As I already reported, today Viltrox became the 10th member of the L-Mount Alliance.
Currently, Viltrox has only cinema lenses and adapters for L-mount:
Additional information can be found here:
The post Today Viltrox became the 10th member of the L-Mount Alliance appeared first on Photo Rumors.
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| The Z6 III is now more expensive for US customers. Image: Nikon |
In August, Nikon warned that it would be raising its prices in the US on September 1 because of the negative impact of tariffs. At the time, the company didn't specify which products would be impacted or how much the increases would be. Now, those new prices have taken effect.
This is the second time Nikon has increased prices in the US because of tariffs this year, though the first price adjustment only affected its lens and accessory lineup. The company's cameras were not impacted. Unfortunately, that's no longer the case. Most Nikon cameras are now more expensive, with an average increase of 8%.
| September 1 price (% change) | Original MSRP | |
|---|---|---|
| Z5 II | $1847 (8.8%) | $1697 |
| Z7 II | $2497 (8.7%) | $2297 |
| Z6 III | $2697 (8%) | $2497 |
| Z8 | $4297 (7.5%) | $3997 |
| Zf | $2197 (10%) | $1997 |
| Z50 II | $1007 (11%) | $907 |
The first price adjustment impacted Nikon's lenses, and some models received an additional increase with this second round. For example, the Nikkor Z 50mm f/1.2 S has gone from $2100 to $2247, and the Nikkor Z 14-24mm f/2.8 S from $2497 to $2697. The pricing change on Nikon's lens lineup was less significant than the pricing change on the camera bodies, potentially because those prices had already been increased once. Many of the company's budget-focused lenses did not change in price.
The company previously raised US prices across its lineup on June 23rd by an average of around 10%. Since then, the tariff situation has been in flux as trade terms were negotiated between the US and the various countries where Nikon makes its products.
Of course, Nikon isn't the only company that has adjusted prices. Over the weekend, Fujifilm also increased US prices, marking its second price hike within a month. Additionally, earlier this year, Canon, Sigma, Sony and Leica all marked up their products in response to tariffs. Thus far, of those companies, only Canon has made a statement about a potential second adjustment.
Just like Nikon, Canon will also announce a new entry-level cinema camera on September 9th. The new video-focused compact hybrid camera is expected to be a competitor to the Sony FX3 and the upcoming Nikor Zr. The model name could be Canon EOS RC. Stay tuned for updates.
The post Canon to announce a new entry level cinema camera on September 9th (Canon EOS RC?) appeared first on Photo Rumors.
The previously reported Viltrox AF 56mm f/1.2 Pro APS-C lens for Fujifilm X and Sony E mount is now officially announced. Pre-orders are now open at B&H Photo. Additional information can be found here. Check also the official website: X-mount | E-mount (international shipping available). Key features of the new lens:
The post Viltrox AF 56mm f/1.2 Pro APS-C lens announced (X/E) appeared first on Photo Rumors.
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| Image: Leica |
Viltrox is the latest company to be inducted into the L-Mount alliance, according to a press release from Leica. It joins the organization alongside other budget lens companies like Sirui and Samyang, as well as major camera manufacturers like Panasonic, Leica, DJI, and Sigma.
The announcement says Viltrox plans to use the mount "in future product development," but doesn't mention whether any of its existing products will be made available for the system. While Viltrox has made a few cinema lenses for the mount already, it seems likely its official entrance into the alliance could signal that the company's autofocus photography lenses could be coming to L-mount as well.
That could be an exciting prospect for those who own L-mount cameras. The company is a rising star in the lens world; it gained its reputation largely thanks to its very affordable, but still decent lenses, but has since proven capable of making more premium options with its Pro and Lab series. The company also produces types of lenses that would fill in some gaps for the L-mount system, such as lightweight, compact primes that would pair nicely with cameras like the Panasonic S9 or Sigma BF.
Press release:
Teaneck, September 1, 2025 – As a new member, Viltrox is the 10th company to join the L-Mount
Alliance since the public announcement of the L-Mount standard at Photokina in 2018. The alliance consists of founding members Leica Camera AG, SIGMA, and Panasonic, as well as Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, and SIRUI. This collaboration enables Viltrox to develop products with the L-Mount which will present great benefits for a wide range of photo and video applications.
The L-Mount was developed by Leica Camera AG with the aim of providing customers with a future-proof, flexible, robust, and precise bayonet mount that would fulfil even the most demanding photographic needs. After its initial appearance, development of the L-Mount was continued by Leica as well as by its strategic partners. This led to significant improvements with new and more sophisticated L-Mount technology, resulting in a constantly growing portfolio of cameras and lenses from all existing and new alliance partners, currently comprising over 20 cameras and more than 120 lenses. All lenses made for the different systems within the L-Mount Alliance can be used on all cameras without adapters and without any functional limitations – this illustrates one of the numerous benefits of the common bayonet.
Valentino Di Leonardo, Managing Expert Technology & Licensing at Leica Camera AG: “The L-Mount Alliance has been a key pillar of Leica Camera AG’s strategy from the beginning, standing for openness, innovation, and the highest standards in photography. With its bayonet system, it offers outstanding flexibility across a wide range of photographic and videographic applications. By welcoming Viltrox as a new member, we are strengthening our network with a highly regarded partner that shares our vision of a forward-looking and versatile system. Viltrox contributes valuable expertise in high-quality lens development and brings fresh momentum to our ecosystem. Together, we aim to offer photographers and filmmakers an even more comprehensive and flexible system that meets the most demanding requirements.”
DAI JINHUI (Daniel Dai), CEO at Viltrox: “Viltrox has joined the L-Mount Alliance, further expanding the system’s reach with high-quality, versatile, and accessible lenses. This collaboration complements Leica’s portfolio by inspiring a new generation of creators – from passionate enthusiasts to seasoned professionals – while reinforcing a dynamic and inclusive ecosystem alongside alliance partners DJI, Panasonic, Blackmagic Design, and Sigma.”
About the L-Mount Alliance
The members of the L-Mount Alliance all utilize the L-Mount Standard developed by Leica Camera AG for mirrorless camera systems. Currently, the members of the alliance are Leica Camera AG, SIGMA, Panasonic, Ernst Leitz Wetzlar GmbH, DJI, ASTRODESIGN, SAMYANG Optics, Blackmagic Design, SIRUI, and Viltrox. The partners in the alliance utilize the L-Mount Standard for cameras and lenses that are offered under their own brand names. They market their respective products as competitors, and each with their own product and marketing strategies. The alliance works together on advancing the technology of the L-Mount Standard.
About the L-Mount Standard
To ensure maximum product diversity, the diameter of 51.6 millimeters was chosen to make the L-Mount suitable for use not only with full-frame cameras, but also on cameras with APS-C sensors. The short register of only 20 millimeters enables a short distance between the lens and the sensor, which in turn allows for a considerably more compact construction – which is particularly helpful for developments in the wide-angle lens segment. To ensure resistance to even the most extreme conditions and guarantee maximum reliability for many years of intensive use, the camera bayonets are manufactured from wear-resistant stainless steel, with four flange segments that prevent canting and ensure a secure and precisely positioned lens attachment. The standardized L-Mount contact strip facilitates trouble-free communication between the electronic components of the lens and the camera – including the possibility of installing future firmware updates for lenses to react to technological advances and exploit the full performance potentials of the lenses. Further information can be found at: www.l-mount.com
About Viltrox
Viltrox, established in 2009, is a globally recognized leader in camera lenses and adapters, specializing in high-performance equipment for photography and cine. Its portfolio includes cinema and autofocus lenses - such as the LAB, Pro, and Air series launched since 2018 - along with monitors, adapters, and lighting solutions.
Driven by innovation, the company expanded further into cine in 2022 with the "EPIC" anamorphic and "LUNA" zoom lenses, offering cost-effective solutions for filmmakers worldwide.Renowned for their exceptional optical quality, reliability, and accessible pricing, Viltrox products reflect a commitment to engineering excellence and user-cantered design, empowering content creators across still and motion photography domains.
About Leica Camera
Leica Camera AG is an international, premium manufacturer of cameras, lenses, and sports optics products with a company history stretching back over 150 years. As part of its growth strategy, the company has expanded its portfolio to include mobile imaging (smartphones) and the manufacture of high-quality lenses for glasses and watches, and is also represented in the home theater segment with its own projectors.
Leica Camera AG, with its headquarters in Wetzlar, Germany, and a second production site in Vila Nova de Famalicão, Portugal, has a worldwide network of its own distribution companies with over 120 Leica Stores.
The Leica brand stands for excellence in quality, German craftsmanship, and industrial design,combined with innovative technologies. An integral aspect of the brand culture is the promotion of the culture of photography, with around 30 Leica Galleries worldwide, the Leica Akademie, and international awards such as the Leica Hall of Fame Award and the Leica Oskar Barnack Award (LOBA).
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The Natural History Museum, London, has released 16 "sneak peek" images from this year's Wildlife Photographer of the Year competition. These highly commended images include photos from several competition categories, including Animals in their Environment, Natural Artistry, Invertebrates, Mammals, Underwater, Urban Wildlife, Photojournalism, and age-specific categories for young photographers.
Celebrating its 61st year, Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. This year's competition drew 60,636 images from photographers in 113 countries. The final categories, along with Grand Title and Young Grand Title awards, will be announced on October 14th, and will go on exhibit at the Natural History Museum starting October 17th, followed by international locations worldwide.
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A Tale of Two Coyotes by Parham Pourahmad, USA
Highly Commended, 11 – 14 Years
Parham Pourahmad (USA) uses the morning light to frame the amber eyes
of a male coyote within the black-tipped tail of a female.
Parham followed this pair – a female and possibly her brother – for a couple of hours across the rocky hillside, quickly framing his image before the male turned to nuzzle the female. Coyotes can adapt to almost any habitat and are abundant across North America and into Central America. Once common in San Francisco, they had disappeared from the city but are now beginning to return. While they do scavenge food waste, their diet also includes rodents and other small mammals.
Location: Bernal Heights Park, California, USA
Technical details: Nikon Z8 + 180–600mm f5.6–6.3 lens at 600mm; 1/1250 at f6.3; ISO 800
© Copyright Parham Pourahmad / Wildlife Photographer of the Year
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Inside the Pack by Amit Eshel, Israel
Highly Commended, Animal Portraits
Amit Eshel (Israel) gets eye-level with an inquisitive pack of Arctic wolves.
In temperatures of -35°C (-31°F), Amit struggled to fulfill his dream of photographing the elusive Arctic wolves of Ellesmere Island. But then, on the twelfth day of his second trip, they came closer than he had ever imagined, so close that he could smell their breath. Restricted to Canada's most northern territories and northern Greenland, Arctic wolves are curious of humans due to a lack of interaction. They're a snow-white subspecies of the grey wolf, pack animals that hunt hares and musk oxen.
Location: Ellesmere Island, Nunavut, Canada
Technical details: Canon EOS R5 + 24–105mm F4 lens; 1/1250 at F11; ISO 2000
© Copyright Amit Eshel / Wildlife Photographer of the Year
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Pink Pose by Leana Kuster, Switzerland
Highly Commended, 15 – 17 Years
Leana Kuster (Switzerland) shows a greater flamingo in the act of scratching its head with one of its unmistakably long legs.
While on holiday in southern France, Leana had been watching flamingos in the Camargue. She was fascinated by their foraging behavior as they moved gracefully through the shallow, saline wetlands, filter feeding for molluscs and crustaceans. Flamingos use their tongues to force water through their specially adapted bills, which are lined with many rows of fine, comb-like plates. These help trap a species of brine shrimp called Artemia salina that gives the birds their famous pink hue.
Location: Pont de Gau, Camargue, France
Technical details: Nikon D810 + Tamron 150–600mm F5.6 lens; 1/500 at F6.3; ISO 250
© Copyright Leana Kuster / Wildlife Photographer of the Year
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Rutting Call by Jamie Smart, UK
Highly Commended, 10 Years and Under
Jamie Smart (UK) portrays a red deer stag as it gives a mighty bellow during the autumn rut in Bradgate Park, UK.
Jamie walked up and down a path in the park at a safe distance from the stag. She stretched herself up tall to avoid any long grass in the foreground spoiling her view. The stag's antlers have regrown since their annual shedding in spring. The 'velvet' – the soft skin that covered them during their growth – has now rubbed off, exposing the bone beneath. Each new set grows larger and more complex as the stag matures, with more intricate points called tines crowning the heads of older males.
Location: Bradgate Park, Leicestershire, England, UK
Technical details: Nikon Z9 + 800mm F6.3 lens; 1/800 at F6.3; ISO 450
© Copyright Jamie Smart / Wildlife Photographer of the Year
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Ice Edge Journey by Bertie Gregory, UK
Highly Commended, Animals in their Environment
Bertie Gregory (UK) freeze-frames the moment fledgling emperor penguin chicks walk along the edge of an ice shelf.
Bertie spent two months with the penguin colony and witnessed most chicks using ice ramps to descend to sea level for food. But this group missed the easy way down. Keeping his drone at a safe distance, he watched as they took a 15-meter (49 ft) leap into the water. Left to fend for themselves, emperor penguin chicks must find a way to make their first dip into the icy ocean to find food. Scientists believe the continued decline of sea ice in Antarctica may force more penguins to breed on ice shelves, making this behavior increasingly common in the future.
Location: Ekström Ice Shelf, Atka Bay, Antarctica
Technical details: DJI Mavic 3 Pro + Hasselblad L2D-20c 24mm F2.8 lens; 1/50 at F3.5; ISO 100
© Copyright Bertie Gregory / Wildlife Photographer of the Year
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Deadly Lessons by Marina Cano, Spain
Highly Commended, Behavior: Mammals
Marina Cano (Spain) stumbles upon a group of cheetahs after they've caught a Günther's dik-dik in Samburu National Reserve, Kenya.
Marina watched the three young cheetahs practice their hunting skills while their mother looked on – a crucial stage in their journey to independence. The dik-dik was tossed into the air and killed just seconds after Marina took the photograph. Cheetah cubs spend their first two months hidden in a lair while their mother hunts. At around a year old, they begin joining her, learning how to stalk and which prey to pursue.
Location: Samburu National Park, Samburu County, Kenya
Technical details: Canon EOS R3 + 600mm F4 lens; 1/1250 at F8; ISO 6400
© Copyright Marina Cano / Wildlife Photographer of the Year
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Slime Family Portrait by Kutub Uddin, Bangladesh/UK
Highly Commended, Natural Artistry
Kutub Uddin (Bangladesh/UK) spots a line of alien-like slime moulds on a fallen tree.
Kutub found these blueberry-like spheres – the reproductive parts of a slime mould, each just 1-2 millimeters in diameter – in a nearby forest. His image resembles a fantasy landscape, though he describes the scene as a "bizarre family portrait," complete with a tiny yellow insect egg. A slime mold is a community of mobile single-celled, ameba-like organisms that live independently until they come together and work as one to find food and reproduce.
Location: Slindon Wood, West Sussex, England, UK
Technical details: Canon EOS R5 + 65mm F2.8 1–5x macro lens; 0.6 at F5.6; ISO 200; focus stack of 78 images
© Copyright Kutub Uddin / Wildlife Photographer of the Year
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Jelly Smack Summer by Ralph Pace, USA
Highly Commended, Underwater
Ralph Pace (USA) finds himself in the middle of a mass or 'smack' of Pacific sea nettles.
To try to protect himself from stings while taking this photograph, Ralph smeared petroleum jelly on any skin not covered by his wetsuit. The trailing tentacles can deliver a painful sting, which Ralph says feels more like that of a bee than a nettle. Highly adaptable to warming seas, jellyfish are appearing in larger numbers. Some biologists argue that more frequent smacks are a sign of rising ocean temperatures. The removal of predators and competitors through overfishing is another contributing factor.
Location: Monterey Bay, California, USA
Technical details: Nikon D850 + 28–70mm F3.5–4.5 lens; 1/5 at F13; ISO 125; Nauticam housing; 2x Sea & Sea strobes
© Copyright Ralph Pace / Wildlife Photographer of the Year
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Wake-up Call by Gabriella Comi, Italy
Highly Commended, Behavior: Mammals
Gabriella Comi (Italy) witnesses a dramatic stand-off between a lion and a cobra.
Energy levels among the lions were low in the scorching midday sun. Gabriella and her guide, David, were about to move on when David spotted movement – a cobra was slithering towards two sleeping lions. Within seconds, the eldest of the pair was facing down the venomous intruder. Tanzania's Serengeti National Park is renowned for its large population of lions, with around 3,000 individuals living there. Lions are estimated to sleep for up to 20 hours a day to conserve energy.
Location: Serengeti National Park, Tanzania
Technical details: Fujifilm X-S10 + Tamron 150–500mm F5–6.7 lens at 288mm; 1/1600 at F5.6; ISO 250
© Copyright Gabriella Comi / Wildlife Photographer of the Year
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Nature Reclaims Its Space by Sitaram Raul, India
Highly Commended, Urban Wildlife
Sitaram Raul (India) is among the chaos as fruit bats leave their roost in the ruins of a historical monument.
Working in total darkness, Sitaram manually focused his lens at the distance where he guessed the bats might appear, relying on his flash to illuminate the scene. All the while, bats were, in his words, "randomly pooping on me and the camera." Old World fruit bats are common across southern Asia. During the day, they roost in cavities such as hollow trees, caves and deserted buildings. Sitaram says that no matter how big our urban structures are, once we leave them, "eventually nature reclaims its space."
Location: Banda, Maharashtra, India
Technical details: Nikon D750 + 24–120mm F4 lens; 1/250 at F8; ISO 800; Godox TT685 flash
© Copyright Sitaram Raul / Wildlife Photographer of the Year
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No Place Like Home by Emmanuel Tardy, France
Highly Commended, Urban Wildlife
Emmanuel Tardy (France) spots a brown-throated three-toed sloth clinging tightly to a barbed wire fence post.
Traffic slowed to a crawl as this sloth crossed the road, eventually reaching a fence post and gripping firmly. Concerned about not adding to the animal's stress, Emmanuel patiently waited for people to leave the area before quickly taking this photo. As their habitats become increasingly fragmented, sloths are forced to make more ground crossings to reach the safety of the next tree. In response, the Costa Rican government is working with local NGOs to establish biological corridors, including aerial bridges that reconnect their forest homes.
Location: El Tanque, San Carlos, Alajuela, Costa Rica
Technical details: Canon EOS 5D Mark IV + Sigma 24mm F1.4 lens; 1/1600 at F7.1 (+0.33 e/v); ISO 800
© Copyright Emmanuel Tardy / Wildlife Photographer of the Year
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Toxic Tip by Lakshitha Karunarathna, Sri Lanka
Highly Commended, Photojournalism
Lakshitha Karunarathna (Sri Lanka) reveals a solitary Asian elephant navigating a waste disposal site in Sri Lanka.
For over three years, Lakshitha has documented human–elephant conflict in Sri Lanka. This image is the result of months of meticulous observation at two open rubbish tips, where herds regularly forage. Around 20 elephants died over an eight-year period at a single site in Ampara after consuming indigestible food wrappers and other plastic waste. Alongside global efforts to reduce plastic use, conservationists stress the urgent need to secure landfills and prevent wildlife from accessing harmful materials.
Location: Ampara, Eastern Province, Sri Lanka
Technical details: DJI Mavic 3 Pro + Hasselblad L2D-20c 24mm F2.8 lens; 1/320 at F4 (0 e/v); ISO 200
© Copyright Lakshitha Karunarathna / Wildlife Photographer of the Year
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Clouds of Gold by Jassen Todorov, USA
Highly Commended, Wetlands: The Bigger Picture
Jassen Todorov (USA) depicts the clouds reflected in salt ponds that span San Francisco Bay.
Flying his single-engine Piper Warrior into San Francisco International Airport, Jassen never tires of the changing colors of the ponds. On this occasion, he says, "the light during the golden hour, at sunset, was magnificent." The process of salt collection in the bay was industrialized in the 1800s. Since 2003, the South Bay Salt Pond Restoration Project has acquired 6,000 hectares (nearly 15,000 acres). By removing artificial dykes, the project is recreating tidal marsh habitat, allowing salt-tolerant plants and wildlife to flourish once more.
Location: San Francisco Bay, California, USA
Technical details: Nikon D810 + 70–200mm F2.8 lens at 70mm; 1/400 at F2.8; ISO 280
© Copyright Jassen Todorov / Wildlife Photographer of the Year
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Fragile River of Life by Isaac Szabo, USA
Highly Commended, Wetlands: The Bigger Picture
Isaac Szabo (USA) watches longnose gars spawn in a crystal-clear Florida river.
Wrapping his feet around a drowned tree, Isaac photographed this female longnose gar with several males during the mating season. The presence of the turtle was, for Isaac, the "icing on the cake," as it "gives a sense of the whole ecosystem." This river is one of more than 1,000 waterways fed by freshwater springs renowned for their clarity. Maintaining the aquifers that supply these springs is vital not only for iconic wildlife such as manatees, but also for providing drinking water to nearly half of Florida.
Location: Columbia County, Florida, USA
Technical details: Sony α7R II + Nikonos RS 13mm F2.8 lens;
1/30 at F8; ISO 200; Inon Z-240 strobes
© Copyright Isaac Szabo / Wildlife Photographer of the Year
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Special Delivery by Bidyut Kalita, India
Highly Commended, behavior: Invertebrates
Bidyut Kalita (India) photographs a hard-working potter wasp mid-flight with caterpillar prey for its young.
Bidyut spotted this potter wasp building a mud chamber on a picture frame in his home in Goalpara, northeast India. Noticing it coming and going several times a day, he wedged the door open to allow it access until he finally saw it returning with prey gripped in its jaws. Once the chamber is complete, the wasp sets about packing it with caterpillars paralyzed by a sting, to provide live food for the developing larvae within.
Location: Goalpara, Assam, India
Technical details: Canon EOS R6 + 85mm F2 macro lens; 1/125 at F10; ISO 500; Canon Speedlite 470EX-AI flash + Beetle macro diffuser
© Copyright Bidyut Kalita / Wildlife Photographer of the Year
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Essence of Kamchatka by Kesshav Vikram, India
Highly Commended, 11–14 Years
Kesshav Vikram (India) expresses the character of the remote wilderness of the Kamchatka Peninsula in Russia's Far East.
Kesshav waited days for this image to come together: a brown bear strolling along the shore of Kurile Lake as the Iliinsky volcano emerged from the clouds. A slaty-backed gull flew past, aligned with the volcano's summit. Generally solitary, the bear was heading to feast with others on the glut of sockeye salmon migrating upriver to their origin lake to spawn. This caldera lake, formed in the crater made by a volcanic eruption, is the largest sockeye salmon spawning ground in Eurasia.
Location: Kurile Lake, Kamchatka Krai, Russia
Technical details: Nikon Z8 + 100–400mm F4.5–5.6 lens at 100mm; 1/4000 at F4.5 (+0.3 e/v); ISO 1000; beanbag
© Copyright Kesshav Vikram / Wildlife Photographer of the Year
The new 100MP Hasselblad X2DII medium format camera is cheaper than all Leica interchangeable lens cameras:
The price of the old Mark I version of the X2D 100C when announced was $8,199.
Additional informtion on the new Hasselblad X2DII camera can be found here:
Matt Granger’s Hasselblad Expert Setup Guide now updated for the latest X2DII camera & 35-100mm lens
Via LeicaRumors
The post The new Hasselblad X2DII 100MP medium format camera is cheaper than all Leica interchangeable lens cameras appeared first on Photo Rumors.
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| Images: Richard Buttler, Abby Ferguson, Dale Baskin, Mitchell Clark |
It's been a busy week here at DPReview, and we've published a variety of sample galleries. They range from photos from Google's latest smartphones to shots from Hasselblad's new 100MP medium format camera.
With all the stories, we wouldn't be surprised if not everyone saw all the galleries, so we're rounding them up here. There's a table of contents below so you can jump around to catch the ones you haven't seen (or the ones you'd like to revisit?), and each gallery will have links to our main coverage.
This week's first release was the Hasselblad X2D II 100C, an update to its medium-format line that adds continuous autofocus, upgrades the controls and adds deep support for outputting HDR JPEGs or HEIFs.
Hasselblad also announced the XCD 35-100mm F2.8-4, a standard zoom lens alongside the X2D II. While we haven't produced a gallery with our standard processing for lens samples for it yet, you can see plenty of shots taken with it in the X2D II's gallery.
Note: All the out-of-camera JPEGs in this gallery are Ultra HDR JPEGs. If you're viewing on an HDR-capable device, click the "Original" link on the right of the preview to see the version with the HDR effect.
Last week Google announced the Pixel 10, whose cameras are a relatively substantial departure from the Pixel 9. For one thing, it now has an extra one: a telephoto camera is joining the main and ultrawide ones. However, those latter two cameras have been downgraded compared to the ones found on the 9, and now use smaller sensors.
Does it matter? Take a look at the sample gallery and decide for yourself.
Buy Now:
Buy at Amazon Buy at GoogleAlongside the Pixel 10, Google announced the 10 Pro and Pro XL. Unlike with the regular models, the actual hardware remains mostly unchanged. However, Google has introduced a new "Pro Res Zoom" mode that lets you take a picture at 100x, while the standard 10 tops out at 20x.
We use the term "picture" loosely. It takes the image from the tiny, tiny crop of the sensor and attempts to enhance it with AI. You can see the originals and the "enhanced" versions in the gallery.
Buy Now:
Buy at Amazon Buy at GoogleFinally, this week we got our hands on a copy of the Ricoh GR IV that we could publish the pictures from. We'll be shooting more with it over the coming weeks, but wanted to get some samples out for people to look over so they can get an impression of how the new lens, sensor and processing engine work.
Leica is rumored to announce a new M11-V camera with a hybrid viewfinder similar to the Fujifilm X100 and X-Pro. Here are the latest M11-V leaks and rumors:
Leica M11-V camera coming with a hybrid viewfinder like the Fuji X100/X-Pro?
The rumored Leica M camera with EVF (Leica M11-V?) is expected to be announced in October
The rumored Leica M camera with EVF doesn’t mean the optical rangefinder is dead
The post Leica is rumored to announce a new M11-V camera with a hybrid viewfinder similar to the Fuji X100/X-Pro appeared first on Photo Rumors.
An unknown Chinese lens manufacturer is rumored to announce a new AF 35-50mm f/1.4 lens. There is a good chance that this could be Viltrox, as they are set to join the L Mount Alliance on September 1st. Some rumors suggested that this could be a combination of two f/1.4 fixed-focus lenses, rather than an actual zoom lens. Stay tuned for more details.
The post New AF 35-50mm f/1.4 Chinese lens rumored (maybe from Viltrox?) appeared first on Photo Rumors.
What’s next for Fujifilm? Here is the list of rumored/expected new products:
Screen covers, dial locks, and leatherette accessories for Fujifilm cameras
The post What’s next for Fujifilm? appeared first on Photo Rumors.
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| Image: Fujifilm |
Earlier this month, Fujifilm announced that it would be raising its US prices on its products across the board, citing "volatile market conditions," but it didn't mention by how much. Now that retailers have started updating their listings, though, it's clear what the impact is. Here's what you need to know.
Several of its cameras have been affected. At retailers like B&H and Adorama, the X-T5 has gone from $1899 to $1999, while the GFX100RF has gone from $5399 to $5599. The GFX 100S II has seen a similar jump, going from $5499 to $5699.
This is Fujifilm's second price increase within the last month; at the beginning of August, the company raised the prices on some of its cameras and lenses by up to 15%.
| Aug 30 price (% change) |
Previous Price | Original MSRP | |
|---|---|---|---|
| X-T5 | $1999 (5.3%) | $1899 | $1699 |
| X-T50 | $1599 (0%) | $1599 | $1399 |
| X-M5 | $899 (0%) | $899 | $799 |
| X-100 VI | $1799 (0%) | $1799 | $1599 |
| GFX100RF | $5599 (3.7%) | $5399 | $4899 |
| GFX 100S II | $5699 (3.6%) | $5499 | $4999 |
At time of writing, the X-M5, X-T50 and X100VI all appear to have stayed at the prices they rose to at the beginning of the month. However, two cameras have been unaffected by both of the price changes: the X half and X-E5.
Unlike the rest of Fujifilm's lineup, they were released after the tariffs were announced. It seems like Fujifilm built plenty of room into their prices to avoid having to raise them again before people had even received their pre-orders. The company did say, however, that its goal was to maintain its overall pricing structure.
The X half and X-E5 were released after the tariffs were announced
Of course, some of Fujifilm's lenses have also been affected by both waves of price adjustments. The venerable 16-55mm F2.8 II has gone from $1349 to $1399, and the company's more affordable standard zoom, the 16-50mm F2.8-4.8, is also now $50 more. Some of its premium primes, like the 23mm F1.4, 56mm F1.2 and 90mm F2 have gone up by $100, and while the 35mm F2 has gone up by $50, several of the company's more entry-level primes appear to be unaffected.
Obviously, having to do a second price increase in a row isn't ideal for anyone. It's now more expensive for Americans to get the company's cameras, which could lead to decreased demand, though Fujifilm is far from the only camera company having to raise its prices in the US.
This week, Hasselblad announced the X2D II, its latest medium format camera. While its "end-to-end" HDR capabilities are perhaps the most eye-catching feature, there are other upgrades that make it a more versitile camera than its predecessor.
In this week's roundtable discussion, editors Abby Ferguson, Dale Baskin and Mitchell Clark sat down to discuss the camera and what it means for the industry. Of course, there are some bits about the moon in there, too (we couldn't resist).
If you're looking for more info on the X2D II, check out our first look video, presented in HDR, or read our initial review.
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| These cards may physically look the same, but they'e all very different. |
At first, choosing an SD card to go in your camera may seem like an easy task. After all, they all look more or less the same, so picking one should be as simple as going to the store, finding the highest-capacity one that fits in your budget, and putting it in your camera, right?
Unfortunately, that's not quite the case. While that strategy will probably work for most modern cameras, there are some considerations you'll want to take into account if you're using older cameras or if you're shooting video or bursts of photos.
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| SD card labels have a lot of information, but not all of it is relevant. |
Looking at the label of a typical SD card can be an assault on the senses. They're often covered with numbers and letters, and while the meaning of some (such as the size) may be obvious, others are less so.
Many cards advertise a write and/or read speed, usually denoted in MBps. You can pretty much ignore this; often the card only shows the read speed, which isn't particularly important for cameras, as you'll mainly be writing to it, and even when it does include a write speed, it's almost always showing the best-case scenario rating, which won't be particularly applicable to real-world shooting.
You can ignore the listed read/write speeds
If that number isn't useful, what should you look at instead? It depends on your use case. If you just plan on taking single photos and maybe a few short video clips, most modern SD cards will work just fine; you don't need to pay extra for a super-fast model, which will often come with labels like V60 or V90.
If you have a high-resolution camera, plan on doing a lot of burst shooting with both Raws and JPEGs, or shooting long 4K60p clips or even 8K video, you'll want to spend the extra money to get one of the high-end cards. If you get a card with a low speed rating like V30 or even no V-rating at all, it could hinder your camera's performance.
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| UHS-I cards (top) have fewer pins than UHS-II ones (bottom). |
The SD standard has had several speed ratings over the years, enough that it could be its own separate article. If you're using an older camera, it may be worth checking if it recommends a certian C or U-rating, but nowadays the most important spec will be the card's UHS rating. Most cards you're likely to run into are UHS-I or UHS-II. It's easy to tell the difference between the two, as UHS-II cards have a second row of pins on the back.
If you have an older or lower-end camera, it'll likely have a UHS-I slot, and you won't get any benefit from a UHS-II card. It'll likely still work with your camera, but it'll only be able to run at the slower UHS-I speeds. Likewise, UHS-I cards will work in cameras with UHS-II slots, but as we noted in the speed section, they may bottleneck your camera's performance if your usage is particularly demanding.
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| Some cameras won't be able to accept larger cards. |
While high-capacity SD cards are always getting less expensive, there are situations where you may need to avoid getting the one with the most storage. For example, if you're using an older camera, it may not work with larger cards.
If you look closely at your card, you may notice that it has a few letters after "SD," such as "SDHC" or "SDXC." These actually denote different generations of cards, and while most newer cameras will be able to use any of them, older cameras may not be compatible with newer generations of cards.
Some cameras have a printed or engraved indicator that shows which version of SD they support; if not, that information should be available in the manual, or online. If your camera says "SDHC," for example, you'll probably only be able to use it with cards that are 32GB or smaller. Cameras that just support "SD," meanwhile, are limited to cards that are just 2GB or less, which can be difficult to find new.
SD eXtended Capacity, or SDXC, was introduced in 2009 and supports cards up to 2TB, so this will mainly be a concern for cameras released around that year or before, though some lower-end cameras from the 2010s may also lack SDXC support.
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While it's not particularly common, a few cameras use microSD cards instead of full-size ones. The name makes the difference obvious: microSD cards are SD cards, but much smaller. The speed ratings and classes will all be the same, so the advice for buying a microSD card is much the same as it is for full-size ones; figure out how big and fast a card you need, and go from there.
If your computer only has a full-size SD card reader or you want to be able to use your card in a variety of cameras, fear not: microSD to SD adapters are widely available, and may even be included when you buy a microSD card. This only goes one way, though; you can't gracefully fit a full-size SD card into a microSD slot.
It's not particularly likely, but you may come across cards labeled as "SD Express." If you do, we don't recommend buying it, as there are currently no cameras on the market that support the standard. While SD Express cards are backwards compatible with standard SD slots, they'll only run at UHS-I speeds, so you'll be paying for a high-speed card without any benefit at all.
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| Higher-end cameras may have a CFexpress slot alongside an SD one... or even two CFexpress slots! |
While SD cards have been the industry standard for years, if you buy a vintage point-and-shoot, you may wind up with something that doesn't take them. Unfortunately, there may not be much you can do about that, as finding obsolete cards such as xD or the original Memory Stick is increasingly difficult. In some cases, you may be able to find an adapter that will let you use SD or microSD cards in other slots, and some older formats like Compact Flash are still around, but generally it's best to stick to cameras with SD card slots.
On the opposite end of the spectrum are high-end modern cameras, which may use standards like CFexpress Type B. While most people won't have ended up with one of these cameras by accident, if you see a port that's far too big for an standard SD card, that may be what it's meant for.
If you bought a new camera and are unsure what card to use with it, check the manual. Most come with recommendations for specific SD cards that the manufacturer knows will let you get the most out of your camera. Cards not on the list will almost certainly work with it, but if you want to be sure you're not getting something that will slow your camera down, it's a good place to start.
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| Image: Rollei |
Rollei Analog may have something new coming for analog shooters, according to its first Instagram post in four years. The company shared "We are back" on its account this week, with hints that something is coming.
The Instagram account rollei_analog hadn't posted since October 14, 2021. This week, though, it shared a post with a Zebra and text saying "We are back" and "be prepared and stay tuned!" The caption of the post said it has "big plans, new projects and analog inspiration." It isn't clear if it's simply an announcement that the Instagram account will be active again, or if there will be new products coming.
Hans O. Mahn GmbH & Co. KG manages the Rollei Analog brand, which specializes in film, photo chemicals and photographic papers. It last shared news on its website in 2020, so even that platform has been quiet for a while. You can still buy Rollei-branded film; however, it's not produced in-house by Rollei and is repackaged from other major manufacturers.
Over the past year, we've also seen the Rollei name pop up on other products, including a mirrorless lens and the Rollei 35AF film camera. However, those products are the result of licensing deals, with other companies obtaining the rights to use the Rollei branding on their products. The lens looked as though it was likely a re-branded 7Artisans offering. The revival of the iconic Rollei 35 in an autofocus format was a project by Mint Camera, which licensed the Rollei name from Rollei GmbH & Co. KG.
Rollei Analog's cryptic post leaves a lot to the imagination, and the comments are peppered with requests. We'll just have to wait and see what it means by "big plans," though.
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One of the most critical parts of photography is getting the right exposure. Unfortunately, mastering that process isn't always straightforward. Tricky lighting conditions like backlighting or high-contrast scenes can complicate things, whether you're using automatic or manual exposure settings. The key is to master metering modes, settings that tell your camera how to measure light in a scene.
Metering modes can be confusing, though, especially since each brand uses slightly different names. In this article, we'll break down the most common modes and provide examples of when you should use each.
Before exploring the different settings, it's important to know what metering modes are. Digital cameras are able to measure light within a scene. The camera uses that information to suggest how bright or dark your photo should be, helping you get an accurate exposure.
We'll have more on how to use that light meter later, but for now, what's key to understand is that you can adjust how your light meter reads the scene, allowing you to tell the camera what's most important in terms of exposure. For example, you may want it to evaluate the entire scene for a balanced exposure, or the center of the frame could be what matters most.
Changing the metering mode will affect how your camera determines a proper exposure. This is vital in automatic or priority modes, but it's also helpful if you're using manual mode. After all, if the meter reads the wrong part of the scene, you may end up with an image that is far too dark (underexposed) or bright (overexposed).
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| This scene doesn't have any particularly challenging light, so evaluative metering mode handles the metering nicely. Photo: Abby Ferguson |
Evaluative metering is the default setting for most cameras. Canon and Sigma call this mode Evaluative, and it's labeled as Matrix on Nikon, Multi on Sony and Fujifilm and Digital ESP on OM System.
While each brand might have its own nuance, it's typically more than just a basic average of the entire scene on modern cameras. Broadly speaking, this mode divides the scene into zones and assesses the brightness of every zone. The camera may also factor in color and the location of the focus point. That information is all processed using an algorithm that suggests a balanced exposure for the entire setting.
Evaluative metering is the default because it works well in most situations. It is useful for landscapes, portraits, wildlife and many other everyday scenarios.
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| My subject was right in the middle of the frame, making center-weighted metering a useful choice. Photo: Abby Ferguson |
Center-weighted metering (also called Center-weighted Avg. on Canon and Center on Sony), as the name suggests, prioritizes the center of the frame. It doesn't completely disregard the edges of the frame, but the camera will make sure the center is correctly exposed, even if that means the edges will be a little too dark or bright.
Center-weighted metering is useful for any situation where you know the subject will be centered. Portraiture is a great example, as it typically involves the subject in the center of the frame.
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| High contrast scenes, like a black dog on a snowy field, can benefit from spot metering. Photo: Abby Ferguson |
Spot metering is the most precise metering option. This mode calculates exposure based on a small area of your selected focus point. Each system is different in the size of the area it references, with most using just 1-5% of the frame. In addition to Spot metering, Canon also offers what it calls 'Partial' metering, which is similar but uses a larger section that covers 6-10% of the frame.
This mode is ideal when your subject is on a very dark or bright background. Situations like backlit portraits, a dark subject against a snowy backdrop or the moon in the night sky are good candidates for Spot metering.
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| Backlighting is a great example of when you might want a highlight-weighted metering mode, if you have it available. In this case, the highlights were more important to me than the rest of the scene. Photo: Abby Ferguson |
Highlight-weighted metering is less common, but is available on some Nikon models. Sony also offers a similar mode called Highlight. As the name suggests, it prioritizes highlights in the image to ensure bright areas aren't overexposed. It uses the same information as evaluative metering, but instead of balancing the exposure, it calculates what's necessary to retain highlight detail.
Highlight metering mode is useful in bright or high contrast situations where you want to pay particular attention to highlights. In such situations, you may be willing to underexpose the image to retain highlight detail with the intention of lightening the shadows when editing. Capturing a sunset, photographing in the snow or documenting someone on a stage with spotlights are good examples of when you may want to use this setting.
Metering modes aren't something you need to change for every image. Most situations will call for one mode the entire time, and the default mode is a safe option that works for a wide range of scenarios. However, if you notice that your images are consistently darker or lighter than they should be (or than you want), it's worth assessing whether the lighting conditions may call for a different metering mode than what you have set, and adjusting accordingly.
The silver Fujifilm X100VI camera is now in stock at Adorama. The funny part is that the used X100VI cameras at Adorama are significantly more expensive.
Check out also the Fujifilm X100VI camera accessories:
Just announced: IDSworks grip for the new Fuji X100VI camera
The post Act fast: the silver Fujifilm X100VI camera is now in stock appeared first on Photo Rumors.
Matt Granger updated his Hasselblad Expert Setup Guide for the latest Hasselblad X2DII camera and XCD 35-100mm f/2.8-4 lens (pre-orders: B&H Photo | WEX Photo | Foto Erhardt):
Check out also Matt’s other classes and guides:
Matt Granger’s Sony Setup Guide is now live and it includes every full-frame Alpha camera
Matt Granger announced his new FujiFilm GFX Expert Setup Guide
The post Matt Granger’s Hasselblad Expert Setup Guide now updated for the latest X2DII camera & 35-100mm lens appeared first on Photo Rumors.
Here is some additional information on the upcoming Venus Optics Laowa AF FF 200mm f/2 C-Dreamer lens (check the Laowa website for any potential updates):
The post Additional information on the upcoming Venus Optics Laowa AF 200mm f/2 lens appeared first on Photo Rumors.
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