A reliable source confirmed to me today that Fujifilm has suspended orders for the GFX100RF, X100VI, and X-M5 cameras in the US. It looks like the company will very soon implement significant price increases (in the US only) due to the new tariffs introduced by President Trump, just like Canon and Blackmagic. It is unclear if the new price increase will impact all Fujifilm products or only the suspended models.
As I already mentioned, there will be more price increases to come. If you are planning on purchasing new gear, now would be a good time to do so since I expect more prices to be adjusted in the coming weeks. B&H and Adorama are currently closed for the next 10 days, but you can check our sponsors Amazon, Paul's Photo, and Service Photo for your photo equipment needs.
One of the images already selected as part of the #YourShotOurHOME challenge.
"An adorable Asiatic lion cub sleeps in the middle of the road. The cub was trying to warm itself during a winter afternoon, when the sand was warmer than the other parts of the forest." Photo: Hardik Shelat, @hardik_shelat_photography
National Geographic is asking photographers to submit photos or videos that "celebrate the beauty of the planet" for Earth Day. Its editors, along with filmmaker Bertie Gregory, will pick their favorites to share on the company's "Your Shot" Instagram page.
Entering is pretty simple: all you have to do is post a photo to Instagram using the hashtag "#NatGeoYourShotOurHOME" before April 22nd. The company says Gregory will pick his personal favorites from the photos submitted and share them in a gallery on the @NatGeoYourShot Instagram page on April 30th.
Another selected image.
"Rising majestically above the California landscape, Mount Shasta is a potentially active volcano that stands as a silent guardian of the ancient legends that surround it. A sacred peak in Native American lore, it’s said to be the home of powerful spirits and a gateway to another world. Its snowcapped grandeur and timeless presence remind me of the mysteries that lie beyond the horizon. I took this aerial image while flying my single-engine plane." Photo: Jassen Todorov, @jassensf
National Geographic isn't pitching this as a formal contest but as a "fun and open way for people of all photography experience levels to engage with Nat Geo and share how they see the beauty of our planet." As such, there aren't many requirements, though the Your Shot FAQ page recommends posting a resolution of at least 1080px by 1080px, and says that images can't be digitally manipulated beyond "standard color correction and retouching to eliminate dust on camera sensors and film, or scratches on scanned negatives or prints."
You can submit as many photos as you like – if yours is selected, you'll be asked to share the full-size photo, along with a Raw, caption and signed release form.
This week was the National Association of Broadcasters' trade show in Las Vegas, where video companies flocked to show off their new tools and accessories. For this week's roundup we're going to go over some of the coolest things we saw, though if video isn't your thing, fear not – there's plenty here for you, too.
First, though, let's see what's on sale.
Sales of the week
Photo: Canon
Given that it's a big week for video, it only felt right to highlight that the EOS R5 C – which is essentially the EOS R5 but with more cooling and video features – is currently on sale for $700 off.
Stroppa is a company known for custom-making camera straps out of leather and rope, but the made-to-order nature of its products has always involved a bit of a wait between when you order your strap and when it arrives. The company is now selling a selection of its straps in what it calls "Drops," meaning that they're pre-made and will ship right after you place your order.
You'll only be able to get certain styles, lengths and colors, though the company does offer an approximately 20% discount for its pre-made straps compared to if you custom-ordered the same configuration.
PolarPro has announced its RoadRunner lineup of camera bags, which aim to provide ample protection for your camera gear without being too heavy to carry.
The lineup includes 8 and 16L backpacks and three sizes of shoulder bag: a 1L sling for compact cameras like the Fujifilm X100 series, a 6L for a camera and a lens or two and a 12L for larger camera and lens combos, plus an iPad. The bags are padded, and the larger ones include dividers for arranging your gear. The backpacks also include rain covers and side-access hatches.
We took a closer look at the 6L shoulder bag, comparing it to the 7L Peak Design Outdoor Sling – you can read our thoughts on it here.
SanDisk has been making CFexpress Type B cards for a while now, but it just announced that it's going to start making the smaller CFexpress Type A cards often used in Sony cameras, too. They'll be part of its Pro-Cinema line, boasting a VPG-200 rating and write speeds of up to 1650 MBps, which should be sufficient for even the highest-end video modes on cameras like the Sony a7S III, a1 II or a9 III.
Profoto has launched a new 'White' line of softboxes, which it says will provide "softer, natural-looking illumination with reduced contrast and shadows" than more traditional softboxes. They do this by swapping the reflective silver interior for a white fabric one, which the company says will give your images a "smooth, flattering glow."
The line includes softboxes in various shapes and sizes, which include built-in speed rings that should make them relatively easy to mount onto your light. They're also compatible with some of the company's other modifiers, like grids, diffusers and masks.
Electronic variable ND filters have been around in higher-end video-focused cameras for a while now, letting you easily adjust your exposure without having to reach to the front of the camera to twist a filter ring. However, while we've seen several concepts and prototypes of an external version, they haven't been readily available to buy.
It seems like that's about to change, though. According to Newsshooter, Tilta has said it'll be launching its matte-box ready 4 x 5.65″ electronic variable ND filter this summer. The filter can cut your light by 1.5 to 5EV and can be remotely controlled by the company's Nucleus system or by using a wheel built into the frame. According to a Tilta representative who spoke to Newsshooter, the company estimates it'll cost between $400-500.
An ultra-rugged battery
Image: SmallRig
SmallRig has announced its X-Touch Smart Triple-Proof V-Mount Battery X99. That's a lot of information in one product name, but the main takeaway is that it's a 99Wh V-mount battery that's drop-resistant up to a height of 1.5m (4.9') and has an IP54 dust and water resistance rating. Essentially, it's designed to keep your devices powered even in rough conditions... oh, and it has a touchscreen to show various status indicators.
The battery has a variety of inputs and outputs; there are two USB C ports that you can use to recharge it or to charge other devices, a BP port, two D-Tap outputs, a USB A output and 8V and 12V outputs, just for kicks. The company says you can recharge the battery in as little as two hours via USB-C PD.
Accessory makers are starting to release products that support the latest ThunderBolt 5 standard, which offers speeds up to 120Gbps, triple what its predecessor was capable of. That list now includes CalDigit, one of the most well-known companies for docks and hubs.
This week, CalDigit announced the TS5 and TS5+ – versions of its flagship dock that now use ThunderBolt 5. Both can charge your laptop at up to 140W and drive three displays. The regular TS5, which costs $369, features three ThunderBolt 5 ports, plus one for connecting to your computer, as well as a host of other ports, including 2.5Gb Ethernet. It can support external drives with read speeds up to 6200MBps, double what the TS4 could do.
The TS5 Plus takes things even further with 10Gb Ethernet, DisplayPort 2.1 output and a grand total of 20 ports. None of that comes cheap, though, as the company plans to sell it for $499. It's also worth noting that all the extra USB ports come at the cost of one ThunderBolt 5 one.
Nanlite announced the PavoTube II 6XR this week, a 25cm (10") RGB light tube. It's very similar to the PavoTube II 6C in that it has an internal battery and built-in magnets for mounting, but it adds the ability to individually program the tube's 10 LEDs to create various effects. It also supports CRMX and DMX control, which could be useful if you're on a professional set.
Compared to the 6C, the 6XR is slightly dimmer – it maxes out at 457 lumens versus 520 – and it costs $50 more, but if you need finer-grained control, it could be the way to go.
Asus was at NAB this week showing off its recently-announced PA32UCDM ProArt QD-OLED display, which it says is "designed for professional content creators." Its 32" 4K panel can display 99% of the DCI-P3 color gamut, while running at 240Hz for buttery-smooth responsiveness. It has a "true 10-bit" panel – not an 8-bit one with dithering – and a peak brightness of 1000 nits, which means it supports HDR standards like Dolby Vision, HLG and HDR10.
You can connect to it via ThunderBolt 4 or 5, as well as HDMI 2.1, and it has a built-in USB hub. While its $1899 MSRP may seem like a lot, depending on how serious you are about monitors, for the specs it provides it actually seems like quite a good value.
If you are planning to get some new gear, now would be a good time since the price increase could come as early as next week. B&H and Adorama are currently closed for the next 10 days, but you can check our sponsors Amazon, Paul's Photo, and Service Photo.
The full details of the upcoming Viltrox 35mm f/1.2 LAB lens with a color LCD screen for Sony E and Nikon Z mount leaked online:
The Viltrox AF 35mm F1.2 LAB pursues ultra-high resolution that surpasses even flagship models, ushering in a new era of revolutionary leaps in image quality. It adopts an optical design that does not compromise on details to support high-pixel shooting. With unprecedented high-definition depiction power, it will satisfy the needs of all those who seek higher resolution.
What is the LAB series?
The LAB series is the highest-end line of the Viltrox brand, characterized by high image quality and high standards. Compared to other products on the market, the lens specifications of the LAB series are at a higher level than those of the PRO series. With the introduction of the Viltrox AF 35mm F1.2, the Viltrox LAB series is attracting attention as a lens that further expands the creative possibilities of professional photographers and video creators.
Features
The lens is made up of 15 elements in 10 groups, including five ED lenses, three high refractive index lenses, and two aspherical lenses, ensuring clarity from the center to the edges of the entire focal range and enabling the depiction of fine textures even at maximum aperture, allowing users to retain image quality down to the fine details even in cropped images, expanding the scope of their photography .
Equipped with Viltrox's proprietary Hyper VCM motor, it provides 150% faster focus speed and more precise aperture accuracy compared to conventional STM motors, allowing you to capture the perfect photographic opportunity.
The large aperture F1.2 and 11-blade diaphragm produce a softer, more beautiful circular bokeh, providing excellent quality even in low-light situations.
With a minimum focusing distance of 0.34m and a maximum magnification of 0.17x, it provides clear, excellent images from infinity to close-ups.
The side of the lens is equipped with three switching levers, two custom Fn buttons, two rings, and a display, allowing users to make fine adjustments to suit their shooting style.
The lens body, including the front lens element, is dust-proof and weather-resistant, allowing it to be used in a wide range of shooting environments.
By connecting to the app via Bluetooth, you can also configure the Fn button and the image and text to be displayed on the lens display when the camera starts up.
Specification
Compatible mount: Sony E-mount
Focal length: 35mm
Focus mode: AF (autofocus)
Lens construction: 15 elements in 10 groups (5 ED lenses, 3 high refractive index lenses, 2 aspherical lenses)
Aperture blades: 11
Supported image size: Full size
Aperture range: F1.2-F16
Minimum shooting distance: 0.34m
Filter diameter: Φ77mm
Size: Φ89.2mm x 121.8mm (excluding mount)
Accessories: Lens cap, rear cap, hood, storage bag
It's no secret that things in the United States are in flux right now due to the president's implementation of new tariffs. Companies across all categories are making adjustments, including plenty of photography-related businesses. Earlier this week, Blackmagic Design announced higher prices for some of its products, and now Harman Technology is doing the same.
Harman Technology is the UK-based parent company of the Ilford and Paterson brands; it's well-known for its products for analog photographers. PetaPixel reported that the company is raising prices of its film, paper and chemicals in the US in response to the tariffs. Shutter Junkies, a Texas-based photo lab, shared the information in a blog post, revealing that Ilford and Harman film and paper will increase by 11%. Liquid chemistry will go up by 12% and there will be an 11% increase on most Paterson products. It also says there will be larger increases on Paterson items manufactured in China.
"While we understand how frustrating price hikes can be, especially in a niche like film photography, these increases are a direct result of the newly imposed tariffs. HARMAN, like many manufacturers, is responding to increased costs on their end," Shutter Junkies wrote in its post. "HARMAN has expressed that they hope to reduce prices if and when trade agreements shift." It also added that Phoenix film prices and powder chemistry prices will remain unchanged.
President Trump announced a 90-day pause on reciprocal tariffs, but he didn't fully back off. The baseline 10% global tariff that President Trump announced on April 5 is still in place. Plus, he has increased tariffs on China to 125%. That's likely why we're still seeing rising prices even with the 90-day pause.
Shutter Junkies added that the price of disposable cameras would remain unchanged for the stock that they currently have. That's likely to be the case for many companies; pricing for things they already had on shelves or in store rooms will be without markups, but new stock may require a higher price. So, if you need film, you may want to stock up now.
This film Friday, we're sharing a video profile of Australian photographer Trent Mitchell. Mitchell has been a photographer for more than 20 years, working in both digital and film. He won the Moran Contemporary Photographic Prize in 2015, has been featured in the International Photography Awards, Sony World Photography Awards and more, and his work has been acquired by the National Library of Australia.
Flotsam Festival – an annual surf film and photography festival hosted on the Gold Coast of Australia in May – produced the video as part of its Liquid Lens lens series. The series aims to showcase ocean-based filmmakers and photographers who capture "the waves and their riders, while illuminating their artistry, inspirations, and passion for the sea."
Mitchell started using a camera as a tool for his art process diary, but he explained that he didn't know anything about the medium, so he couldn't get good images. Then, a few years out of school, he was doing design work, and he realized photography was the perfect skill to add to what he was already doing.
In the video, Mitchell talks about balancing personal work and working for someone. He explains that he loves personal photography and that paid work has resulted from that. "You can work personal work into your job as well," he says. "They're not these separate things." Spending time on personal projects is an especially good tip for new photographers hoping to get paid work. It not only gives potential clients something to look at before you have much of a portfolio, but it can also be a critical tool for finding your style and voice.
Mitchell also touches on how he doesn't believe the common sentiment that everything has already been done. "Tomorrow's never been done, so there's heaps of opportunity to do new things." He says that while there may be themes that recur, everything's new all of the time, so there are always new things to do.
"A successful project is anyone you finish"
Finally, the point that stuck out to me the most was when Mitchell explained what makes a project successful. "A successful project is anyone you finish," he said. Mitchell said he has worked on all sorts of things but has plenty of unfinished projects, so they aren't successful. As someone with plenty of unfinished projects sitting on hard drives and in portfolio boxes, this one hit especially close to home.
Photo: Michael Reaves / Staff / Getty Images Sport via Getty Images
Retirement isn't for everyone, as is apparently the case for baseball Hall of Famer Ken Griffey Junior. Most recently, he's been in the spotlight for being at the Masters this week as a credentialed photographer for Masters.com. Getty Images photographer Ben Jared captured Griffey on the course with what looks to be either the Sony 400mm or 600mm lens attached to his camera.
Griffey Jr. retired from baseball in 2010 as a 13-time MLB All-Star. He spent most of his career playing for the Seattle Mariners and Cincinnati Reds, though he also had a short stint with the Chicago White Sox. He picked up a camera in 2015 and has been photographing ever since.
Griffey Jr. originally got into photography not only because of his love for sports, as he explained on Mornings at the Masters. As a celebrity, no matter where he goes, he's sure to garner attention. That attention got in the way of him watching his kids' games, and he was frequently distracted. So, photography became a way for him to avoid all the attention. "My daughter literally stopped dribbling a basketball and just looked at me when she was five. I was like okay, I’ve got to pay more attention to what’s going on," Griffey said. "I figured no one’s messing with the photographer, well let me pick it up, let me try it."
While this is the first time Griffey has photographed the Masters, his photography has taken him to plenty of events. He's worked as a credentialed photographer at MLB, MLS, NFL, NASCAR and IndyCar events. The Masters go on through the weekend, and Griffey Jr. will be there through the end, capturing the event up to the big finale with the iconic green jacket.
Griffey isn't the only former MLB player – or player for the Seattle Mariners, for that matter – to turn to photography, either. Former pitcher Randy Johnson, who played 22 seasons in the MLB, nearly a decade of which was for the Mariners, is also a photographer. Johnson studied photojournalism at the University of Southern California before going pro, when photography went on the back burner, naturally. He has photographed NFL games, concerts and lots of wildlife. His logo – a dead bird – references a famous moment in his baseball career when one of his pitches killed a bird after it flew into the path of the ball.
This week, PolarPro announced the RoadRunner collection, a range of photography-focused bags with a lightweight yet rugged design. I recently bought a 7L Peak Design Outdoor Sling, because it promised many of the same things, so I've decided to put it head to head with PolarPro's 6L shoulder bag. We'll compare how the bags are built, what they can carry and who they're made for.
Two strapping bags
One of the major differences between these two bags is clear right from the names: the Peak Design is a sling bag, where the strap goes around your body and the pouch rests against your front or back. The PolarPro bag, meanwhile, has a strap that goes around your shoulder and a bag that sits down against your hip or side. Both straps can be completely detached from the bag and have ample padding for carrying even relatively heavy loads.
Photo: Kevin Mahoney
PolarPro's strap is made of adjustable webbing with clips on each end that attach to rings on the bag's body. The Peak Design bag's strap attaches with hooks but also has a clasp in the middle, making it easy to buckle and unbuckle.
Perhaps too easy to unbuckle – I've heard several people say they've accidentally opened the clasp, leading to them dropping their bags. While it's never happened to me, it's not hard to imagine; instead of a traditional buckle that you have to press in on both sides, the Peak Design bag opens with a single push of a lever, which isn't really ideal for a bag meant to hold expensive gear.
I don't think I want my camera bag to be this easy to unclasp.
One last gripe about the Peak Design's strap: it's much easier to switch which shoulder you're carrying the PolarPro on since you won't have to adjust the strap at all. If you want to switch shoulders with the Peak Design, you'll have to detach both sides of the strap and flip it around.
Exterior Design
Photo: Mitchell Clark
PolarPro's bag is made out of a 600D ripstop nylon that the company says "resists" water. The Peak Design, meanwhile, is made out of a 210D ripstop material that the company calls "weatherproof," a label it also applies to the zippers. Despite the clear weather sealing, the Peak Design's zippers are about as easy to open as the PolarPro's unsealed ones, which isn't always true for water-resistant zippers.
PolarPro's bag has a beefy, rubberized handle on the top lid, which feels much better than the cord handle the Peak Design uses. However, if the lid for the PolarPro is unzipped, that handle essentially becomes useless, whereas you can use the Peak Design's handle to move it around even if it's open. Doing so is obviously a bit reckless, but sometimes you gotta do what you gotta do.
Photo: Kevin Mahoney
Empty, the 6L PolarPro bag weighs 579g (20.4 oz), while the Peak Design weighs 335g (11.8 oz). However, adding the X-small camera cube required to turn it into a proper protective camera bag on par with the PolarPro brings the weight up to 555g (19.6 oz).
Interior Design
The Outdoor Sling and RoadRunner shoulder bags have a very similar layout – one main zippered compartment, then a smaller front zippered pocket. Both have a wide array of pouches designed to hold things like lens filters, batteries and SD cards, though I found the Peak Design's to be much easier to use. The ones on the PolarPro have a top flap, which keeps things from falling out when you open the lid but also makes it difficult to insert or remove larger items like camera batteries.
Photo: Mitchell Clark
Those main pouches are the second big difference between the bags. The interior of the Peak Design is the same ripstop as the face fabric, and the compartment doesn't feature any padding or dividers to speak of. To get those features, you'll have to add on Peak Design's X-Small camera cube, which fits neatly into the main pocket, taking up most – but not quite all – of the space. The cube comes with two dividers and can be used separately from the Outdoor Sling.
The Peak Design bag looks far less spacious when fitted with the camera cube you'll want to keep your gear safe. Photo: Mitchell Clark
The RoadRunner, however, comes with all of that from the get-go, as its body is essentially a camera cube with rigid, padded sides. The interior is lined with microfiber, which lets you re-arrange the two included dividers however you like. Like with many camera bags, the dividers attach to the side walls with hook-and-loop flaps.
The RoadRunner has an additional zippered pocket on the front, which is quite slim – you could fit a passport or a notebook and pen in there, but not much else. The Peak Design has a pocket that is similarly sized but on the inside of the main compartment.
Carrying Capacity
If you're looking to fit the most camera gear possible, the PolarPro is the clear choice, despite the fact that it's marketed as a 6L bag while the Outdoor Sling is marketed as a 7L bag. The reason is that the RoadRunner's rating is for the padded compartment, while the Outdoor Sling's is for the bag overall – the padded X-small camera cube, meanwhile, only has a volume of 3.5L.
There's still a fair bit of room inside the PolarPro when carrying an EOS R5 II with a 20mm F1.4 lens. Photo: Mitchell Clark
What does that mean in real-world terms? Well, a Canon EOS R5 II with a 20mm F1.4 prime just barely fits into the Peak Design camera cube – you have to reverse the lens hood to make it work. Meanwhile, the PolarPro can carry that same camera/lens combo*and a Canon PowerShot V1. You could also fit a Lumix S1RII and a 24-70 F2.8 in the RoadRunner, with room to spare for a small battery bank. The Peak Design cube has no chance of carrying even just the camera – it'll technically fit in the main compartment of the sling with no cube but with very little space left to add your own padding, which you'll almost certainly want.
With the EOS R5 II in the X-small camera cube, there's really not much room left in the Peak Design. Photo: Mitchell Clark
Both bags are more comfortable with smaller systems. The Peak Design bag would easily accommodate my Fujifilm X-T3 and a pair of F2 primes or my Nikon F3 with a 50mm F2 and a digital point-and-shoot. However, the PolarPro can, too, with room left over for extra bits and bobs.
The story flips if you're carrying stuff that isn't camera equipment. Without the camera cube, the Outdoor Sling can expand a lot more than the PolarPro can. I've carried a X-T5 with a 16-55mm F2.8 attached, two wireless mic packs, a 72mm ND filter with a hard case and two Cliff bars in it, with a fleece beanie to keep it all from banging together. The PolarPro could handle the same gear with no problem, but the beanie and snacks might be a tough squeeze.
I've also carried an XL Patagonia R1 Air fleece and XL Arc'teryx Atom puffy jacket in the Peak Design, and it all just barely fit. The puffy alone fills the PolarPro, with pretty much no room left for gear – that's likely down to it being substantially more structured than the Outdoor Sling.
* The EOS R5 II's large viewfinder hump does bow the bag out slightly – I wouldn't try to put too much in the other pockets while carrying it.
External Storage
Both bags have an option to attach a tripod to the bottom. The RoadRunner uses adjustable webbing, while the Outdoor Sling uses elastic straps. Both solutions have one end attached with a hook, letting you easily detach them to speed up the process of taking your tripod on and off.
In my experience, both bags were relatively comfortable to carry with the aluminum Peak Design travel tripod attached to the bottom, though I probably wouldn't want to carry anything much bigger than that.
Even when carried at an angle on your back, the Peak Design bag does a good job of holding onto the tripod. Photo: Mitchell Clark
Both bags also include a back pocket, which can be used to carry pretty much any size phone. Peak Design's has slightly more padding and a magnet to keep it shut but a narrower opening that can make it a little finicky to get your phone in and out, depending on how you're wearing it. Despite the PolarPro's pocket being completely open, it's deep enough that I have no concerns about my phone falling out of it.
Neither bag has any real affordance for carrying a water bottle. Since I almost always want to have one with me, I just attach my bottle to the strap with a carabiner. This is slightly more convenient with the PolarPro since you're generally not going to have to unclip the strap to take the bag off your shoulder. With the Peak Design, you have to make sure the bottle's not going to fall off the strap when you unclip it to set the bag down.
Aesthetics
Beauty is in the eye of the beholder, so which bag you prefer will likely come down to your personal tastes. However, I do suspect most people will find the Peak Design bag to be more attractive – it's not just a utilitarian-styled box that hangs off your shoulder. The Outdoor Sling also comes in three colors, and I'll admit I had a hard time choosing between them.
Images: Peak Design
The RoadRunner sling, meanwhile, just comes in black, though it features some tasteful dusty gold accents. The inside of the bag's main compartment is also that color, making it easy to see your gear. The Peak Design bag also features a light gray interior.
Versatility
The Peak Design is built to act as two different kinds of pack. Photo: Kevin Mahoney
That strap brings up the Outdoor Sling's biggest selling point: versatility. You can wear it not only as a sling across your front and back but also as a lumbar pack or belly bag around your waist. This not only gives you a different way of carrying it but also lets you use it in addition to a smaller backpack.
It's also made for a lot more than just carrying cameras. While you can remove the dividers from the PolarPro, you can't get rid of the padding, and its rigid sides and shape make it harder to really stuff it full. The Peak Design bag, meanwhile, is more freeform and can easily accommodate items you'd need when traveling or hiking.
It also comes with a detachable stabilizer strap that wraps around your back and keeps the bag locked in place if you're doing something especially active while wearing it in sling mode. I've taken it with me down a mountain bike trail, and once I added the stabilizer strap, I had no worries about it creeping around to my front and messing with my peddling.
The stabilizer strap means you can use the Peak Design on all sorts of adventures. And while I have worn the PolarPro while riding a bike, it was only on a flat, paved road at a very relaxed pace. Image: Peak Design
While the 6L RoadRunner bag can't fill quite so many roles, the lineup is a bit more complete. Peak Design also sells a 2L sling, though there's no camera cube made for it to add padding. You also can't get a larger bag without stepping up to the much heavier 10L "Everyday" sling.
If you need a bag that's bigger or smaller, PolarPro has you covered. Photo: PolarPro
PolarPro, meanwhile, offers a 1L case designed to protect compact cameras like the Fujifilm X100 series, or the Leica D-Lux. There's also a 12L shoulder bag designed for larger loads. The comapny says it can fit a full-frame mirrorless camera and a 70-200mm lens, along with an additional lens and powerbank or mini drone. The larger bag's back pocket can fit an 11" iPad.
The Extras
Both bags clearly have a lot of thought put into them, and that's made clear by their design flourishes. For example, both have a lanyard in their front pocket, so you can rest assured that you won't accidentally drop your keys while digging around for something else.
PolarPro also includes not one, but two microfiber cloths attached to the inside of the bag, which can be used for cleaning off lenses, screens and viewfinders if they happen to get grungy on your adventures.
Each bag has delightful design touches
Peak Design's bag is bring-your-own-cloth, but it has little pockets on the back where you can tuck away any additional straps that would otherwise just be dangling around. And, if you're not carrying a tripod, the elastic straps on the bottom can be used as compression straps to give it a slimmer profile.
The Peak Design can also be used as a chest pouch when paired with the company's Outdoor backpacks – you simply take the sling strap off and lash it to your pack's shoulder straps. If you can do something similar with the RoadRunner shoulder bag and backpacks, PolarPro doesn't mention it.
Price
The 6L RoadRunner retails for $99, which initially seems more expensive than the 7L Outdoor Sling, which is $89. However, the X-small camera cube is an additional $50, bringing the total up to $140, though you can bundle them at the time of purchase to knock $14 off the price.
Even with that discount, the Outdoor sling is still the spendier option by a wide margin if you need the camera cube. I have used it to carry gear without the cube, though I wouldn't recommend doing so unless you're very careful and also have soft goods in there to add some padding and gear separation.
So which bag do I buy?
If you've made it all the way through this article and are still unsure which bag is for you, this is my take: if you want a bag exclusively for photography gear, the RoadRunner is the way to go, especially if you want to access your gear quickly. It can just plain hold more, and I'd be comfortable leaving the lid unzipped if I'm actively taking my camera in and out of it since it's on the top; unless I'm doing a somersault, the camera's not going to fall out of it. I'm not as confident about that with the Outdoor Sling's zipper placement, though the one time I accidentally left it open, it managed to keep everything inside.
However, if you want a versatile travel/adventure bag that can also carry camera gear, the Peak Design is definitely worth a look – assuming you have a relatively small setup. While the PolarPro can just manage a high-end full-frame mirrorless camera, I wouldn't want to carry one very often with the Outdoor sling. It's happiest with a crop sensor camera and maybe an extra lens, or with a small drone.
To put it another way, I spent $140 of my own money on the Peak Design Outdoor Sling and camera cube, and I don't regret that now that I've tried the RoadRunner, which PolarPro provided as a review sample. However, that's only because I already have a massive camera bag for when I'm testing out the big cameras, and I was in the market for a small, light bag that I could wear while biking, hiking or traveling. If either of those things weren't true and I was shopping for a bag, I'd pick the PolarPro.
Phone manufacturers are perpetually on a quest to craft the best camera phone. Oppo has announced its latest entry into the competition with the Find X8 Ultra, promising groundbreaking camera tech made with Hasselblad color calibration. The Oppo Find X8 Ultra competes with the likes of the Xiaomi 15 Ultra and Vivo X100 Ultra and features some camera specs that surpass the iPhone 16 Pro Max and Samsung Galaxy S25 Ultra.
The latest Oppo flagship features a five-camera system, all of which offer a 50MP resolution. The star of the show is the main camera with a Type 1 (13.1 x 9.8mm) Sony sensor. Oppo says it is 63% bigger than the iPhone 16 Pro Max's main camera and 69% bigger than the 200MP main camera on the Galaxy S25 Ultra, as GSM Arena reports.
Image: Oppo
Also found on the Find X8 Ultra are 3x and 6x periscope telephoto cameras, both of which feature brighter apertures than the Find X7 Ultra. The 6x telephoto camera also gets a healthy bump in sensor size compared to the previous model's Type 1/2.51 (5.7 x 4.3mm) sensor. That means greater light-capturing ability across the board.
The ultra-wide camera, though, gets a slight downgrade. The Find X7 Ultra featured a larger Type 1/1.95 (8.2 x 6.1mm) sensor. The aperture remains at F2.0, however. Finally, the front of the phone uses the same 32MP 21mm equiv. F2.4 camera as the previous model. On the video front, all of the cameras are capable of 4K60p video, while the main camera and 3x telephoto offer 4K 'Dolby Vision' recording up to 120p.
Sensor size
Equiv. focal length
Aperture
Main camera
Type 1 (13.1 x 9.8mm)
23mm
F1.8
Ultra-wide
Type 1/2.75 (5.2 x 3.9mm)
15mm
F2.0
3x Telephoto
Type 1/1.56 (8.2 x 6.1mm)
70mm
F2.1
6x Periscope telephoto
Type 1/1.95 (6.5 x 4.9mm)
135mm
F3.1
Oppo also promises that the Find X8 Ultra's cameras' photos will have better color accuracy, in part thanks to a 'True Chroma' sensor, which it says uses a nine-channel multispectral system to analyze the scene's color temperature. It works in tandem with the Hasselblad processing, promising to deliver accurate skin tones in any lighting conditions.
There's also plenty of other tech behind the scenes aiming to improve image quality even more. That includes Oppo's 'HyperTone Image Engine,' which the company says improves computational abilities and performance in tricky lighting conditions. AI tone mapping also provides better depth and detail, particularly in backlit scenes, according to Oppo. Finally, the ProXDR engine improves brightness and color information.
Image: Oppo
Despite the impressive camera specs, the Find X8 Ultra hasn't ended up absurdly massive like some other camera-focused phones. Oppo claims the Find X8 Ultra is the thinnest flagship camera phone currently available, measuring 8.8mm (0.35") thick. The emphasis there is on camera phone – the iPhone 16 Pro Max and Samsung Galaxy S25 Ultra are slightly thinner, though they use smaller cameras. The Xiaomi 15 Ultra, meanwhile, ranges from 9.3mm to 9.5mm, depending on the material.
Keeping things slim hasn't resulted in compromises in terms of performance, either. In fact, the battery gets a decent bump from the Find X7 Ultra, using silicon-carbon battery tech with a 6100mAh battery, which is nearly 21% larger than the previous model. Oppo also upgraded to the Snapdragon 8 Elite with up to 16GB of RAM and up to 1TB of UFS 4.1 storage. The display remains the same, with a 6.82-inch QHD+ AMOLED display with a 1-120Hz refresh rate and a peak brightness of 1600 nits. Finally, it has an IP68 rating against water and dust ingress.
Oppo also announced the Find X8s and X8s Plus, which are less camera-focused. Unfortunately, as enticing as the Oppo Find X8 Ultra looks in terms of camera chops, it will be available exclusively in China. Oppo typically sells its devices in Europe as well, but that isn't the case with its latest release. It will go on sale on April 16 in China for CNY 6,499 for the base model (12GB/256GB), CNY 6,999 for the 16GB/512GB model and CNY 7,999 for the 16GB/1TB model.
Google recently announced the Pixel 9a, its budget offering in the Pixel smartphone lineup. For this model the company opted to ditch the camera bar for a flat camera bump, resulting in a larger battery but smaller cameras. Though it sticks to the two-camera design, with a wide-angle main camera and ultra-wide camera, its main camera uses a 48MP Type 1/2 (6.4 x 4.8 mm) sensor, down from the 64MP Type 1/1.7 (7.3 x 5.5mm) sensor found in the Pixel 8a's main camera. However, Google says that other upgrades, such as software and silicon improvements, make up for the dip in resolution and sensor size, and promises that the 9a is capable of capturing "class-leading photos and videos."
We've had the opportunity to take the phone around for a week, testing out the cameras to put together a sample gallery.
The Pixel 9a is hitting shelves on April 10 in the US, Canada and UK. It will be available on April 14th in Germany, Spain, Italy, Ireland, France, Norway, Denmark, Sweden, Netherlands, Belgium, Austria, Portugal, Switzerland, Poland, Czechia, Romania, Hungary, Slovenia, Slovakia, Lithuania, Estonia, Latvia and Finland. Australia, India, Singapore, Taiwan and Malaysia will have to wait until April 16th.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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Last week, Adobe announced that a handful of AI-based features would be moving out of Premiere Pro beta. Now, the company is teasing even more AI tools for Premiere Pro and Photoshop ahead of Adobe Max London on April 24. In a blog post, the company provides a basic overview of what's coming, promising even faster edits and helpful tools for learning.
All of the new features rely on agentic AI, or tech "capable of conversing, acting and solving complex problems." It's essentially a highly capable chatbot that combines elements of generative AI with decision-making and execution capabilities. Adobe says its approach to agentic AI is similar to its approach to generative AI, aiming "to give people more control and free them to spend more time on the work they love – whether that’s creativity, analysis or collaboration."
Image: Adobe
To that end, Adobe teased that at Adobe Max London, it will showcase its first creative agent in Photoshop, found in an all-new Actions panel. "Our vision is for Photoshop to be able to analyze your image and recommend smart, context-aware edits," Adobe explained. It says the editing platform could find ways to improve your image and actually make those improvements with a single click. It also says it wants users to be able to use natural language to access "more than 1,000 one-click actions in Photoshop" for faster and simplified edits.
In the video examples provided in the blog post, prompts are typed into the AI agent, which then handles the edits for the user. The creative agent adds all of the edits as layers, just like if the person were to be making the changes themselves. That means you can still go in and tweak things by hand as needed.
Adobe says this isn't exclusively about speeding up the editing process. Instead, it also envisions the creative agent as a way to learn Photoshop. Given how complex and overwhelming the software can be for new users, such a resource could be helpful. Plus, Adobe says it could also handle repetitive tasks like preparing files for export.
Image: Adobe
Adobe also envisions agentic AI coming to Premiere Pro. One example it provides is using the creative agent to create a rough cut. Getting started on projects is often the hardest step, after all. "While AI can’t replace human creative inspiration, with your input it can make some educated guesses to help you get your project off the ground."
Adobe's Media Intelligence can already help you search for clips by automatically recognizing objects and visual compositions. The platform also understands spoken dialogue and can generate captions and transcripts. So extending those features to a tool that can help quickly cut together clips to help you get started doesn't seem that far-fetched. "We envision a world where you can direct a creative agent to help you refine shot choices, craft rough cuts, assist with color, help mix audio, and more." Like Photoshop, Adobe also wants to use agentic AI in Premiere Pro to help users learn the software, including understanding keyboard shortcuts for complex actions.
Adobe says that the Adobe Research team is currently working on the foundational pieces of the company's agentic AI framework. It will likely be showing off the tools and providing more details during Adobe Max London, which you can catch online for free on April 24.
In late 2022, Atomos told investors that it had "completed development of a world class 8K video sensor" and that it was "actively exploring opportunities for commercialisation" and holding talks with camera makers that it said were "showing great interest." In an interview with PetaPixel later that year, the company said it was a full-frame, global shutter sensor capable of capturing 8K at 60fps with up to 15 stops of dynamic range, all while drawing just 2W of power.
We've heard very little about the project since then, but PetaPixelhas just reported that it's been abandoned, citing a conversation with the company's COO. Currently, there are no further details about when the call was made to sideline the sensor or why that decision was made. We've reached out to Atomos and will update this story if we hear back.
While there's been very little news about the sensor – dubbed the 'Sapphire F8' – since 2022, it seemed like an interesting proposition. Global shutters are especially useful for video applications, where rolling shutters can cause distortion on fast-moving subjects or during quick camera movements.
In 2022, the Sapphire would've been ahead of the curve
While several cinema-focused cameras have used the tech over the years, it's only recently become available in cameras with larger (full-frame or above) sensors. When Red announced the V-Raptor X in early 2024, it said it was the "first available large format global shutter" cinema camera. Around the same time, Sony's a9 III became the first full-frame mirrorless camera to feature a global shutter. In 2022, Atomos' Sapphire project, developed after it acquired rights and technical staff from broadcast equipment company Grass Valley in 2017, would've been ahead of the curve.
Whatever caused the company to drop the project, it's unfortunate that there won't be more competition in the high-end sensor market. Making a sensor is no small feat, and neither is actually getting it into a finished product – something Atomos already knew since work on the Sapphire began during a project to create a cinema camera, which also wound up being canceled.
Embedding social media posts has become a widespread practice and a critical tool for all sorts of websites. It allows sites to share content without hosting it themselves, opening the doors to showcase more dynamic content and user-generated or brand materials. Now, though, a photographer is asking the US Supreme Court to consider if embedding social media content is a violation of copyright.
As initially reported by Digital Camera World, photographer Elliot McGucken filed a petition for certiorari (a request to review) on March 28. This petition is part of his lawsuit against media company Valnet, Inc., which runs thetravel.com. The lawsuit results from The Travel embedding 36 photographs in McGucken's Instagram posts across multiple articles without his permission. The case argues that embedding a copyrighted work without the artist's permission is copyright infringement.
This debate, which centers around the "server test," is far from new. The server test was a guideline initially established in a 2007 Ninth Circuit Court decision. It essentially says that if a website hosts a copyrighted image on its own systems, it is a copyright violation. But if the website uses third-party hosting, such as by embedding a social media post or an image from an artist's website, it does not violate copyright.
There have been multiple challenges since the initial guideline was established. However, the most recent (outside of this new case) was in 2023, when photographers Alexis Hunley and Matthew Brauer filed a class action lawsuit against Instagram. They claimed that Instagram violated their copyright by allowing Time and Buzzfeed to embed photos they shared on their Instagram profiles. A three-judge panel at the 9th US Circuit Court of Appeals ruled that Instagram was not liable for copyright infringement, though, explaining that when a photo or video is embedded, no copy is made.
The district courts and Ninth Circuit court have already dismissed the complaints, but the photographer has now asked the Supreme Court to weigh in. The petition gives multiple reasons for why it should be granted, one of which is that it "presents a clear legal question that has divided the federal courts." However, as VitalLaw reports, district courts in the Second, Fifth and Tenth Circuits, including a federal court in Manhattan, have all rejected it.
Instagram, like many other social media platforms, allows users to turn off embedding, which prevents websites from sharing content in this way. Instagram rolled this out in 2021, and users can change the setting under the "How others can interact with you" option inside the Settings menu.
The Supreme Court has until May 1 to issue a response.
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PowerShot V1 | 25.6mm (50mm equiv.) | F4.5 | 1/640 sec. | ISO 125 Photo: Mitchell Clark
Canon recently made its PowerShot V1 compact available globally, after it was initially launched for the Asian market. While the company's marketing it as a vlogging camera, photographers also seem to have taken an interest in it, with its reasonably large Type 1.4 (18.4 x 12.3mm) sensor paired with a 16-50mm equiv. F2.8-4.5 lens.
We've gotten the opportunity to shoot with it a bit and have put together a sample gallery, which should give you some idea of how the sensor and lens perform. We'll dig deeper into image quality in our full review.
Given that it's a vlogging camera, we've also put together some sample footage taken with it. It's embedded below, though, so note that you may need to click through to watch the video on YouTube if you want to see it at its maximum quality.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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7Artisans just announced the previously reported L-mount of the 7Artisans AF 50mm f/1.8 FF lens, priced at $228. The lens features an optical structure of 11 elements in 9 groups, including two aspherical lenses, one extra-low dispersion (ED) element, and two high-index elements. Orders are now open at:
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