine file, once they come to live with the camera.
I've primarily used it with the Sigma 35mm F2 prime and the Panasonic 20-60mm F3.5-5.6 lenses, both of which are small and light enough that it's been comfortable to use.
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The BF uses a new 11.88Wh BP-81 battery. This will power the camera to a CIPA rating of 260 shots per charge. As always, the CIPA figure will tend to under-represent how many shots you're likely to get, and we found it's the camera's propensity to show its charge percentage on its settings display that caused us to worry a little disproportionately.
Still, a rating of 260 is pretty low and means you may want to consider carrying a power bank if you plan to do more than occasional shots each day. Putting it on to charge overnight, just as you might do with your phone will probably be sufficient for everyday casual use, though.
A gentle press of the power button puts the camera into standby mode, but the battery will continue to drain at an appreciable rate. The BF starts up from cold quickly enough that this is usually a better approach.
By Richard Butler
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| Even the body cap is an over-engineered delight. |
The Sigma BF is one of the most unusual cameras we've ever encountered. On paper it looks like an under-specced rival to the Panasonic DC-S9 or even the Sony a7C II. Or, perhaps even a slightly re-purposed Sigma fp. But, even though it shares components and a small rectangular body, the BF is quite unlike any of these cameras.
Sigma's CEO, Kazuto Yamaki talked about completely re-thinking the camera's interface to pare it back to the fundamental things a camera needs to offer, in an attempt to make it simple to use, with the aim of making a camera for everyday use. And the more I use the BF, the more I think I understand this intent.
The idea of a dedicated settings display, leaving the main screen as a means of composing your image and positioning the focus point is a refreshingly simple one, undermined only by the challenge of viewing a fixed LCD in bright light. The decision to display only one setting, rather than a full array of settings and icons makes it very quick to interpret and I did find it made me consider what changes I wanted to make, shot-to-shot, in a way I don't on a more conventional twin-dial camera.
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Playback mode has three levels of information that can be displayed, this is the most detailed, but you can also opt just to see the top two rows of information, or just the first. Touching, rather than pressing, the playback button lets you review the last image you shot, without entering the full playback mode, for as long as your finger remains on the button. |
This really hit home when I realized I prefer to set aperture from the camera, rather than using an aperture ring; I think the camera works best with everything controlled from the settings display, rather than trying to increase the number of control points.
Another surprise was how good the BF's autofocus appears to be. Its subject tracking is very simple to use and impressively tenacious, while its eye detection works well and can be left turned on without minimal risk of the camera prioritizing nearby faces ahead of a different subject you've selected.
There are distinct downsides, though. The lack of mechanical shutter not only means there's a risk of rolling shutter and that the camera can't be used with flash, it also means it's quite prone to banding caused by the inherent flicker of artificial lights. This can be fairly subtle at longer shutter speeds but becomes increasingly apparent in short exposures, limiting its use as an indoor camera, despite a sensor that works well in low light.
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Sigma 35mm F2.0 | F4.0 | 1/500 sec | ISO 400 Photo: Richard Butler |
Sigma's sometimes quite dramatic color modes may not be to everyone's tastes, and I'm not wholly convinced by the 'Light Source Priority' auto white balance mode, that tries to maintain some of the character of the detected light source. But even when the results are unexpected, they're often interesting.
The BF's battery life is also quite short. An external charger is available, if you want to keep a second battery topped-up, but mainly it's a case of remembering to put the camera on to charge regularly, just as you might for your smartphone.
Other than a slight concern about the sharp lower front edge, I'm really looking forward to spending more time with the BF. It's not a camera that lets you respond quickly to the unexpected; instead it's one that makes you slow down and look for the photos you might otherwise not notice.
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| Photo: Dale Baskin |
Canon Announced its PowerShot V1 compact just a few weeks ago, with pre-orders only recently opening for those in Asia. Despite that, DCWatch reported that Canon has already warned that demand is high and delivery may be delayed as a result, potentially delaying its availability to the rest of the world.
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| A screenshot of the messaging on Canon Japan's website. |
Visiting the PowerShot V1 product page reveals a message (translated from Japanese) stating, "Apologies and information regarding product supply status." That message links to a page that briefly explains that Canon is "currently receiving more orders than expected for the following products, which is causing delays in delivery." Notably, three compact cameras are affected, with the PowerShot V1 at the top of the list. Canon plans to ship these products sequentially but says delivery may take longer than usual.
The PowerShot V1 is the company's first compact camera since the PowerShot G7 X III, which was released back in July 2019. Canon also launched the PowerShot V10 in June 2023, but that model is more video-focused and targets a different user base. Even though the Powershot V1 is only available in Asia, it is a welcome addition. After all, we are currently seeing an increased interest in compact cameras, which is driving up prices and causing issues with availability across the board.
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| Photo: Dale Baskin |
The increased demand is reflected across the compact market. Retro compacts that used to sell for $5 at garage sales and thrift stores now go for anywhere from $40 to $250 or even higher. The PowerShot G7 X III, despite being six years old, has such high demand that Canon is suspending orders indefinitely to catch up. Meanwhile, the Fujifilm X100VI, which was announced a year ago, is still out of stock on most websites and is selling for as much as double its already steep $1,599 retail price on sites like eBay. CIPA's January numbers also showed a rise in the popularity of compact cameras, with an increase in shipments and value compared to January 2024.
While The PowerShot V1 was released exclusively for Asia, many are eagerly waiting for broader availability. Unfortunately, a delay so early on in the release potentially complicates that, meaning those hoping to get their hands on the camera outside of Asia will likely have to wait even longer. Canon hasn't provided specific timing or details on the extent of the delays. That means it's a waiting game for now, with another compact camera bogged down by supply constraints.
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| Photo: Richard Butler |
The Camera and Imaging Product Association (CIPA) recently published its total production and shipment data for January. The latest data shows that demand for compact cameras remains strong. Shipments of interchangeable lens systems also increased year over year, while those of SLR systems slowed.
CIPA breaks down its data into camera types, with dedicated sections for cameras with built-in lenses and interchangeable lens systems. It also differentiates between SLRs and mirrorless cameras and provides specific data regarding various regions. All digital still cameras saw a 6% increase in shipment compared to January 2024 data, while interchangeable lens cameras were up 5% year-over-year.
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A graph showing the total number of shipments of digital still cameras. |
Built-in lens systems, though, saw the biggest increase of all categories. With 124,085 units shipped in January, cameras with integrated lenses saw an increase in shipments of 11% compared to January last year. Also notable was the 50% increase in the value of shipped compact cameras compared to January last year. The fact that the value is increasing faster than the number of units shipped indicates prices are higher for those cameras.
The growth in value isn't entirely surprising, given that demand for compacts is high right now. Cameras like the Fujifilm X100VI have been extremely popular. According to Map Camera, one of the largest photography retailers in Japan, the Fujifilm X100VI was its best-selling camera in February 2025. The buzz surrounding the Canon Powershot V1, which was only recently announced at CP+, is also significant. The Powershot V1 is only available in Asia and wasn't scheduled to start shipping until April. Despite all that, DCWatch reported that Canon has already announced it is experiencing supply shortage issues and that delivery times may be longer than usual as a result.
While that growth in compact camera shipments is interesting, it seems to be largely the result of two regions. China saw the greatest increase; shipments of compact cameras grew substantially year-over-year, with just 6,055 units shipped in January 2024 versus 18,955 units shipped in January 2025, a 213% increase. Asia (excluding China and Japan) also saw an increase, though at a more modest 22%. Europe and the Americas, however, actually saw a few thousand fewer shipments of compact cameras year-over-year (around a 6% fall).
While compacts saw an increase in shipments, SLRs saw a decline in January 2025 compared to January 2024. Shipments of SLRs were down 16% year-over-year. This isn't much of a surprise, given that the last DLSR that was released was the Pentax K-3 Mark III in March 2021, and Canon and Nikon last released DSLRs in 2018 and 2020, respectively. Sigma is also no longer developing new DSLR lenses. Needless to say, it seems the sun is setting on DSLRs, so it makes sense that shipments would be slowing.
The Fujifilm X100VI camera that was announced in February 2024 is still not in stock anywhere (Amazon | B&H | Adorama | Koch |WEX). I reported a year ago that the X100VI would not be in stock anytime soon, which is still the case today.
After being labeled as “the most pre-ordered camera ever”, Fujifilm's CEO commented that shortages are “normal” if you want to create brand power similar to Leica. At some point last year, Amazon started canceling existing X100VI pre-orders becuase they could not deliver them. Companies in China even started selling fake stickers that will turn your old X100 camera into an X100VI.
It seems that things are slowly improving because the X100VI was recently the best-selling camera at one of the major camera stores in Japan (MAP Camera), indicating that a large number of cameras are being shipped from the factory.
Just announced: IDSworks grip for the new Fuji X100VI camera
The post More than a year after the official announcement, the Fujifilm X100VI camera is still not in stock appeared first on Photo Rumors.
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| Photo: Richard Butler |
The Camera and Imaging Product Association (CIPA) recently published its total production and shipment data for January. The latest data shows that demand for compact cameras remains strong. Shipments of interchangeable lens systems also increased year over year, while those of SLR systems slowed.
CIPA breaks down its data into camera types, with dedicated sections for cameras with built-in lenses and interchangeable lens systems. It also differentiates between SLRs and mirrorless cameras and provides specific data regarding various regions. All digital still cameras saw a 6% increase in shipment compared to January 2024 data, while interchangeable lens cameras were up 5% year-over-year.
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A graph showing the total number of shipments of digital still cameras. |
Built-in lens systems, though, saw the biggest increase of all categories. With 124,085 units shipped in January, cameras with integrated lenses saw an increase in shipments of 11% compared to January last year. Also notable was the 50% increase in the value of shipped compact cameras compared to January last year. The fact that the value is increasing faster than the number of units shipped indicates prices are higher for those cameras.
The growth in value isn't entirely surprising, given that demand for compacts is high right now. Cameras like the Fujifilm X100VI have been extremely popular. According to Map Camera, one of the largest photography retailers in Japan, the Fujifilm X100VI was its best-selling camera in February 2025. The buzz surrounding the Canon Powershot V1, which was only recently announced at CP+, is also significant. The Powershot V1 is only available in Asia and wasn't scheduled to start shipping until April. Despite all that, DCWatch reported that Canon has already announced it is experiencing supply shortage issues and that delivery times may be longer than usual as a result.
While that growth in compact camera shipments is interesting, it seems to be largely the result of two regions. China saw the greatest increase; shipments of compact cameras grew substantially year-over-year, with just 6,055 units shipped in January 2024 versus 18,955 units shipped in January 2025, a 213% increase. Asia (excluding China and Japan) also saw an increase, though at a more modest 22%. Europe and the Americas, however, actually saw a few thousand fewer shipments of compact cameras year-over-year (around a 6% fall).
While compacts saw an increase in shipments, SLRs saw a decline in January 2025 compared to January 2024. Shipments of SLRs were down 16% year-over-year. This isn't much of a surprise, given that the last DLSR that was released was the Pentax K-3 Mark III in March 2021, and Canon and Nikon last released DSLRs in 2018 and 2020, respectively. Sigma is also no longer developing new DSLR lenses. Needless to say, it seems the sun is setting on DSLRs, so it makes sense that shipments would be slowing.
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| Image: Insta360 |
Insta360 and Leica Camera AG first teamed up in January 2020 with the Insta360 One R action camera. More recently, they collaborated on the Insta360 Ace Pro 2. That cooperation isn't over, as the two companies have announced an extension of their partnership, bringing continued collaboration to Insta360's action cameras.
The Ace Pro 2 featured a Leica Summarit lens and Leica color profiles, so it seems likely that we will see more Leica optics and colors in future Insta360 products. The announcement reveals that "exciting developments are already on the horizon," suggesting that a new product is already in the works. It goes on to say that there will be "more cutting-edge imaging solutions across new product lines in the near future."
“Insta360 and Leica share a vision of creating the most advanced imaging tools possible,” said Max Richter, Vice President of Marketing at Insta360. “With this renewed partnership, we are excited to continue our journey together, empowering creators to capture like nothing else out there.”
The Insta360 Ace 2 Pro has been very well regarded with impressive quality, so if that's a sign of what this partnership can yield, then exciting things could indeed be on the way. The two companies didn't provide any additional details about what product lines may involve Leica's input, so for now, we will have to wait.
Insta360, a leader in 360° and action cameras, is proud to announce an extension of its partnership with Leica Camera AG, the legendary brand renowned for over a century of excellence in imaging. This continued collaboration aims to bring elite performance to Insta360's range of AI-powered action cameras and more.
Leica's heritage in crafting high-quality lenses and pioneering advancements in optical engineering aligns seamlessly with Insta360’s mission to redefine what’s possible in action and 360° imaging. Together, the two brands have delivered industry-leading innovations, with the latest offering, Insta360 Ace Pro 2, proving to be a smash hit among users worldwide.
With this partnership evolving, exciting developments are already on the horizon. While we can’t share specifics just yet, creators can expect more cutting-edge imaging solutions across new product lines in the near future. This extension sets the stage for further innovation, reinforcing both brands’ commitment to pushing the boundaries of what’s possible in action and 360° imaging.
A Partnership Rooted in Innovation
“Insta360 and Leica share a vision of creating the most advanced imaging tools possible,” said Max Richter, Vice President of Marketing at Insta360. “With this renewed partnership, we are excited to continue our journey together, empowering creators to capture like nothing else out there.”
As the action camera market continues to demand ever-better image quality, this partnership ensures that Insta360 continues to lead in imaging excellence.
"For over a century, Leica has stood at the forefront of optical innovation, and our partnership with Insta360 allows us to continue this legacy in the dynamic world of action cameras.
Together, we strive to push the boundaries of imaging excellence, offering creators tools that inspire their creative journeys," said Marius Eschweiler, Vice President Business Unit Mobile, at Leica Camera AG.
Insta360 Ace Pro 2 – The Latest Evolution of Insta360 and Leica’s Collaboration
The latest product of this partnership is the recently launched Insta360 Ace Pro 2, a flagship AI-powered action camera designed for professionals and enthusiasts seeking the highest image quality.
Built with a Leica SUMMARIT lens and unique Leica color profiles, the latest addition to Insta360's wide-angle camera lineup sets a new standard in action photography and videography.
With industry-leading low-light performance, superior dynamic range, and refined image processing, Insta360 Ace Pro 2 is engineered to capture life’s most thrilling moments with the precision and quality expected from Leica optics.
Creators can rely on Insta360 Ace Pro 2’s enhanced stabilization and AI-powered features to ensure smooth and professional-looking footage every time.
Looking Ahead
The renewal of this partnership signals an exciting future for creators and action camera enthusiasts alike. With Leica’s legacy in optics and Insta360’s expertise in imaging technology, the next generation of cameras will continue to set new benchmarks in performance and creativity.
Shop the Insta360 Ace Pro 2 here, and be sure to explore Leica's latest offerings via their official website.
The previously reported 7Artisans AF 27mm f/2.8 XF lens for Fujifilm X-mount is now officially announced and available for order at the official online store (coming soon to Amazon and B&H Photo):
The post 7Artisans AF 27mm f/2.8 XF lens for Fujifilm X-mount officially announced appeared first on Photo Rumors.
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The post What else is new? appeared first on Photo Rumors.
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A couple of weeks ago, DPReview attended the 2025 CP+ Expo in Yokohama, Japan, the annual camera industry trade show sponsored by the Camera & Imaging Products Association (CIPA). CP+ is an opportunity for us to meet with senior executives from across the camera industry, but it's also a chance to gauge the market's health more indirectly.
After going through years of contraction, the past few years have generally been a period of stabilization for the camera industry. We're not returning to the heady days of DSLRs and compact models flying off the shelves in the tens of millions, but industry executives have consistently told us that the market has reached a point of equilibrium and is even growing a bit.
However, despite the positive outlook from industry leaders, it's hard to ignore that, for the past couple of years, the CP+ Expo lacked a certain energy that we used to see at camera trade shows. In 2025, however, we saw several signs that CP+, and possibly the industry, are regaining some of that past mojo.
It's no secret that camera trade shows have been hit hard over the past few years, with stalwarts like Photokina and PMA falling by the wayside and becoming historical footnotes. Trade shows, in general, have been flagging as companies discover new ways of connecting with customers, and the camera industry is not immune to that.
"We saw several signs that CP+, and possibly the industry, are regaining some of that past mojo."
CP+ was hit particularly hard by the global pandemic in 2020, which resulted in a three-year hiatus before an in-person expo returned in 2023. And, while there was clearly excitement among attendees and manufacturers to be back in action, one couldn't help but notice that the crowds felt smaller and the energy levels lower. It didn't portend an exciting future.
What a difference a year makes: in 2025, CP+ felt busy and vibrant again. There were lines outside the expo hall snaking back and forth well before the doors opened, packed with consumers eager to see the latest gear. The expo hall was crowded, the booths were busy, and even the aisles were filled with excitement and energy that have been largely absent since the pandemic.
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CP+ attendees listen to a speaker in the Sigma booth. It seemed like there were more women at CP+ than in the past. Frame from video: Dale Baskin |
Yes, the crowds are getting bigger again. But what may be even more important is who we saw in attendance.
Typically, we would expect to see traditional camera enthusiasts at CP+, the type of person who has a collection of cameras and lenses at home, and we saw plenty of attendees with current models slung around their necks. To be sure, there were plenty of these people at the expo, and that's a good thing for the industry.
What jumped out, however, was the number of young people we saw in attendance, and it was common to see them in sections of booths specifically targeting 'creators.' You found them in other places, too; at least anecdotally, the industry's efforts to connect with this up-and-coming customer base may be paying dividends.
Additionally, it seemed like there were more women in attendance this year. I don't have any hard data to back this up, so you'll have to trust my observations, but it's certainly a good sign if the industry is more effectively connecting with women photographers.
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DPReview was the first publication to get our hands on the new Canon V1, a compact camera announced to coincide with CP+ 2025. Photo: Dale Baskin |
The CP+ Expo hasn't historically been an anchor event camera companies use to announce new products. It wasn't uncommon for a few products to be announced in the weeks leading up to the event, and companies occasionally used CP+ for big announcements, but it was the exception rather than the rule.
Suddenly, CP+ is a hot place for announcements.
Panasonic announced its new Lumix S1RII high-resolution flagship camera, Canon had its just-announced Powershot V1 compact model on display, and Sony revealed its new 16mm F1.8 G and 400-800mm F6.3-8 G lenses. Even Zeiss got in on the action, announcing new Otus 50mm F1.4 ML and 85mm F1.4 ML lenses.
On top of that, Sigma announced its new BF camera, along with new 16-300mm F3.5-6.7 DC OS and 300-600mm F4 DG OS lenses, at its own event in Tokyo earlier in the week, clearly designed to coincide with CP+, and the expo was the first opportunity for customers to get their hands on the products.
And this doesn't even include all the new lenses revealed by the up-and-coming Chinese lens manufacturers. Speaking of which...
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Chinese lens companies unveiled numerous new lenses at CP+ 2025, some designed to go head-to-head with the camera manufacturers' own lens options. Photos: Richard Butler |
Over the past few years, Chinese lens companies have transformed the camera market, becoming competitive manufacturers capable of producing sophisticated autofocus lenses with impressive optics.
This isn't the first year these companies have been at CP+. However, in 2025, they collectively made their presence felt like never before, unveiling no less than ten lenses between them, including several that ought to get the attention of first-party manufacturers.
Viltrox jumped in with its AF 35mm F1.2 LAB FE and AF 85mm F1.4 PRO FE lenses for Sony E-mount, along with a full-frame compatible AF 50mm F2.0 Air and APS-C AF 25mm F1.7 Air, both available for multiple mounts. Laowa joined the party with full-frame 8-15mm F2.8 Fisheye and 15mm F4.5 0.5x wide-angle macro lenses, and even a 35mm F2.8 Tilt Shift lens for Fujifilm GFX.
"Chinese lens companies unveiled numerous new lenses at CP+ 2025, some designed to go head-to-head with the camera manufacturers' own lens options."
Not to be left out, 7Artisans showed off full frame 24mm F1.8 and 35mm F2.8 lenses in multiple mounts and APS-C 25mm F1.8, 35mm F1.8 and 50mm F1.8 primes, also available in multiple mounts. Even Samyang got in on the fun, unveiling its AF 14-24mm F2.8 zoom for E-mount, co-branded with Schneider Kreuznach.
If this trend continues, CP+ could become a very exciting venue for new lenses.
It's one thing for camera industry executives to tell us the industry is headed in a positive direction. It's another to walk the aisles of an expo hall teeming with excited consumers who telegraph that message in the real world. Seeing younger generations out in force and excited about using cameras is particularly exciting.
It's also been a long time since we've seen this many big industry announcements centered on a single event. However, if the industry can coalesce around CP+, it presents an opportunity for manufacturers to generate industry-wide excitement about new products at a level we haven't seen since the days of Photokina, and that would undoubtedly be a positive thing for the industry as a whole.
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| Image: 7Artisans |
Nearly a year after its initial launch, 7Artisans has announced that its AF 27mm F2.8 lens is coming to Fujifilm X-mount, joining the existing Sony E-mount and Nikon Z-mount iterations. The XF version will offer the same features and design as the existing model, albeit with very slight size differences to accommodate the different mounts.
The 27mm focal length provides a roughly 41mm equivalent field of view. It is quite compact and lightweight, measuring 42mm (1.7") long. 7Artisans didn't provide a weight for the X-mount version, but the E-mount model weighs only 144g (5.1oz) and the X-mount likely isn't much different.
The lens supports autofocus with a stepper motor and internal focus design. The optical design comprises six elements in five groups, though it doesn't use any aspherical, ED or other special glass. It also only features six aperture blades. Like the the Z-mount model, the X-mount lens accepts 39mm filters. There is also a USB port for firmware updates.
The 7Artisans AF 27mm F2.8 XF lens is available for purchase today at a recommended price of $129.
Here is a quick update on my post from yesterday - this year (2025) Schneider Kreuznach × LK Samyang will release three new lenses in addition to the 14-24mm f/2.8:
Pictures: Optyczne
The post Update: three new Schneider Kreuznach × LK Samyang lenses are coming this year (2025) appeared first on Photo Rumors.
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Meike officially released the Pro Series 85mm f/1.8 autofocus lens for Fujifilm X-Mount (previously reported here). Pre-orders are now open at B&H Photo, and the official Meike online store (international shipping). Do not confuse the new release with the old STM model that was introduced a few years ago. Here are the details on the new version:
The new Meike AF 85mm f/1.8 Pro lens for Fujifilm X-mount is now available
The post Meike Pro Series 85mm f/1.8 autofocus lens for Fujifilm X-mount released appeared first on Photo Rumors.
Phototrend published their interview with Canon executives at the 2025 CP+ show. One of the questions was about a potential retro/vintage Canon camera.
Next year (2026), the iconic Canon AE-1 will celebrate its 50th anniversary, and there is a very good chance we may see a new digital version.
Rumors about a new retro-designed Canon digital camera are not new and have been circulating for years:
Canon conducted market research for a retro-designed digital camera
Here is the recap of the interview:
The interview was conducted at CP+ 2025 with Canon Corp’s executive team, including Go Tokura (VP and General Manager of the Imaging Division), Manabu Kato (head of Imaging Business Operations for products), Yasuhiko Shiomi (director of development), and Tetsushi Hibi (director of optics).
The post Canon interview: “There is a lot of demand for vintage-looking cameras” appeared first on Photo Rumors.
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The World Photography Organisation has announced the category winners and shortlisted photographers for the Sony World Photography Awards 2025 Open competition. The Open competition of the World Photography Awards is in its 18th year and aims to celebrate photographers' ability to "distill a singular moment and to evoke a broader narrative." Entrants submitted their strongest images from 2024 across 10 categories, including landscape, portraiture, street photography, wildlife and more.
This year, the free-to-enter competition received over 419,000 submissions from 200 countries and territories. All of the shortlisted photographs can be seen at worldphoto.org.
In addition to the category winners, the Open Photographer of the Year will be announced at an awards ceremony in London on April 16. Select winning and shortlisted images will be displayed in the World Photography Awards exhibition at Somerset House in London from April 17 to May 5 and then travel to other locations.
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Photographer: Xuecheng Liu
Image title: Center of the Cosmos
Selected for the photograph Center of the Cosmos, which shows New York’s iconic Times Square from above, using a very wide angle to highlight the expanse of the city.
Copyright: © Xuecheng Liu, China Mainland, Winner, Open Competition, Architecture, Sony World Photography Awards 2025
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Photographer: Jonell Francisco, Philippines, Winner, Open Competition, Creative, Sony World Photography Awards 2025
Image title: Kem the Unstoppable
Selected for Kem the Unstoppable, an elegantly photographed collage portrait, alluding to Renaissance traditions of portraiture.
Copyright: © Jonell Francisco, Philippines, Winner, Open Competition, Creative, Sony World Photography Awards 2025
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Photographer: Ng Guang Ze
Image title: None
Selected for his mesmerising black-and-white shot of a stream meandering through grasslands into a lake in the distance, taken in Wenhai, Lijiang.
Copyright: © Ng Guang Ze, Singapore, Winner, Open Competition, Landscape, Sony World Photography Awards 2025
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Photographer: Hajime Hirano
Image title: None
Selected for his meticulously composed image of a street vendor selling electronic parts in Akihabara, once Japan's largest electronics town following a period of rapid economic growth in the late 1950s.
Copyright: © Hajime Hirano, Japan, Winner, Open Competition, Lifestyle, Sony World Photography Awards 2025
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Photographer: Olivier Unia
Image title: Tbourida La Chute
Selected for Tbourida La Chute, in which the photographer captures the danger and excitement of the moment a rider is thrown from their mount during a 'tbourida,' a traditional Moroccan equestrian performance.
Copyright: © Olivier Unia, France, Winner, Open Competition, Motion, Sony World Photography Awards 2025
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Photographer: Estebane Rezkallah
Image title: The Whale Raft
Selected for The Whale Raft, depicting a group of polar bears feasting on the carcass of a whale in east Greenland.
Copyright: © Estebane Rezkallah, France, Winner, Open Competition, Natural World & Wildlife, Sony World Photography Awards 2025
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Photographer: Sussi Charlotte Alminde
Image title: Octopuses in the Sky
Selected for Octopuses in the Sky, showcasing elaborate handmade kites at the Fanø International Kite Fliers Meeting, one of the world’s largest kite flying events.
Copyright: © Sussi Charlotte Alminde, Denmark, Winner, Open Competition, Object, Sony World Photography Awards 2025
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Photographer: Yeintze Boutamba
Image title: Encounter
Selected for Encounter, a tender portrait of two people shot in the intimacy of a bedroom. The photographer wanted to immortalise this moment for the sitters.
Copyright: © Yeintze Boutamba, Gabon, Winner, Open Competition, Portraiture, Sony World Photography Awards 2025
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Photographer: Khairizal Maris
Image title: Celebrating Football Club Victories
Selected for Celebrating Football Club Victories, which pictures the elation of fans celebrating a win by their local football club by lighting flares in Bandung, West Java.
Copyright: © Khairizal Maris, Indonesia, Winner, Open Competition, Street Photography, Sony World Photography Awards 2025
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Photographer: Matjaž Šimic, Slovenia
Image title: Ask a Shaman
Selected for Ask a Shaman, depicting a group of shamans in La Paz, Bolivia, where they play a major role in Native Bolivian traditional culture, shot against the brightly painted local architecture.
Copyright: © Matjaž Šimic, Slovenia, Winner, Open Competition, Travel, Sony World Photography Awards 2025
In addition to the new Schneider Kreuznach × LK Samyang 14-24mm f/2.8 lens that was announced at the CP+ show, there are also plans to release another standard AF zoom lens in 2025 - maybe 24-70mm f/2.8? Here is a prototype of the lens (source: optyczne):
Additional information on the new Schneider Kreuznach x LK Samyang 14-24mm f/2.8 lens
The post A new Schneider Kreuznach × LK Samyang standard zoom lens is also coming this year (24-70mm f/2.8?) appeared first on Photo Rumors.
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In addition to the Prague event, Fujifilm will also hold an X Summit Las Vegas "announcement event" during the WPPI show on March 20th. The rumored new Fujifilm GFX 100RF medium format fixed lens camera is expected:
The post Fujifilm X Summit Las Vegas announcement event at WPPI (GFX 100RF medium format fixed lens camera expected) appeared first on Photo Rumors.
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Just a quick heads-up: the 5-Day Deal Landscape Photography Bundle 2025 is ending in 24 hours. The products in the bundle retail and sell for more than $1,000.
Like in previous years, the 2025 5DayDeal Landscape Photography Bundle contains a package of photography tools at a significant discount. Several different bundles are available, and a portion of the sales will go to charities:
The post Reminder: the 5-Day Deal Landscape Photography Bundle 2025 is ending tomorrow appeared first on Photo Rumors.
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Photos: Priya Suresh Kambli, Jennifer Osborne, Koral Carballo and Anna Neubauer / Leica Women Foto Project Award 2025
Leica paid homage to International Women's Day on Saturday by announcing the winners of the Leica Women Foto Project. Now in its sixth year, the project aims to "spotlight the way we diversify our communities through visual stories and emphasize female empowerment by its creators." This year's call for work centered on "Unity Through Diversity," seeking photo essays emphasizing the importance of connection as expressed through a feminine perspective.
The award is open to images created using any camera make or model and not limited to Leica-captured imagery. A panel of 12 judges, which included award-winning photojournalists, curators and editors, selected this year's four awardees. The winners each received a Leica SL3 camera, a Vario-Elmarit-SL 24-70mm f/2.8 ASPH lens and a $10,000 USD cash prize.
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
Priya Suresh Kambli’s work is deeply personal and rooted in the context of the migrant experience. Inspired by an exhibition of vernacular hand-painted Indian studio portraits from The Alkazi Foundation, she began intervening with her family archive to explore themes of identity, memory, and belonging. Over the course of her twenty-year practice, Priya has revisited, reimagined, and recontextualized family portraits and heirlooms, building an archive that connects her to both her ancestral roots and her adopted land. Through her work, she reflects on absence and loss, navigating family dynamics to document their lives with a thoughtful and composed narrative.
About Priya Suresh Kambli: Priya Suresh Kambli received her BFA at the University of Louisiana in Lafayette and an MFA from the University of Houston. She is a Professor of Art at Truman State University in Kirksville, Missouri. Kambli has always strived to explore and understand the resulting fragmentation of family, identity, and culture. Her artwork has been exhibited, published, collected and reviewed in the national and international photographic community.
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
The story behind the pictures: At age 18, I moved from India to the United States. Before I emigrated, my sister and I split our photographic inheritance along with other family heirlooms arbitrarily and irreparably in half - one part to remain in India with her and the other to be displaced with me, here in America. For the past two decades this accidental archive of family photographs and artifacts has been my main source material in creating bodies of work which explore the issues of gender, identity, representation, migrant narratives, and the renegotiation of power via the medium of photography.
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
The story behind the pictures: In my work I re-photograph and re-contextualize my inherited family photographs, documents and objects carried by me to America, to my home in the Midwest. In my images, my archive constrains what can be said of the past. It is full of gaps, fragmented long before it was split in two by my sister and me. One of the people sealed within is my father, the original archivist and documentarian. He was the author of the majority of the images in the archive. And the other significant presence is of my mother. My father the photographer is physically absent, while I and other members of my family are fixed within the archive. His photographs are documents – ostensibly of some happy occasion, or milestone in our lives.
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
The story behind the pictures: These mundane family photographs are complicated by my mother’s mark making. She cut holes in certain photographs to completely obliterate her own face while not harming the image of my sister and myself beside her and then slid them back into the family album. I am interested in both narratives – my father’s carefully composed efforts to document our lives and my mother’s violent but precise excisions. This set of fives images selected from my submission to the 2025 Leica Women Foto Project Award showcase these family dynamics. These family narratives form the foundation on which my artistic work rests, guiding its form as well as its vocabulary.
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
The story behind the pictures: This work stems from my own migration, and it grapples with the challenges of cross-cultural understanding, and from my growing sense that my practice – born from private and personal motivations – constitutes an increasingly urgent political and public action. In this work I seek and offer solidarity. The proposed work continues to examine the link between public and private and will provide a lens through which my artmaking becomes a kind of performance or ritual activity; revisiting the past in ways that bear witness to, re-enact, and communicate with past and future selves.
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
The story behind the pictures: My contribution to the field extends beyond the personal narrative, bringing attention to the experiences of migrants and women of color: lives that are rich, nuanced, and worthy of notice. The impact of this work lies in its simple existence; bodies of work resulting from processes of play - grounded in the concrete reality of the things I had carried with me and the place where I strive to make a home.
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
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Credit: Priya Suresh Kambli / Leica Women Foto Project Award 2025
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
Koral Carballo’s photographic essays blend photography and oral history to explore the search for identity among Afro-descendant and mestizo communities in Veracruz, Mexico. Through powerful imagery, she uncovers the roots of complex family trauma, inviting viewers to reflect on their own connections to the past. Her project Blood Summons (or La Sangre Llama), a popular Mexican saying referring to the call to search for one's ancestors, represents both her personal journey and a broader exploration of historical injustices. With this work, Carballo calls for reparation, aiming to foster connection rather than division, and inviting viewers to engage with these stories and their own histories.
About Koral Carballo: Koral Carballo is a photojournalist, documentary photographer, and visual artist based in Mexico. She studied journalism at the Universidad Popular Aútonoma del Estado de Puebla, and the Contemporary Photography Seminar by the Centro de las Artes de San Agustín (CaSA) and the Centro de la Imagen. Carballo has exhibited her work in Argentina, Bolivia, Canada, Colombia, Guatemala, Mexico, Morocco, Netherlands, Spain, Switzerland, The United States, and Uruguay. She collaborates with Ruda Colectiva, a Latino-American women photographers collective, and is an Artist from the National System in Mexico.
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
The story behind the pictures: “Telling this story is a door to the past that opens to understand the emotional wounds of the present. My mother has been a crucial figure for the beginning of this project and an ally in the process of starting to create.”
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
The story behind the pictures: "Mom slapped me several times. She kept questioning me as to why I wanted to marry a black man." Mom
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
The story behind the pictures: "I don't know what we are carrying. But I saw it in therapy. I saw someone they were beating . He was asking me to release him." Bro.
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
The story behind the pictures: "Black rain. In December when the sugar cane harvest season begins, the black rain begins in Veracruz since colonial times. The burning of the cane fields is an important step for the production season. There are still 18 sugar mills in Veracruz where Afro-descendants and mestizos (people of mixed race) still work."
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
The story behind the pictures: "My sister's melancholy."
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
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Credit: Koral Carballo / Leica Women Foto Project Award 2025
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
Anna Neubauer’s ongoing documentary project, Ashes from Stone, is a powerful photo essay that portrays individuals who defy societal norms of beauty, strength, and identity. Through striking portraits, Neubauer showcases people from diverse cultural and socioeconomic backgrounds in empowered settings, amplifying marginalized voices and encouraging audiences to rethink traditional views of femininity and strength. The project challenges stereotypes, redefines beauty, and embraces narratives around family, relationships, and motherhood. Each photograph is accompanied by a personal narrative, deepening the connection with and humanizing the subjects, fostering empathy, and promoting a greater understanding of diversity.
About Anna Neubauer: Anna Neubauer is an Austrian photographer based in London, United Kingdom. She began her journey capturing what truly matters to her: stories of self-love, acceptance, and resilience. In 2021, Anna was named Adobe Rising Star of Photography. She has worked with clients like Barbie, Condé Nast, Leica, Canon, Yoto, Abercrombie & Fitch, Adobe, Harper's Bazaar and 500px/Getty Images, and her work has been featured in international publications.
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
The story behind the pictures: Hannah was born with Hay-Wells syndrome, a kind of ectodermal dysplasia, a very rare genetic disorder that can cause abnormalities affecting a person's skin, hair, nails, and teeth. Along with other health problems, people with this condition may also be more prone to specific skin or eye conditions. Growing up, Hannah was often burdened with feelings of isolation and despair because society's beauty standards and misconceptions about physical differences often lead to bullying. Since the media frequently ignores or misrepresents people with unusual conditions, Hannah now aims to educate others; she fights for her rights and strives to end societal ableism. I have been photographing Hannah the past years, documenting her journey of self-acceptance and advocacy in order to challenge beauty standards, preconceived notions about disability, and foster empathy and understanding about rare genetic disorders. This image in my series not only shows her uniquely beautiful appearance but also her courage and resilience.
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
The story behind the pictures: When I met Hannah, I met a confident woman and a proud disability advocate who speaks openly about living with Hay-Wells syndrome. I have always loved listening to stories, but for me, there is something particularly beautiful about Hannah’s. Through her advocacy and quiet moments like this, she continues to challenge norms, encouraging others to see beyond appearances and understand the resilience and humanity of those with rare conditions. I want to show the part of her journey where self-acceptance meets the pressures of a society that often doesn’t understand visible differences. Outside, Hannah wears her wig and sunglasses as a way to blend in and feel comfortable, but here, within the walls of her family home, she allows herself to be seen as she truly is. This image in my series, Hannah standing in the quiet light of her bedroom corridor, reveals a mix of strength and vulnerability. Her wig gives her comfort in a world still learning to embrace diversity.
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
The story behind the pictures: Crystal is a passionate actress and advocate for facial diversity and representation in the acting industry. I photographed her in her living room just as the UK started to ease Covid-19 restrictions. For Crystal, the pandemic brought an unexpected reprieve. The masks that shielded others from a virus also shielded her from relentless stares. For a while, she found relief in the anonymity, moving through public spaces without the weight of constant scrutiny or unsolicited judgment. In a world that often doesn’t know how to look beyond the surface, the anonymity felt like breathing room—both liberating and fragile.
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
The story behind the pictures: Az and Izzy were dating for a year when I photographed them. The beach isn’t just a place they visit—it’s their sanctuary, where the world fades away, and they can simply exist in each other’s presence. Here, with the salty breeze in their hair and the rhythmic hum of the waves, they find a rare kind of freedom—one where love feels effortless and unguarded. Documenting this intimate moment felt like stepping into something sacred. The way they look at each other, the unspoken understanding between them, the laughter that comes so easily—it all radiates warmth and authenticity. Their connection isn’t just seen; it’s felt. A quiet, beautiful force that reminds us of the kind of love that makes us feel truly at home.
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
The story behind the pictures: Maya is a passionate actress, dancer and model whose energy is as captivating as her talent. When we first met at a photoshoot in 2021, she was a performing arts student at Chickenshed Youth Theatre in London, radiating the kind of determination that makes dreams feel within reach. Since then, she has worked with major brands like Nike, EE and CBBC. Maya’s success not only speaks to her incredible talent but to her relentless spirit and dedication. This image in my series shows Maya in one of her favourite dresses, a piece that feels like an extension of her—a symbol of self-expression, confidence and her deep love for performing. For me, there’s something magical about photographing her, the way she moves so effortlessly, how she transforms in front of the lens yet always remains true to herself. Over the years, our friendship has grown into something truly beautiful, and every time I photograph her, it feels like a celebration of that bond.
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
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Credit: Anna Neubauer / Leica Women Foto Project Award 2025
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
Jennifer Osborne’s captivating photo series takes viewers deep into the heart of the Fairy Creek protests, where activists came together to protect the old-growth forests of Vancouver Island. Osborne began documenting life within the protest blockades a week before enforcement began, capturing the raw, unfiltered moments of those first days. She continued to document the protests for the first three months of enforcement, witnessing firsthand the courage and commitment of the activists. From diverse backgrounds, these individuals camped in tents and vehicles, fighting tirelessly to preserve the land. Through powerful imagery, Osborne highlights their unwavering solidarity and determination, showing how every moment spent defending the forests was a battle not only for the land but for future generations. This series, which documents the now-dismantled blockades and the trees they fought so hard to protect, underscores the profound significance of their environmental struggle.
About Jennifer Osborne: Jen Osborne is a Canadian photographer who has published and exhibited photographs and videos internationally. Osborne was shortlisted for a Sony World Photography Award in 2024 for her wildland fire coverage in Alberta, Canada. And she received a grant from Carleton University in 2021 to complete a video documentary about Canada’s horse meat industry. It has since toured to more than ten film festivals around the world.
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
The story behind the pictures: "May 17, 2021. Outside Port Renfrew, in a forest cut block. A woman leans on a tree that was cut fairly recently before this photo was taken. She found it along with a group of conservationists who explored the area after a round of logging happened in the region."
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
The story behind the pictures: "May 2021. Near Port Renfrew, Canada. An activist is chained to a bus in the middle of a road over a bridge, to prevent loggers from accessing old-growth forests. Other members of the blockade set off flares, so that their internal film crew could post a social media update for the public on their activities there. A team of blockade members had united to place this vehicle in the middle of the road."
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
The story behind the pictures: "May 23, 2021. Near Port Renfrew, Canada. A group of blockaders unify their bodies to protect a patch of old-growth forest called "EDEN GROVE". They linked arms to prevent a hostile individual from entering their blockade. The situation escalated and the visitor yelled and tried to push a few activists to get through their linked arms."
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
The story behind the pictures: "May 24, 2021. Near Port Renfrew, Canada. Two forest defenders stand in a cut block patch during police arrests of activists protecting "Waterfall Camp" and a neighboring cut block area."
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
The story behind the pictures: "May 24, 2021. Near Port Renfrew, Canada. A woman appeared at a cut block to show her unity with land defenders who blocked roads to prevent loggers from entering old-growth forest areas, during their arrests."
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
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Credit: Jennifer Osborne / Leica Women Foto Project Award 2025
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