Hasselblad X2D II 100C vs Fujifilm GFX 100 II

Hasselblad recently announced the X2D II 100C, the latest camera in its medium-format lineup, and the first to be capable of continuous autofocus. That feature makes it a much closer competitor to Fujifilm's medium format cameras, the GFX 100 II and 100S II. Fujifilm's two models have a lot in common, but we'll mainly be comparing the former in this article because of its higher magnification viewfinder, CFexpress storage and price tag that's closer to Hasselblad's.

While both the X2D II and GFX 100 II use very similar 100MP BSI CMOS sensors, they're surprisingly different in several key areas. Let's go over what those are.

Design

The X2D II is designed to be sleek and minimlaist, and Hasselblad says it makes the bodies out of a single block of machined aluminium. The GFX 100 II, meanwhile, has a very utilitarian design, with a hatched rubber grip that uses a proprietary pattern called Bishamon-Tex. The X2D's grip feels like a rubber version of leather; one of our editors described it as looking a bit like washi, a Japanese paper.

The GFX 100 II isn't substantially larger or heavier than the X2D II, but it still feels like a more substantial piece of equipment, with its grip fully filling your hand. Hasselblad's grip isn't small and we never felt at risk of dropping it, but its sleeker; it's like holding a modern glass sandwich smartphone compared to a Nokia 3310 (though the two cameras are much closer in capabilities than the two phones).

Handling / Controls

The GFX 100 II's more industrial appearance is helped by the several switches and knobs that you use to control its shooting and autofocus modes and power. While the X2D II has a generous number of programmable buttons, including one under the newly-added joystick, and two customizable top-plate command dials, you'll probably find yourself changing settings via the touchscreen more often than you would with the GFX.

With that said, Hasselblad's UI is very simple and clean. Its Settings screen is limited to the essentials, and the live view UI mainly focuses on the basics of photography. Our only real gripe with the controls is that the autofocus point moves quite slowly in response to the (four-direction) joystick, taking a long time to go from one edge of the screen to the other, which could be frustrating if you're trying to photograph a moving subject.

The GFX's UI is, for better and worse, very similar to what you'll find on Fujifilm's other cameras. You can configure the live view display to show just a few key statistics, but when you dive into the menus, you'll be greeted by several tabs, each with nested pages containing dozens of options. Once you learn the system, it's generally easy to get around, but it certainly isn't minimalist.

EVF and Display

The GFX 100 II has a versatile EVF and screen setup. The 9.44M dot EVF can be removed from the camera if you don't need it, or attached to an adapter that lets you tilt and swivel it. You can also choose whether you want it to run at 1x magnification at 60Hz for the highest quality, or at 0.77x and 120Hz for maximum responsiveness. It has a 3.2", two-way tilting rear screen that can move up or down and to the right, which gives you more flexibility when shooting in portrait or at low angles like you would when photographing architecture.

The X2D II's EVF has a lower-resolution 5.76M dot panel, but still provides a 1x magnification. While its rear display can only tilt up and down, it uses a larger 3.6" OLED panel that can get exceptionally bright, up to 1400 nits. That's important because...

HDR stills

One of the X2D II's main features is its "end-to-end" HDR, where it outputs Ultra HDR JPEG or HEIF files, and lets you review them on the camera itself. Viewed on a device with an HDR-capable screen and compatible software, the images' highlights can be rendered with a wider range of brightness, creating a more life-like rendering.

While most other camera manufacturers have varying levels of support for HDR output files, Fujifilm doesn't, outside of video. If you have a Raw-based workflow, you can create comparable HDR images with the Fujifilm using software like Adobe Camera Raw, but the Hasselblad helps you expose correctly for HDR in its auto modes by analyzing the scene to determine how much headroom it needs to capture the highlights correctly. You'll also be able to check its work, as the rear display shows the output images in HDR.

Speed

Neither the X2D II nor the GFX 100 II are sports / action cameras, but if you're trying to capture moving subjects, the Fujifilm will be the better pick. It can shoot at 8fps with its electronic shutter, though doing so will require dropping down to a 12-bit readout. The Hasselblad, meanwhile, tops out at 3fps using 14-bit readout.

Both cameras have relatively snappy user interfaces, though the Hasselblad can sometimes take a beat to start up. That won't be an issue in the studio, but it could be frustrating if you're trying to use it for more documentary or street photography work.

Stabilization

While both cameras have very good IBIS systems, the X2D II's provides up to 10EV of stabilization compared to the GFX 100 II's 8EV. While Hasselblad tells us that 10EV of stabilization is possible with just the camera, its site says that you'll need to sync it with the company's Phocus app every few hours or whenever you change location to get the most out of the system. This is because the system can compensate for the Earth's rotation, but to do so, it needs your latitude and longitude. Unfortunately, Phocus isn't available for Android; the mobile version only runs on iPhones and iPads.

In practice, without syncing with Phocus, we found it worked well but didn't leave us thinking it was appreciably better than the Fujifilm.

Autofocus

Both the GFX 100 II and X2D II have autofocus systems that would've been unthinkable for a medium format camera just a few years ago, with continuous autofocus augmented by AI-derived subject recognition. The X2D II can recognize humans, pets and vehicles, and the GFX 100 II supports those plus birds, trains, planes and motorcycles/bikes.

Both can track arbitrary subjects as well, though we've found the Hasselblad to be ever so slightly more accurate when doing so, perhaps because of its LiDAR sensors that augment its more traditional phase detect focus points. The fact that it vibrates to confirm when it's locked on is also an excellent touch.

The X2D II's continuous autofocus mode also comes with the critical caveat that it only works with select, faster-focussing lenses and, currently, that list only has seven entries. Fujifilm's, meanwhile, is compatible with most of its lenses.

Lenses

Fujifilm and Hasselblad both have a robust ecosystem of prime and zoom lenses available for their medium format systems, but there are some important differences between the two systems. Hasselblad's lenses use leaf shutters, meaning they can sync with flash up to their maximum shutter speeds (typically around 1/2000 or 1/4000 sec). This mechanism can't always deliver a circular aperture, which can lead to oddly-shaped specular highlights and bokeh in some shooting situations.

The GFX system, meanwhile, uses a focal plane shutter built into the camera, meaning it can only sync flash at 1/125 sec or slower. In most studios, that will be sufficient, but outdoors, it could make it difficult to shoot with flash unless you have powerful strobes with High Speed Sync modes capable of overpowering the sun. However, it means you don't have to rely on the extremely slow electronic shutter for adapted lenses like you would with the Hasselblad, so you can use old or third-party lenses to shoot a wider variety of subjects.

Not requiring a leaf shutter means that Fujifilm's first-party lenses can be faster, cheaper, or both. For example, Fujifilm's 55mm lens is an F1.7 and costs $2599, while Hasselblad's tops out at F2.5 for $3699.

Video

If you need to shoot video, the X2D II is a non-starter; it doesn't even have a mode for it. The GFX 100 II, meanwhile, is packed with video features to the point where Fujifilm is making a dedicated cinema camera out of it. It can shoot 8K with a 1.53x crop, 4K up to 60p, and has modes for shooting with several types of lenses, including ones made for full-frame cameras and anamorphics. It also has waveforms, vectorscopes, ProRes recording (to an external SSD, if you'd like) and a full-size HDMI port with support for Raw output.

Despite Fujifilm clearly pushing the GFX 100 II as a video camera, its rolling shutter performance is quite poor. In its highest resolution modes, it takes up to a glacial 33.2ms to read out the portion of the sensor it's using. It can achieve much better times – around 15ms – in most of its 4K modes, but to do so, it either has to skip lines or bin pixels, which will lower the amount of detail captured.

Ports and connectivity

The GFX 100 II is bursting with ports. It has 10Gbps USB-C, dual 3.5mm sockets for headphones and microphones, full-size HDMI, one CFexpress and one SD card slot for storage, Ethernet and a flash sync terminal. There's no internal storage, though, so you'll be using a slower SD card for overflow or backup recording, rather than a fast CFexpress card like with the Hasselblad.

The X2D II's ports, meanwhile, can best be described as "minimal." It has a 10Gbps USB Type-C port for charging and data transfer, a 3.5mm port for Hasselblad's shutter release cable, and a CFexpress Type B slot to augment the built-in 1TB SSD (which should theoretically be lightning-fast, but the camera occasionally took longer than we felt it should to write images in our testing). It also has a hot-shoe mount for connecting Nikon-compatible flashes and triggers.

Both can be shot tethered in a studio, though the Fujifilm gives you more flexibility when it comes to workflow. The X2D II can be tethered to a Mac or Windows computer with a cable, or wirelessly with the Phocus mobile app, though, again, it's iOS/iPadOS only. The Fujifilm can also be tethered to various computer and mobile apps, but it also offers the option to automatically upload your images straight from the camera to Frame.io or an FTP server via Wi-Fi or wired internet. That could make it easier to get your images to an editor or other stakeholders.

Battery

While battery life may not be as big of a concern in the studio where power leads and spares are readily at hand, both cameras are viable options for shooting out-and-about. Here, the Fujifilm wins handily, as its battery should last for all but the longest shoots. It's CIPA-rated for around 540 shots, and we've found it can last for several sessions. Even a wedding photographer may be able to scrape by with a single charge, though they also have the option of topping up with a USB-C battery bank.

The X2D II's battery is rated for 327 shots per charge, though you can extend it by turing off HDR. It too can be charged via USB-C. While these ratings aren't usually an indicator of the literal number of shots you'd get, they do work as a common point of comparison between cameras. After a casual day of shooting, we'd almost certainly put the Hasselblad on to charge, but probably wouldn't think about it with the Fujifilm.

Price

The GFX 100 II is, in general, more expensive than the X2D II. It costs $8500 in the US, £7000 in the UK, and around €7999 in Europe, while the Hasselblad costs $7400, £6400 and €7200, respectively. However, buyers should take the (often substantial) extra cost of Hasselblad's leaf-shutter lenses. It's also worth noting that you can get the same image quality and autofocus as the GFX 100 with the $5699 GFX 100S II, at the cost of a fixed viewfinder with lower resolution and magnification, and fewer video capabilities and ports.

The X2D II is $800 cheaper than the original X2D, which appears to be an explicit bid to compete more with the GFX lineup. It now falls between the two models, rather than coming in above the GFX 100 II's pre-tariff price as its predecessor did.

Summary

Both the GFX 100 II and the X2D II have outstanding image quality and are extremely capable for studio work and shooting outside. That doesn't make choosing between them easy, but largely the decision will likely come down to your aesthetic preferences and whether you need certain capabilities. If you're looking to produce HDR images straight out of camera or need to be able to sync flash at 1/1000 sec and above, the Hasselblad is the obvious choice. But if you want to shoot the occasional video or high-speed burst, the Fujifilm is likely the better option.

In practice, it's a consideration of the systems as a whole that will win the day, but with the X2D II 100C, Hasselblad has made that decision significantly more difficult.

The 6-year-old Sony RX100 VII camera with a 1″ sensor ($1,698) is currently $200 more expensive than the new Ricoh GR IV camera with an APS-C sensor ($1,496):

You can compare both cameras here.

The Fuji X100VI is $1,799 – only $100 more than the RX100 VII.

The Sony RX100 VII was announed in July 2019:

Sony RX100 VII camera officially announced with a9 level speed performance (there is no new RX100 V model)

The price difference is similar in Japan:

Via dclife.jp

The post The 6 years old Sony RX100 VII is more expensive than the new Ricoh GR IV camera appeared first on Photo Rumors.

The DJI Mini 5 Pro drone, which has already been leaked online, is now officially announced outside of the US. Check pricing and availability at Foto Erhardt and WEX Photo (in stock at both retailers). I guess after the DJI Air 3S fiasco, the company decided not to even bother this time to release their latest product in the US.

US-based readers can still buy the drone on eBay (keep in mind the new Trump tariffs).

Additional information on the new DJI Mini 5 Pro drone:

Тhе DЈІ Міnі 5 Рrо fеаturеѕ а 50МР 1-іnсh СМОЅ ѕеnѕоr, еnаblіng 4К/60fрѕ НDR vіdео аnd 4К/120fрѕ ѕlоw-mоtіоn fоr сіnеmаtіс аеrіаl іmаgіng. Іtѕ 225° gіmbаl rоtаtіоn рrоvіdеѕ truе vеrtісаl ѕhооtіng, whіlе nіghtѕсаре оmnіdіrесtіоnаl оbѕtасlе ѕеnѕіng еnѕurеѕ ѕаfе flіghtѕ іn lоw lіght. Wіth uрgrаdеd АсtіvеТrасk 360°, 20km О4+ trаnѕmіѕѕіоn, аnd uр tо 36 mіnutеѕ’ flіght tіmе, thіѕ drоnе dеlіvеrѕ рrоfеѕѕіоnаl реrfоrmаnсе іn а соmрасt fоrm.

DЈІ Міnі 5 Рrо Кеу Fеаturеѕ:

• Аll-іn-оnе mіnі саmеrа drоnе wіth а 50МР 1-іnсh СМОЅ ѕеnѕоr
• Ѕuрроrtѕ 4К/60fрѕ НDR vіdео rесоrdіng fоr сіnеmаtіс rеѕultѕ
• 4К/120fрѕ ѕlоw mоtіоn vіdео оffеrіng flехіbіlіtу іn роѕt-рrоduсtіоn
• Uр tо 14 ѕtорѕ оf dуnаmіс rаngе fоr dеtаіlеd іmаgе сарturе
• Rесоrdѕ 10-bіt vіdео uѕіng Н.265 еnсоdіng fоr ассurаtе соlоur
• Fеаturеѕ а 48mm Меdіum-Теlерhоtо mоdе wіth 2х zооm
• Роrtrаіt орtіmіѕаtіоn tесhnоlоgу fоr еnhаnсеd ѕоlо аnd grоuр ѕhоtѕ
• Тruе vеrtісаl ѕhооtіng fоr іnѕtаnt ѕhаrіng оn ѕосіаl mеdіа
• Gіmbаl rоtаtеѕ 225° fоr сарturіng dуnаmіс саmеrа аnglеѕ
• Еnаblеѕ ѕаfе flіghtѕ wіth fоrwаrd-fасіng LіDАR аnd multірlе vіѕіоn ѕеnѕоrѕ
• Nіghtѕсаре оmnіdіrесtіоnаl оbѕtасlе ѕеnѕіng fоr nіghttіmе рhоtоgrарhу
• Uрdаtеd АсtіvеТrасk 360° еnѕurеѕ ѕtаblе ѕubјесt trасkіng
• DЈІ О4+ 10-bіt vіdео trаnѕmіѕѕіоn рrоvіdеѕ uр tо 20km rаngе
• Ехtеndеd bаttеrу lіfе аllоwѕ уоu tо ѕhооt fоr lоngеr
• Lіghtwеіght аnd роrtаblе fоr ѕhооtіng аnуwhеrе

50МР 1-іnсh СМОЅ ѕеnѕоr fоr dеtаіlеd рhоtоѕ аnd vіdеоѕ
DЈІ’ѕ Міnі 5 Рrо іѕ еquірреd wіth а 50МР 1-іnсh СМОЅ ѕеnѕоr аnd аn f1.8 ареrturе, dеlіvеrіng hіgh-quаlіtу аеrіаl іmаgіng іn а соmрасt bоdу. Тhе lаrgе ѕеnѕоr іѕ еnhаnсеd bу а nеw іmаgе-рrосеѕѕіng tесhnоlоgу аnd іntеllіgеnt аlgоrіthmѕ, whісh рrеѕеrvе dеtаіlѕ іn lоw-lіght соndіtіоnѕ. Тhе Міnі 5 Рrо ѕuрроrtѕ 4К/60fрѕ НDR vіdео wіth uр tо 14 ѕtорѕ оf dуnаmіс rаngе, рrеѕеrvіng dеtаіl іn bоth hіghlіghtѕ аnd ѕhаdоwѕ fоr сіnеmаtіс rеѕultѕ. Fоr hіgh-асtіоn ѕсеnеѕ, 4К/120fрѕ ѕlоw-mоtіоn аddѕ fluіd сlаrіtу, whіlе 10-bіt Н.265 еnсоdіng еnѕurеѕ rеfіnеd соlоur grаdіng іn роѕt-рrоduсtіоn.

Wіth ѕuрроrt fоr D-Lоg М аnd НLG mоdеѕ, аѕ wеll аѕ hіgh ІЅО реrfоrmаnсе uр tо 3200 іn соlоur mоdеѕ, fооtаgе rеtаіnѕ dерth аnd dеtаіl еvеn іn nіghtѕсареѕ оr соmрlех lіghtіng соndіtіоnѕ. Тhе rаіѕеd ІЅО сеіlіng оf 12800 еnѕurеѕ сrіѕр rеѕultѕ іn lоw-lіght соndіtіоnѕ, whіlе thе 48mm Меd-Теlе mоdе wіth 2х zооm аddѕ dерth аnd сlаrіtу tо роrtrаіtѕ аnd lаndѕсареѕ.

255° gіmbаl rоtаtіоn аnd Тruе vеrtісаl ѕhооtіng
Тhе 225° gіmbаl rоtаtіоn рrоvіdеѕ wіdе-аnglе rоll flехіbіlіtу, аllоwіng ѕhоtѕ frоm dуnаmіс реrѕресtіvеѕ thаt wеrе рrеvіоuѕlу hаrd tо асhіеvе. Whеthеr frаmіng tаll ѕtruсturеѕ, ѕhооtіng uрwаrd аt unіquе аnglеѕ, оr соmроѕіng drаmаtіс аеrіаl rеvеаlѕ, thе Міnі 5 Рrо аdарtѕ wіth рrесіѕіоn. Тruе vеrtісаl ѕhооtіng еnаblеѕ full-frаmе рhоtоѕ аnd vіdеоѕ rеаdу fоr іnѕtаnt ѕосіаl ѕhаrіng, еlіmіnаtіng thе nееd fоr сrорріng аnd рrеѕеrvіng еvеrу ріхеl оf dеtаіl іn роrtrаіt соmроѕіtіоnѕ.

Аdvаnсеd оbѕtасlе ѕеnѕіng fоr ѕаfеr flіghtѕ
Тhе DЈІ Міnі 5 Рrо rеіnfоrсеѕ ѕаfеtу wіth nіghtѕсаре оmnіdіrесtіоnаl оbѕtасlе ѕеnѕіng. Fоrwаrd-fасіng LіDАR, соmbіnеd wіth multірlе vіѕіоn ѕеnѕоrѕ аnd 3D іnfrаrеd dеtесtіоn, соvеrѕ fоrwаrd, bасkwаrdѕ, uрwаrd, аnd lаtеrаl dіrесtіоnѕ, аѕ wеll аѕ thе undеrѕіdе оf thе аіrсrаft. Тhіѕ аllоwѕ thе Міnі 5 Рrо tо асtіvеlу аvоіd оbѕtасlеѕ іn bоth dауlіght аnd lоw-lіght соndіtіоnѕ. Fеаturеѕ ѕuсh аѕ Nіghttіmе RТН аnd Nоn-GNЅЅ RТН еnѕurе соnfіdеnt rеturnѕ, еvеn whеn ѕаtеllіtе ѕіgnаlѕ аrе wеаk оr whеn flуіng іn соmрlех еnvіrоnmеntѕ lіkе urbаn аrеаѕ. Тhе Міnі 5 Рrо аlѕо hаѕ L1+L5 duаl-bаnd GNЅЅ, аllоwіng іt tо соnnесt tо mоrе ѕаtеllіtеѕ fоr bеttеr ѕіgnаl ѕtаbіlіtу.

Еnhаnсеd ѕubјесt trасkіng аnd іntеllіgеnt ѕhооtіng mоdеѕ
Uрgrаdеd АсtіvеТrасk 360° аllоwѕ thе DЈІ Міnі 5 Рrо tо fоllоw ѕubјесtѕ wіth grеаtеr аdарtаbіlіtу аnd рrесіѕіоn. Мultі-ѕсеnаrіо trасkіng dеtесtѕ ѕроrtѕ ѕсеnаrіоѕ аnd аutоmаtісаllу ѕеlесtѕ сусlіng оr ѕtаndаrd mоdе fоr іdеаl frаmіng аnd trасkіng. Тhе drоnе’ѕ trасkіng bаlаnсеѕ ѕрееd, аgіlіtу аnd ѕаfеtу, рrоvіdіng trасkіng thаt рrіоrіtіѕеѕ ѕрееd ѕuіtеd tо ореn аrеаѕ оr а rеаr trасkіng mоdе fоr mоrе соmрlех еnvіrоnmеntѕ.

Тhе DЈІ Міnі 5 Рrо оffеrѕ іntеllіgеnt mоdеѕ tо еnhаnсе уоur ѕhооtѕ. МаѕtеrЅhоtѕ рrоvіdеѕ саmеrа mоvеmеnt tеmрlаtеѕ, whіlе QuісkЅhоtѕ іnсludеѕ орtіоnѕ lіkе Rоtаtе, Drоnіе, Сіrсlе, Неlіх, Rосkеt, Вооmеrаng, аnd Аѕtеrоіd fоr сіnеmаtіс сlірѕ. Frее Раnоrаmа ѕtіtсhеѕ multірlе іmаgеѕ іntо wіdе ѕhоtѕ, аnd Оff-Ѕtаtе QuісkТrаnѕfеr еnаblеѕ fаѕt fіlе ѕhаrіng vіа Вluеtооth аnd Wі-Fі 6 аt uр tо 100МВ/ѕ, wіth ѕuрроrt fоr rеmоtе wаkе-uр аnd bасkgrоund dоwnlоаdѕ.

Іmрrоvеd trаnѕmіѕѕіоn аnd flіght tіmеѕ
Еquірреd wіth О4+ trаnѕmіѕѕіоn tесhnоlоgу, thе DЈІ Міnі 5 Рrо mаіntаіnѕ а rеlіаblе lіvе fееd аt dіѕtаnсеѕ uр tо 20 km, wіth ѕtrоng аntі-іntеrfеrеnсе реrfоrmаnсе fоr ѕtаblе соntrоl. Flіght tіmе іѕ ехtеndеd tо 36 mіnutеѕ wіth thе DЈІ Міnі 5 Рrо Іntеllіgеnt Flіght Ваttеrу, whіlе fаѕt-сhаrgіng ѕuрроrtѕ rеduсеd dоwntіmе bеtwееn ѕеѕѕіоnѕ. Ореrаtіng аt аltіtudеѕ оf uр tо 6000 mеtrеѕ аnd rеасhіng аѕсеnt ѕрееdѕ оf 10 m/ѕ, thіѕ drоnе іѕ рrераrеd fоr сhаllеngіng еnvіrоnmеntѕ аnd wіdе-rаngіng аеrіаl рrојесtѕ.

DJI teases the Osmo Nano small modular action camera announcement for September 23rd

Of course, there was no DJI mirrorless camera announcement yesterday

The post DJI Mini 5 Pro drone officially announced outside of the US appeared first on Photo Rumors.

Here is what else is new:

Nikon ZR vs Sony FX3 side by side comparison: which one is better?

The Nikon Nikkor Z 24-70mm f/2.8 S II lens is now shipping, currently in stock

What to expect next from Nikon?

Nikon Z8 firmware update version 3.10 released

More Ricoh GR IV camera reviews

Rioch started shipping GR IV cameras with firmware version 1.02 for Malaysian customers

The new OM SYSTEM M.Zuiko Digital ED 50-200mm f/2.8 IS Pro lens is delayed

IBC 2025 News Shooter Coverage: Viltrox NEXUS PL to E Pro Adapter, New Viltrox Air EVO & LAB Series Lenses, and Laowa 200mm f/2 $1999!

The post What else is new? appeared first on Photo Rumors.

Image: DJI

DJI has announced the latest drone in its popular Mini lineup, the Mini 5 Pro. The new offering introduces a Type 1 sensor to the sub-250g series for the first time, promising pro-level imaging with longer battery life.

The Mini 5 Pro is built around a 50-megapixel Type 1 (116mm²) sensor. That's 68% larger than its predecessor, the Mini 4 Pro, which featured a Type 1/1.3 (69mm²) sensor. DJI says that the drone is able to capture 14 stops of dynamic range, making it better in high-contrast scenes such as sunset and sunrise.

DJI also gave a slight bump to battery life in the Mini 5 Pro. It promises 36 minutes of flight time, compared to the 34 minutes from the Mini 4 Pro. Users can also opt for the company's extended battery for 52 minutes of flight time, though that will put the drone over the 250g mark, requiring compliance with laws around heavier drones.

Image: DJI

Many of the other improvements in the Mini 5 Pro bring the device closer to the company's Air line. That includes improved low-light obstacle detection with newly added forward-facing LiDAR. DJI says it will make the return-to-home mode safer, and it can even navigate cityscapes at night. DJI also says that in sufficient light, it can memorize flight routes for safe takeoff and return, even if the drone does not have a satellite signal.

The drone features a new "48mm Med-Tele mode" and DJI says it offers a higher digital zoom resolution than previous models. The camera gimbal also gets more movement with 225-degree roll rotation. It also keeps the true vertical shooting found on the Mini 4 Pro.

From a video standpoint, the new drone is capable of 4K 60p HDR video and supports slow-motion recording at 4K 120p. It can record 10-bit video using H.265 encoding with a maximum ISO of 12800 and offers D-Log M and HLG color modes with a maximum ISO of 3200.

Image: DJI

The Mini 5 Pro supports DJI's long list of pre-formatted quick shots, including Rotate, Dronie, Asteroid, various MasterShots and Free Panorama. It also enables quick transfers via Wi-Fi, promising transfer speeds of up to 100MB/s, which is up substantially from the Mini 4 Pro's promised 30 MB/s rate. It also offers 42GB of onboard storage, another notable increase from its predecessor's 2GB.

Unfortunately for US users, as with other recent DJI products, the Mini 5 Pro will not be officially available in the US. There won't even be a product page for it on the DJI US website. As with other recent launches, you may be able to find small numbers at other retailers, though that isn't guaranteed. For those outside the US, the DJI Mini 5 Pro is available as of today for a starting price of €799 / £679.

For those of you in the US, how do you feel about DJI's decision not to release its recent products in the US market? Let us know your thoughts in this forum thread, which was started by one of our community members in our Drone Photography Talk forum.

How do you feel about DJI's decision not to release recent products in the US? Tell us

Nikon D800 | Tokina AT-X 16-28mm F2.8 Pro FX | ISO 400 | 1/640 sec | F2.8 Photo: Abby Ferguson

Understanding shutter speed, aperture and ISO can be overwhelming for beginner photographers. Even once you comprehend the terms and settings on their own, knowing when to use specific values for each can be confusing. After all, each of those settings controls something different, and putting it all together is a lot.

It's not feasible to provide specific numbers that you should use for a given situation, since that's dependent on the amount of light in the scene and your gear. However, below you'll find tips on identifying a general ballpark of which shutter speed, aperture and ISO you should use to achieve the visual effect you want.

Shutter speed

A fast shutter speed was necessary in this situation to freeze the action of the surfer. Nikon D800 | Nikon 80-200mm F/2.8D ED IF AF-S | ISO 100 | 1/5000 sec | F3.2 Photo: Abby Ferguson

Shutter speed, which you can learn more about in our video on the topic, is one of the fundamental properties of exposure. A slow shutter speed lets in more light, making your image brighter, while a fast shutter speed lets in less light, making your image darker (assuming the rest of your settings stay the same). It's important to note that shutter speeds are fractions of a second, though some cameras only display the denominator. Smaller denominators (such as 1/20) are slower shutter speeds, while larger denominators (such as 1/2000) are fast shutter speeds.

Beyond controlling how much light your sensor is exposed to, shutter speed also impacts how movement appears in your photographs. As a result, choosing a shutter speed comes down to whether there is movement in your scene and how you want it to look.

Slow shutter speeds will result in blurred movement, which can be useful for conveying a sense of time. You often see slow shutter speeds used when photographing rivers or waterfalls, traffic at night or creative images of people moving. Fast shutter speeds, on the other hand, freeze movement. They are ideal for highlighting action. That's why sports and wildlife photographers typically use fast shutter speeds.

In this image, the slightly blurred movement in the subject's hands helps show more action than a perfectly still image would. Sony a7 III | Sony Vario-Tessar T* FE 24-70mm F4 ZA OSS | ISO 1000 | 1/40 sec | F4 Photo: Abby Ferguson

Broadly speaking, shutter speeds slower than 1/60 sec are considered slow, while those higher than that are considered fast. However, what constitutes fast and slow shutter speeds in a given situation depends on multiple factors, the most important of which is the speed of the movement.

Fast movement requires faster shutter speeds to freeze movement. For extremely fast-moving subjects, such as a race car, a shutter speed of 1/2000 sec or more is necessary. Slower movement allows for a slower shutter speed while still stopping movement in the image. For example, a baby crawling across the floor may only need a shutter speed of 1/125 sec to freeze the movement.

It's also important to know that working with slow shutter speeds is likely to cause camera shake or blur across the entire image from the camera's movement during exposure. So, when using slow shutter speeds, it's best to put your camera on a tripod or another sturdy surface to avoid an image that is entirely blurry.

Aperture

The background could have been distracting in this image and wasn't important for adding context, so I chose a shallow depth of field to keep attention on the cat. Nikon Z6 III | Nikon Z 35mm F1.4 | ISO 400 | 1/125 sec | F3.2 Photo: Abby Ferguson

Aperture is the second fundamental property of exposure, which you can learn more about in our video explainer. It refers to the size of the opening in the lens, which determines how much light enters the camera. A larger opening lets in more light, making the image brighter, while a small opening lets in less light, making the image darker.

Aperture is one factor that impacts depth of field, or how much of a scene is in focus. A wide open aperture, which is named with a small F-stop number such as F1.8, will result in a shallower depth of field, or only a small amount of the scene in focus. A small aperture, which is named with a large F-stop number like F22, will provide a deep depth of field, or most of the scene in focus.

For this landscape, I wanted everything reasonably in focus, so I used small aperture in order to produce a deep depth of field. Nikon D800 | Tokina AT-X 16-28mm F2.8 Pro FX | ISO 320 | 1/800 sec | F10 Photo: Abby Ferguson

A shallow depth of field is ideal for keeping the focus on your subject and blurring out distracting elements in the background. It is typically used in portraiture and macro photography. Deep depth of field is useful when everything in the scene is important, such as landscapes or architectural photography.

ISO

If you look carefully at the dark sky, you can see a fair amount of noise. Fujifilm GFX100RF | F4 | 1/60 sec | ISO 12,800 | Processed in Adobe Camera Raw Photo: Mitchell Clark

Finally, there is the often-misunderstood setting: ISO. This setting determines how much your camera boosts the signal coming from the light hitting its sensor, thereby making the image brighter or darker. Lower ISOs mean its boosting the signal less, adding less lightness, and higher ISOs boost it more, making a low-exposure image appear brighter. A high ISO is helpful in situations where you can't capture a lot of light through your exposure settings, such as at night or in dark interior spaces. A low ISO is best for conditions with lots of light, such as a bright and sunny day.

ISO itself doesn't cause noise, but capturing less light will result in noisy images compared to bright, well-lit situations. So, if image quality is most important, you'll want to prioritize getting enough light so that you can use lower ISOs.

There was enough light in this scene that I could avoid noise. Sony a7 III | Sony Vario-Tessar T* FE 24-70mm F4 ZA OSS | ISO 1000 | 1/40 sec | F4 | Processed in Adobe Camera Raw Photo: Abby Ferguson

How aperture, shutter speed and ISO work together

While all three settings have some sort of visual effect (even if indirectly), they all impact how dark or bright your photographs will be. Choosing your shutter speed, aperture and ISO is a balance of getting a correct exposure and achieving the look you want for motion, depth of field and noise.

When determining which numbers to use, it's important to first decide if motion or depth of field is most important or if you need to balance the two. If motion is the critical feature, select your shutter speed and then dial in your aperture and ISO to obtain an appropriate level of brightness. If depth of field is the priority, set your aperture to whatever gives you the look you want, then use shutter speed and ISO to correct your brightness level. Sometimes you need to find a happy middle ground with those two exposure settings and use ISO to round out how bright the image is.

A new DJI Osmo Nano small modular action camera will be officially announced on September 23rd. Here are the latest leaks:

• 4K 120P support
• Waterproof
• Magnetic mount
• OLED touchscreen
• 64GB/128GB built-in memory + microSD
• 80% fast charging in 20 minutes
• Ultra-lightweight 50g with remote shooting support

So, the appearance of Osmo Nano in a YouTube short has been confirmed.)#osmonano pic.twitter.com/B0RkpQw5gM

— Igor Bogdanov (@Quadro_News) September 10, 2025

The official teaser is already out:

Own the Moment
September 23, 2025 | 8 AM (EDT)
Learn More: https://t.co/0hRDHUQkDx pic.twitter.com/A8iWG7vAvy

— DJI (@DJIGlobal) September 16, 2025

Insta360 announced its first drone and DJI will announce its first 360 camera: full review leaked online

Via Roland Quandt, Igor Bogdanov

The post DJI teases the Osmo Nano small modular action camera announcement for September 23rd appeared first on Photo Rumors.

The release of the new Zeiss Otus ML 1.4/85 lens is delayed until October (pre-orders: B&H Photo | Foto Erhardt | WEX Photo):

Thank you for your continued patronage of Cosina products.

Due to various circumstances, the release of the Otus ML 1.4/85, a ZEISS brand interchangeable lens for mirrorless mounts, which was scheduled for release in September 2025, has been postponed. The release date is now scheduled for October 2025. We sincerely apologize to customers who have been waiting for the product for this inconvenience. (Cosina)

Additional information on the Zeiss Otus ML 1.4/85 lens:

Zeiss Otus ML mirrorless lenses for Z/E/RF mount officially announced

Zeiss Otus ML 85mm f/1.4 lens for Nikon Z-mount officially released, available for pre-order

The post The release of the new Zeiss Otus ML 1.4/85 lens is delayed until October appeared first on Photo Rumors.

The Kase 85mm f/1.4 autofocus lens is now available for Fuji X and Leica L mount. Pre-orders are now open for $479.

The lens was previously released for Nikon Z and Sony E mounts – here are the details:

Now available: Kase 85mm f/1.4 AF lens for Nikon Z and Sony E mount

New: Kase 85mm f/1.4 lens for Sony E/Nikon Z mount

Kase 85mm f/1.4 Now Available for X Mount

Via FujiAddict

The post The Kase 85mm f/1.4 autofocus lens is now available for Fuji X and Leica L mount appeared first on Photo Rumors.

DJI did not announce a new mirrorless camera on September 15th. Online “rumors” with “leaked” AI-generated pictures, and obviously fake teasers, were posted by multiple websites. It was very clear to many readers that all this was just clickbait, and I clearly noted the hoax in my tweet on September 3rd:

I think the latest DJI camera rumors are a hoax, considering the source.

— Photo Rumors (@photorumors) September 4, 2025

What DJI will really announce tomorrow is a new DJI Mini 5 Pro drone:

More leaks: new DJI Mini 5 Pro drone coming on September 18th

More DJI Mini 5 Pro drone leaks and rumors

The first DJI Mini 5 Pro drone teaser is already out:

Pro in Mini
September 17, 2025 | 8 AM (EDT)
Notify Me: https://t.co/S94ar780AF pic.twitter.com/GqiApeLE1G

— DJI (@DJIGlobal) September 15, 2025

The post Of course, there was no DJI mirrorless camera announcement yesterday appeared first on Photo Rumors.

Thypoch released a Nikon Z-mount version of the Simera 50mm f/1.4 lens. The lens already exists for Leica M-mount (check the official website):

Thypoch Simera 50mm f/1.4 ASPH lens for Leica M-mount officially announced

Additional information is available here:

Thypoch announced a new Simera 50mm f/1.4 lens for Nikon Z-mount

Previous coverage of Thypoch lenses:

Thypoch Simera 21mm f/1.4 lens officially announced

Thypoch released new Simera 28mm & 35mm f/1.4 lenses for Leica M-mount with a new Focus Tab Type II Version

New Thypoch Simera 75mm f/1.4 lens announced

The post The Thypoch Simera 50mm f/1.4 lens is now also available for Nikon Z-mount appeared first on Photo Rumors.

The previously reported Laowa 180mm f/4.5 APO CA-Dreamer 1.5X ultra macro full-frame autofocus lens by Venus Optics is now officially announced. Pre-orders are now open at

• US: B&H Photo
• Worldwide: Laowa official online store.

The new lens is available for the following mounts:

• Auto focus: Sony E / Nikon Z / Canon EF
• Manual focus: Canon RF / L mount

Additional information (lens specification, optical design, MTF chart) can be found here:

Venus Optics Laowa 180mm f/4.5 APO CA-Dreamer 1.5X ultra macro full-frame autofocus lens for Nikon Z-mount

Additional information on the upcoming Venus Optics Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens

The post Announced: Venus Optics Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens (E/Z/EF/RF/L) appeared first on Photo Rumors.

Image: Apple

With Apple's latest iPhone 17 series, the company's lineup has more options than before, from the iPhone Air to the iPhone 17 Pro Max (and we can't forget the budget iPhone 16e). While there are many things that set these phones apart, we're going to look at how the phones are for photography, and how they compare to each other.

How do Apple's new iPhones compare?

There are more subtle differences that we'll cover, but the biggest differences between cameras for the Air (left), iPhone 17 (middle) and iPhone 17 Pro (right) are obvious just from looking at them. Image: Apple

Comparing the cameras on the iPhone 17, iPhone Air, iPhone 17 Pro, and iPhone 17 Pro Max is relatively simple; for most people, the main differences will be in the number of cameras each phone has. The Air has a single wide-angle camera, and the same model is found on the iPhone 17, though paired with an ultra-wide camera. The 17 Pro adds an additional telephoto camera, providing the most range and flexibility.

There are several shared components between the phones. The 17 and Air's main cameras, for example, are the same, as are the wide-angle camera on the 17 and 17 Pro. And for photography, they have the same set of features, including the Camera Control button, customizable Photographic Styles that give you more control over how your photos look and a portrait mode with adjustable computer-generated bokeh.

The iPhone 17 Pro's main camera is much larger than the one on the standard 17 and Air

Despite the commonalities, there are still benefits to going Pro. Besides the addition of a 100mm equiv. telephoto camera, the main camera also uses a much larger Type 1/1.28 (71.5mm²) sensor, compared to the Type 1/1.56 (48mm²) sensor used on the standard 17 and Air.

The additional area means it will gather more light, so it won't have to dip into the long exposure low-light mode as often, and can provide better image quality and more real bokeh in ideal lighting conditions. The Pros' main cameras also have a slightly wider focal length at 24mm, rather than 26mm.

Finally, there's the Air, which only has a single 26mm wide-angle camera. Apple includes a "2x" mode that crops in on the 12MP in the center of the sensor to provide a bit of additional reach, but if you like to shoot subjects that are far away, or like the look that ultra-wide images provide, you may want to consider other options. However, if you only use the main camera, you're not giving anything up versus the standard 17.

What about the selfie camera?

Image: Apple

For this generation, Apple introduced a brand new selfie camera which, thankfully, is included on all of its new phones. The new design is larger (though it's not clear by how much), higher-resolution and square. While it doesn't seem like the phone uses the whole sensor at once, it allows you to switch between portrait and landscape selfies without having to physically rotate your phone.

Is the Pro Max better than the Pro?

For photography, no; the iPhone 17 Pro and Pro Max have the same camera setup. This hasn't always been the case; the iPhone 15 Pro Max's telephoto camera had further reach than the one on the smaller model. However, this time around, you don't have to give up any photography features to get the more pocketable phone (unless you truly feel you need the 2TB storage option that's only available on the Max).

If you're interested in the Pro line, be sure to check out our deep-dive article that covers all the changes to its cameras and video features compared to the previous generation.

iPhone 17 versus iPhone 16e

The iPhone 17 (left) has more than just an extra camera compared to the 16e (right). Image: Apple

If you look at Apple's spec sheet, it'd be easy to think that the budget-oriented iPhone 16e's single camera is the same one used by the standard iPhone 17; the company calls them both "48MP Fusion Main" cameras, after all. However, the one on the 16e is substantially smaller, coming in at 23.5mm² (which you might recognize as the same size used by the more expensive phones' secondary and tertiary cameras).

The smaller sensor again means that the phone will have to work harder to capture clear photos in low light, and that images from it taken in ideal lighting conditions won't be as good as ones from the newer phones. That's especially true given that it's only optically stabilized, rather than having additional sensor stabilization like the mainline iPhones.

A few other limitations compared to the 17s and Air: the 16e doesn't have the next-generation portrait mode that lets you adjust what the main focus of the image is and what's blurred out, nor does it have the more customizable Photographic Styles. It also lacks the Camera Control button and uses the old selfie camera, meaning you'll have to turn your phone to get landscape portraits.

What about the iPhone 16?

Last year's iPhone 16 has the same main camera as the new iPhone 17, but ultra-wide shooters beware... Image: Tucker Bowe

As usual, Apple has stopped selling the previous-generation Pro phones, but is still selling the standard iPhone 16 for around $100 less than its launch price. Its main camera will be the same as the standard 17's, but its ultra-wide camera is a smaller (23.5mm²) 12MP model versus the 48MP one used by the current-gen. Like the 16e, it uses the older selfie camera.

What else should I consider?

There's a lot of things to consider when you're buying a phone beyond its photographic capabilities. For example, the iPhone 17 Pro Max has a massive battery and a giant screen, both of which could be handy on days when you're taking a ton of photos. The Pro phones also have a litany of video features, such as the ability to record ProRes Raw and Log footage.

Meanwhile, the iPhone Air is substantially thinner than the other options, which could be nice if you prefer a phone that doesn't take up a ton of pocket space. And, of course, there are countless Android options with their own sets of strengths and weaknesses. But you should now at least understand how the cameras on Apple's current-generation phones stack up to one another.

The G7 X III is popular thanks to its wide array of vlogging features, photographer-pleasing 24-100mm equiv. F1.8-2.8 lens, and well-considered controls. Image: Canon

At a media event in Tokyo, Canon said it's in the process of increasing production on the PowerShot G7 X III, the company's premium compact camera that has recently been quite difficult to buy.

It's a reiteration of a few comments the company has made throughout the year. In January, it told investors it had seen a surge of orders for the camera, coinciding with point-and-shoots rising in popularity, and in the summer, it said it was increasing production on its compact cameras. And when we specifically asked about the frequent PowerShot G7 X III stock issues, the company promised that the camera was still in production.

The company says the renewed production is following a component shortage, and that it's starting to fulfill backorders on the camera. Whether this means that you'll be able to buy one in the near-term feature if you haven't already put in an order remains to be seen, but Canon says the PowerShot G7 X III is still in its lineup, so there's some hope.

Image: Laowa

Laowa has announced the 180mm F4.5 1.5X Ultra Macro APO, a full-frame telephoto macro lens that provides greater-than-life-size reproduction. The company says it's "one of the smallest and lightest options in its class," and is offering an autofocus version for Sony E, Nikon Z and Canon EF mounts.

The lens has a minimum focusing distance of 0.3m (11.8"), allowing for up to 1.5x magnification. Its optical formula uses 12 elements in 9 groups, with two extra-low dispersion elements and one ultra-high refraction lens. The company says the lens has an apochromatic design to reduce chromatic aberrations and a nine-bladed aperture.

The E-mount version of the lens is 134mm long and weighs 522g. It can accept 62mm filters and has a function button and USB Type-C port for firmware updates.

Laowa doesn't specify what kind of autofocus motors the AF versions of the lens use, but the system is capable of focusing on subjects that are as close as 1.5m (4' 11") away; for closer subjects, you'll have to use manual focus. It has an internal focusing design.

The 180mm F4.5 1.5X Ultra Macro APO's specifications bear striking similarities to the company's Sword 180mm T4.6 1.5X Macro cinema lens, but it's nice to see this lens in a more photo-friendly package. For one, this option is much cheaper and lighter, and includes autofocus if you happen to have the right lens mount. While it's not particularly surprising that the RF mount version is manual-focus only, the fact that the L-mount version also lacks AF is a little confusing.

The lens will be available today, and costs $499.

Laowa 180mm F4.5 1.5X Ultra Macro APO specifications:

Image: Extreme-Photographer / E+ via Getty Images

Deciding the best timing to buy a new camera can be challenging when weighing the benefits of buying immediately versus waiting for the next model. It's a balancing act between getting the latest technology and having something in hand sooner. Making matters worse, cameras aren't like a lot of consumer electronics that follow fixed release timelines (like the iPhone coming out every September). Instead, they are more sporadic, and you can never know for sure when to expect an update.

Rumors typically fly before camera releases, speculating about details and timing. But those aren't always trustworthy or accurate, making the decision even harder. If you're on the fence about buying now or waiting, here are some key things you'll want to consider.

When you should buy now

Buying without waiting is smart in many situations. For starters, it may be necessary to purchase immediately if you have an upcoming project or event that requires a new camera. For example, if you're photographing a wedding in the coming months and need a backup camera, waiting for the updated model generally isn't possible. However, if you're pretty sure something new is coming soon that will better fit your needs, renting a camera until the new one is out may be the better move.

You'll also want to check when the lineup you are considering last had a release and what the typical release cadence is for that company (we have a handy timeline tool that can help you with that). If a camera just came out a handful of months ago, you'll have to wait a long time for the next model. In that case, you might as well make the purchase now if it fits your needs. Otherwise, you'll be left waiting for quite some time.

If the cameras currently available offer all your must-have features, then it doesn't hurt to purchase now.

Additionally, if the cameras currently available offer all your must-have features, then it doesn't hurt to purchase now. If you need high burst rates and the current cameras are fast enough, you might as well go ahead and buy. Of course, you never know what new features will be introduced, but if you've thought carefully about what is most important to you in a camera and there is one that currently meets those needs, there may not be a reason to wait.

Lastly, some companies only rarely offer steep sales or discounts, so if you come across a good deal, it may be worth jumping on it. Plus, not every older model is discounted when the new one comes out, so a good sale could save you more than waiting for the camera you want to be old news.

When you should wait to buy a new camera

There are certainly good reasons to buy immediately, but waiting may also be the better move. For those who currently have or are eying a camera that's getting rather old, it could be likely that a new version is imminent. In such cases, you may simply want to wait for the new version.

As mentioned, knowing the release cadence can also help you decide if you should wait. If you don't need a new camera urgently and you are getting close to the timeframe when a new model typically comes out, it may make the most sense to just wait a little longer. Even if you decide you don't need that latest camera, you may be able to save a little bit on the now older model.

It may also be worth paying attention to any rumors or teasers. Rumors, of course, aren't always accurate, but they could at least provide an idea of upcoming features. If you see hints that the next camera could have a feature that you would really enjoy or benefit from, it may make sense to hold off for a bit longer and wait for that camera.

Final thoughts

At the end of the day, whether you should wait for the latest device or buy a camera now comes down to your needs. Having a clear understanding of your must-have features and tools is critical and will put you in a better position to make a smart decision. Likewise, knowing when a company last released something and what cadence the product announcement tends to follow will help you decide if you'll be waiting for years or months. However, if there is a model available today that perfectly matches your needs, the benefits of waiting could be slim to none.

Photo: MPB

Buying and selling used gear online is a great way to find bargains and make sure that valuable equipment gets a second life, rather than ending up in a landfill. But trading online can be stressful. We've all had the experience of buying a camera or lens listed as "barely used" or "mint in box," only to discover on opening the parcel that the glowing description didn't match reality. Equally, selling used gear can be a hassle too. Time-wasters, flaky buyers and outright scammers are at best an inconvenience, and at worst, could present a serious risk to your online security.

But it doesn't need to be a headache. We've teamed up with the good folks at MPB to create a quick guide to buying and selling used camera gear online the smart way.

Tips for Buying Used Gear

Image: MPB

Always check the photos

When you're shopping for used gear online, whether from a private seller or a retailer, a picture is truly worth a thousand words. Make sure that the photos are in focus and high-resolution enough to check for any potential defects. Minor scuffs on the body of a camera or lens probably don't matter, but scratches on the optics of a lens, or significant dust or fungus between the elements is bad news.

When you browse used inventory on MPB, you'll see multiple high-res photos of the exact product you'll be buying. But if you opt to buy from a site that doesn't include photos, it's smart to do some additional research before you click "buy now." Check customer reviews to see what other buyers are saying, and make sure that you have the option of returning a product that doesn't meet your expectations without incurring a fee.

If you're buying from a private seller and want to see more than their blurry smartphone photos reveal, look for an option to message them or leave a comment. A trustworthy seller should be happy to reshoot or supply additional photos on request. If they refuse or don't reply, that's your cue to walk away.

Photo: MPB

…and read the product description.

This one should go without saying, but we'll say it anyway – always read the item description and condition grade carefully. MPB uses a transparent, multi-tiered condition grading scale, including a description field that lists specific details about the item. No hard-to-spot "info" or "read description" button – it's all right there.

When it comes to private listings, watch out for sellers who bury bad news at the end of a listing or use minimizing terms like "very minor" or "unnoticeable" to describe flaws. Be particularly cautious if the description mentions cracks to a camera or lens housing, scratches on the front or (especially) rear glass element of a lens, or the dreaded fungus…

Remember: appearances can be deceptive

So you've examined the photos closely, and from appearances, the gear you're considering looks like it's never been used. That's a good thing, right? Well, maybe, but maybe not. Even if the exterior looks pristine, there may still be gremlins lurking inside.

If you're shopping for a vintage film camera or manual lens, especially, ask yourself – what has it been doing all these years? And how has it been stored? When mechanical cameras aren't used for extended periods of time, this can lead to hard-to-spot problems, including sticky shutters, light meter failure, corroded battery compartments and worse.

Meanwhile, lenses that have been sitting unused for years are susceptible to their own issues, including stiff focusing rings, haze, oily aperture blades and fungus.

When you buy gear from MPB, you can be sure that a trained technician has inspected it for exactly these kinds of issues and verified that everything checks out. So if it looks perfect, it should work perfectly too.

Tips for Selling Used Gear

Image: MPB

Get your priorities straight

If you want to get the most money possible for your used gear, selling privately will probably net you the best return, but it's risky. Anyone who has listed an item on a public forum or auction site knows what it's like to deal with time-wasters and scammers, not to mention the hassle and expense of managing payment and shipping. And be prepared for a potentially long wait until the right customer comes along.

Much easier is to sell your gear to an established, reputable dealer like MPB. Just describe your item for a free estimate, and if you want to move forward, MPB will send you a complimentary shipping label. Once they have it in their hands, MPB's trained inspectors will check your gear, provide a final quote, and if you agree, you'll get paid. The money will be sent directly to your bank account within days, and another photographer will get to enjoy your valuable gear for years to come.

Photo: MPB

Trade your way to an upgrade (and save time in the process)

Sure, there are instances where selling used gear is motivated by the desire to free up space in the camera bag or to generate a quick infusion of cash. But in our experience, more often than not, we sell gear to lessen the cost of upgrading a piece of our kit.

Instances like this are where the MPB platform shines brightest – by streamlining buying and selling into a single process, you get all of the benefits described above plus the time savings of only having to do it once. If you value your time, and would rather spend it shooting photos than haggling via email, the efficiency of MPB's trade process is hard to ignore.

Buy, Sell, or Trade with MPB

The previously reported 7Artisans AF 24mm f/1.8 full-frame lens for Nikon Z & Leica L-mount is now officially released (the lens already exists for Sony E-mount). The price of the lens is $329, and you can order one here. Additional information:

7Artisans AF 24mm f/1.8 lens additional information (E/L/Z)

New 7Artisans AF 24mm f/1.8 lens for Sony E-mount released

The post 7Artisans AF 24mm f/1.8 full-frame lens for Nikon Z & Leica L-mount officially released appeared first on Photo Rumors.

Here are some of the new accessories for the Sigma BF camera (now in stock at B&H Photo and WEX Photo):

SmallRig L-shaped mount plate with a handle for Sigma BF (also available on Amazon and the official SmallRig website).

Tilta mounting baseplate with wooden grip for Sigma BF cameras available at B&H Photo and Amazon.

IDSworks released a new grip set for Sigma BF cameras (additional informtion).

Owlkrown BF2 Grip for Sigma BF cameras.

Owlkrown WristLoop BF straps for Sigma BF cameras.

More Sigma BF grips are listed on Amazon.

The post New grip options for the Sigma BF camera appeared first on Photo Rumors.

After the 35mm f/1.4 and 85mm f/1.4, Sirui is planning to announce three additional Aurora f/1.4 full-frame autofocus lenses. The logical new focal lengths could be:

• Sirui Aurora 24mm f/1.4
• Sirui Aurora 50mm f/1.4
• The third lens could be a wide-angle or a telephoto f/1.4

New Sirui Aurora 35mm f/1.4 lens now available for pre-order (Z/E/X/L)

Sirui Aurora 85mm f/1.4 full-frame autofocus lens for Nikon, Sony and Fuji officially announced

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