90%

Overall score

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The Hasselblad X2D II 100C is a medium format mirrorless camera, built around a 44mm x 33mm, 100MP BSI CMOS sensor. It's designed to deliver a high-dynamic range image workflow, and gains continuous autofocus supported by Light Detection and Ranging (LiDAR) sensors and more effective image stabilization.

Key Specifications

• 100MP 44x33mm BSI CMOS sensor
• HDR output (HEIF or Ultra HDR JPEG) by default
• IBIS up to 10EV
• Continuous autofocus
• 3.6", 2.36M dot tilting rear OLED display w/ 1400 nit peak brightness
• 5.76M dot 0.79x EVF
• Human, animal and vehicle AF subject detection
• LiDAR for autofocus
• 1TB internal SSD + CFexpress Type B slot

Despite the significant upgrades, the X2D II 100C sees the body-only price fall to $7399 / €7200 / £6400, an $800 reduction, compared with the existing X2D 100C.

Index:

• What's new
• How it compares?
• Body and handling
• In use
• Initial impressions
• Image Quality
• Autofocus
• Conclusion
• Sample gallery
• Specifications
• Press Release

What's New

"End-to-end" HDR

This image, captured as an Ultra HDR JPEG, makes the chrome of the car's wire wheels shine much more convincingly when viewed on an HDR display. Hasselblad X2D 35-100mm F2.8-4.0 @ 60mm | F3.5 | 1/500 sec | ISO 100 Photo: Mitchell Clark

Hasselblad claims to be the first company to make a medium format camera with "end-to-end" HDR and has equipped the X2D II with a high-brightness viewfinder and rear screen, so that you can see some of the wider brightness range as you shoot. Its default output is in the HEIF format but it can also create 'Ultra HDR JPEGs' which have an embedded brightness map to let them convey a wider tonal range on compatible devices, while still maintaining backward compatibility. The company says this gives images with up to three additional stops of dynamic range compared to standard sRGB JPEGs, using a technique adopted by Google in its Pixel phones, and by Sigma in its BF Mirrorless camera.

The camera supports the P3 color gamut throughout the shooting and editing experience, in addition to making fuller use of the wide color range, as well as the wider tonal range, of its large sensor. It says it doesn't use either the HLG or PQ response curves used by other brands, and instead uses gain maps with linear response and a roll-off in the highlights to give a natural look. The system appears to be utilizing the highlight data that's usually clipped in the JPEG output, rather than reducing exposure to capture any additional highlight information.

HDR images are only captured in P, S or A modes, where the camera has some control over exposure. The company says it assumes people setting exposure manually may be trying to capture a very specific look that may not lend itself to HDR, so disengages the feature, rather than producing a potentially unnatural-looking image that the photographer didn't want.

Embedded in the above image is this 1/4 resolution brightness map, which tells compatible devices which parts of the image to display with addtional brightness.

The X2D II's rear display has also been substantially upgraded to support HDR, going from a TFT LCD to an OLED panel that can display up to 1400 nit peak brightness. That lets it provide the HDR experience when you're reviewing your images, giving you a better idea of what you've captured.

Hasselblad has also updated its Phocus Mobile 2 app to allow for editing the X2D II's HDR files, and even reprocessing Raws from some of its other cameras, such as the original X2D and the CFV 100C, into HDR output files.

Continuous autofocus

While the original X2D was limited to single autofocus and manual focus, the II gains continuous autofocus, making it easier to capture moving subjects. Like many modern cameras, the system also includes AI-derived subject recognition for humans, animals and vehicles, and support for tracking arbitrary subjects.

At first seven of the company's more recent lenses will support continuous autofocus, and each will require a firmware update before they can access the feature.

The supported lenses are the XCD 35-100mm F2.8-4.0E zoom, launched alongside the camera, along with the 25mm, 38mm, 55mm and 90mm V-series lenses, and the 28mm and 75mm P lenses.

Even more AF improvements

To feed the autofocus system with information, Hasselblad has not only increased the number of phase detect autofocus points – 425 versus 294 on the original X2D – but added an entirely new type of sensor as well. The X2D II also uses Light Distance and Ranging (LiDAR) to judge how far away a subject is, with this input fully integrated into the AF system.

It's reasonable to assume this technology comes from DJI, which owns a majority stake in Hasselblad, as the company already uses the technology in several of its cinema tools. The camera also now has an AF illuminator lamp on the front, which doubles as a self-timer countdown indicator.

Improved IBIS

The camera's in-body stabilization allows the capture of images at slow shutter speeds, and boosts the frequency with which you'll get the full resolution out of the camera. Hasselblad XCD 35-100E @ 35mm | 0.3 sec | F8 | ISO 800 Photo: Richard Butler

The original X2D had an IBIS system rated for up to 7 stops of stabilization, but the X2D II takes it even further, with Hasselblad promising up to 10 stops. In real-world use, your results will depend on how still your subject is and how steady you can hold the camera, but in the right conditions, you can definitely use it to push your exposure times past where you'd be able to with an unstabilized system.

Updated controls

Hasselblad has updated the controls, adding a joystick that can be used for controlling the autofocus selection point or scrolling through menus and a customizable button on the back plate. Additionally, the front control dial can now be pressed in to access yet another custom function.

The camera also gains a vibration motor to provide haptic feedback for certain operations, such as confirming that the camera has acquired focus or that you have both your spirit levels centered.

How it compares

While medium format cameras are most often associated with high-end studio work (a task the X2D II is fully capable of), the X2D series has always clearly been designed to be taken outdoors and used in a wider variety of conditions. The company suggests that the addition of C-AF expands its audience to include subjects such as "landscapes, daily, portraits and street photography."

Fujifilm targets a very similar audience with the GFX 100S II, which uses a very similar sensor and also comes complete with IBIS and continuous autofocus. (The higher-end GFX 100 II is also comparable, but has faster burst rates, more video features and nicer ergonomics.) We've also included the Sony a7R V, since its full-frame sensor uses the same 3.8µm pixels, just fewer of them.

*Cannot shoot Raw and HLG HEIFs simultaneously

Fujifilm and Sony don't have the same focus on HDR that Hasselblad does; while the a7R V can shoot HDR HEIFs, doing so comes at the cost of your ability to save Raw files, which is a serious downside for high-end work. The Fujifilm can shoot HEIF images and HLG video, but can't combine the two to offer HDR stills.

Another big difference is that the GFX 100S II and a7R V both have focal plane shutters, while the X2D II uses leaf shutters built into each lens. This comes with the benefit of being able to sync flash at any speed, but means that Hasselblad lenses will be significantly more complex and expensive than similarly-speced counterparts from Fujifilm and Sony. Another side effect: if you want to use a third-party lens with the X2D II, you'll be stuck with the very slow electronic shutter.

While high-resolution cameras have always been more suited to stills, the GFX100S II and a7R V both have relatively complete suites of video features as well, with Log profiles, 10 bit video and headphone and microphone jacks. By contrast, the X2D II doesn't shoot video at all; something to consider if your work ever requires motion pictures.

Body and Handling

The X2D II feels extremely sturdy and well-crafted in the hand, and the grip instills confidence, even when you're using a relatively large zoom lens. The controls are laid out well, with the essential buttons and dials within easy reach.

The camera has two top plate control dials and several customizable buttons. Two – one on the back and one on the front – are unlabeled, while another two can be accessed by pressing down on the joystick and the front dial. The top-plate M and WB/ISO buttons can also be reassigned if you choose, with a choice of 35 options.

The joystick is a four-direction control and can be used for moving your autofocus point (though we found it somewhat slow, and often significantly quicker to just tap on the screen) and to navigate through the menus. Both tasks can also be achieved directly using the touchscreen, which has its own selection of buttons for controlling playback and accessing the menu.

Viewfinder and Screens

The camera's rear screen tilts out, and there's a sensor to ensure the camera doesn't switch to using the viewfinder when the screen is extended.

The X2D II's viewfinder is large, bright and responsive, providing an excellent preview for composing and exposure. The low-profile rubber eyecup doesn't do the best job of sealing out light, but it'll be sufficient in most cases, and less likely to snag when you're taking it in and out of a bag than some other designs.

While the screen's 1400-nit peak brightness allows it to properly display HDR images, you won't get the full effect until after you've taken a photo and the camera has generated your HDR output file. It is, however, still very effective for composing your images and is easy to see, even in direct sunlight. Its hinge allows you to pull it out and position it at a 90° angle for waist-level shooting unobstructed by the viewfinder.

While shooting, the screen provides plenty of resolution for the camera's excellent punch-in manual focusing experience.

The X2D II also has a 1" color display on the top plate, which shows your battery life, exposure settings, and a light meter when the camera is on. It's typically blank while the camera is turned off, though a quick tap of the power button will get it to display your remaining charge.

Ports

The X2D II's minimal selection of ports is hidden behind magnetically latching doors, which feel great to open and close. It has a 10Gbps USB-C port for charging and offloading data, and a 3.5mm for use with Hasselblad's somewhat eccentric cable shutter release.

It also has an CFexpress Type B slot, which can be used for backup or as an overflow, should you fill the internal storage. It's worth noting that the internal storage has capacity for over 4000 16-bit Raw and JPEG/HEIF pairs.

Battery

The battery is rated as delivering 327 shots per charge, if tested to CIPA's standards. This can be increased, depending on the camera's configuration. These numbers tend to underestimate how many shots you'll actually get, with double the rated figure not being unusual, depending on how you shoot.

In practice, a rating of over 300 shots per charge will let you shoot for a good period of time, especially if you're shooting occasional, considered shots, rather than rattling off hundreds of snaps at a time. We suspect it's few enough to start to be of concern for professional wedding shooters, who'll definitely want to develop a system for ensuring they have spare batteries charged and ready to go. But with the option to charge over USB-C, the X2D II should be relatively comfortable, away from the studio.

In Use

The X2D II can seem a little daunting at first, with four buttons marked with potentially unfamiliar glyphs down the right-hand side of the screen, PlayStation style. Their functions turn out to be pretty self-evident once you start using the camera: Play, Ok, Cancel/Delete and Menu.

Most other functions can be assigned to one of four customizable buttons (one on the front of the camera, one on the rear and the Mode and WB/ISO buttons on the top plate), or to a press of the front command dial, rear command dial or press of the AF joystick.

Press the Menu button once and you are presented with a settings panel. Some settings, including drive mode, AF mode and ISO can be set by tapping on the screen your using the joystick. Some exposure parameters can be changed from this screen, but not exposure comp, which tells you to use the dial instead.

The camera offers Auto ISO, including in manual exposure mode. You can set the threshold shutter speed that the system will try to maintain, either by selecting a specific shutter speed or by choosing a relationship to the current focal length, with the choice of: 4f, 3f, 2f, 1.5f, f or f/2, if you're very steady.

Press the Menu button a second time, or swipe your finger left across the screen and you reach the main menus. It's a simple and well-arranged system with eleven named icons arrayed around the screen. Within each category (exposure, focus, connection...) are a handful of settings, often with explanatory text if their function isn't obvious. Swipe upward from this menu page or the settings page and you'll find yourself back in live view, ready to shoot.

It's a quick and easy-to-learn system that lets you just get on and shoot.

Our experience of the autofocus has left us impressed. There are occasions where it would erroneously confirm focus, but most of the time it focused quickly and accurately, with eye detection in particular giving us a level of performance we'd associate with some of the better mass-market cameras. Combined with the up-rated image stabilization, the X2D II is one of the easiest-to-shoot medium format cameras we've encountered.

Initial impressions

By Richard Butler

The X2D II 100C in many ways still looks a lot like the original X1D launched back in 2016, but the reality of using the two cameras couldn't be more different. The original camera looked great, and was capable of delivering excellent images, but its short battery life and lack of responsiveness meant that it wasn't nearly as comfortable untethered from the studio as its small body would imply.

It's worth noting, though, that the original X1D was launched just a few months after DJI first took a stake in the company, so its development would have started long before. The X2D II can perhaps be seen as what happens when a well-established photography company and an ambitious, advanced tech company come together. The X2D may still resemble the original camera but it's worlds away in terms of performance and usability.

The introduction of LiDAR (already used in products such as the Ronin 4D gimbal camera) is the most overt sign of input from DJI, but it's hard to imagine Hasselblad's cameras would have developed so far, so fast, without DJI's contributions. Continuous autofocus with highly effective eye detection autofocus was not on the cards for the contrast-detect X1D, yet here, and in conjunction with in-body image stabilization it allows you to use medium format like it was a point-and-shoot.

The X2D II will shoot HDR unless you go out of your way to stop it

Then there's the decision to lean into HDR photography, something that's becoming increasingly common in modern cameras but poorly supported and even more poorly communicated or promoted to photographers. Most modern mirrorless cameras can capture HDR HEIFs that can make use of the wide dynamic range and wide color gamut of modern displays, but very few cameras give you a good preview of its impact or make much effort to encourage its use. The X2D II will shoot HDR unless you go out of your way to stop it.

The X2D II has an excellent screen that can give an impression of how much more vibrant and lifelike your images can look. And, in addition to HEIF files, which can still be awkward to share and view reliably, the Hasselblad can capture JPEGs with brightness map embedded in them: giving full backward compatibility with just about every viewing device imaginable, but giving HDR vibrancy on devices that support it.

In the right conditions, HDR can make it feel less like you're looking at a photo, and more like you're looking through a window to the world, with much more realistic representation of the way light reflects from objects. To get the effect, open the photo in a supported browser. Hasselblad XCD 35-100mm F2.8-4 E @ 100mm | F10 | 1/160 sec | ISO 50 Photo: Richard Butler

By letting you see the benefits of well-judged HDR as you shoot the images, the X2D II encourages you to make use of the capability and start thinking about how to ensure your customers and viewers are able to see those results. We regularly found ourselves as impressed by the way the camera uses its greater DR output as we were by the stunning amounts of detail it captures.

What's all the more impressive is that Hasselblad is launching the X2D II 100C at a lower price than the previous model. In fact, it's at a lower price in money terms than the original X1D 50c, despite the vast improvements that have been made in the intervening nine years. The XCD lenses, with their leaf-shutter designs, tend to be more expensive, and often slower, than the rival Fujifilm system, but the X2D II 100c brings a level of performance and usability that makes the system as a whole look more competitive than it's ever been.

Image quality

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Unsurprisingly, the X2D II's Raws provide superb amounts of detail at low ISOs, besting the single-shot performance of the a7R V's 61MP sensor and matching the GFX 100S II. At its base ISO of 50, it provides the cleanest image of the bunch; the GFX 100S II has slightly more noise, but still outperforms the a7R V thanks to its larger sensor.

Its JPEGs, however, don't seem to quite do that level of detail capture justice, with the finest parts of the image looking a little softer than they do with the GFX 100S II. The details are generally still present in the JPEG, but they don't stand out as much, at least when viewed 1:1 (though that's likely to be a very unusual use-case for images taken on this camera).

The X2D II's Raws continue to look good even at higher ISOs, though its chroma noise is more noticeable than Fujifilm's. And while the JPEG engine doesn't reduce noise as aggressively, that means it does a better job at preserving details.

The X2D II only has one color mode, but we found it strikes a really good balance between accuracy an attractive level of saturation. Click here to view the original file, which will display in HDR if you have a compatible device. Hasselblad XCD 35-100mm E | 60mm | F3.5 | 1/500 sec | ISO 100

Back at lower ISOs, the Hasselblad's colors are generally less saturated than Fujifilm's or Sony's, though in our use outside the studio, we found that it still produced pleasing skin tones for portrait work. We also didn't have any issues with getting images that popped with vibrant colors, especially with HDR switched on.

Dynamic Range

As we've come to expect from this sensor, the X2D II has excellent dynamic range at its base ISO, with very little read noise. This means you won't face much penalty for taking an image at ISO 50 to get the maximum DR, then boosting it in post, compared to taking an image at a higher ISO to achieve your desired lightness.

Its files also hold up well when you're boosting shadows, which is helpful if you're shooting at lower ISOs to protect your highlights with plans to brighten the image in post.

Exposure Latitude | ISO Invariance

Note about studio scene Raws: Leaf shutters tend to become less accurate at high shutter speeds. We got lighter results than expected for our higher ISO images. To ensure the images are comparable, we shot the high ISO Raws using exposures that gave consistent Raw values across different ISO settings.

HDR consequences

By default, the camera shoots HDR images (in either the HEIF or JPEG format). It appears to assess the level of brightness and contrast in the scene and adjust its exposure strategy accordingly: not just in terms of selecting the exposure values and ISO setting but deciding how much highlight headroom it needs. In high contrast settings you may see it select a reduced exposure (reflected as a higher ISO value), to capture the additional highlights. The higher ISO value doesn't mean more analog gain is being applied, but it does mean you pay whatever noise cost comes from the reduced exposure. In theory, then, there might be a slight IQ benefit to turning HDR off and letting the extra highlights clip, if you don't intend to use the HDR output.

Autofocus

The LiDAR sensors augment the camera's improved phase detection system.

Autofocus is one of the X2D II's biggest areas of improvement over previous models. It adds LiDAR to its on-sensor phase detection system and gains a range of subject-recognition modes, based on algorithms developed by machine learning. When used with the latest handful of lenses that have suitably fast motors, the X2D II becomes the first XCD camera to be able to continuously autofocus.

The results are really quite impressive. We weren't about to race down to our local sporting venue with the X2D II but in its responsiveness and reliability, we found the X2D II's autofocus made it a much easier to use camera that could adapt to a much broader range of shooting situations.

Its generic tracking (of non-recognized subjects) is pretty sticky and its human detection, which we used most extensively, is very dependable in terms of finding an eye to focus on. There are a few instances of eye-lash, rather than iris focus, but given the level of scrutiny a 100MP medium format camera allows, we were impressed by how reliably the camera focused perfectly. We'd consider the X2D II 100C paired with the 35-100mm F2.8-4 to be more dependable for capturing people quickly than the Fujifilm GFX paired with the 110mm F2 lens. The Fujifilm does a very good job but hasn't historically given us as high a hit rate as we saw from the Hasselblad, thanks to its sticky eye detection and high focusing speed.

Conclusion

By Richard Butler

Our review is primarily focused on the use of the camera out in the field, rather than sitting comfortably tethered in a studio, where these cameras have already proven themselves.

We found it striking how usable the X2D II 100C is, not just in comparison to the rather slow experiences we had with the X1D cameras, but even when held up against modern, more mainstream cameras.

The improvements in autofocus and stabilization, in particular, mean you can comfortably shoot 100MP medium format every bit as easily as you could a high-end full-frame camera. You don't have to adapt your shooting or give extra consideration to what you're doing to gain the camera's extra capability over those cameras.

This, as much as the price, makes the X2D II a much more credible rival to Fujifilm's GFX range. If anything, with the latest lenses, the X2D II is a little more dependable when shooting impromptu people pictures, in terms of both focus speed and consistency. This isn't necessarily true of all lenses, and there's still the fundamental decision to be made about the pros (full-power flash at any shutter speed) and cons (lens cost and occasionally odd bokeh) of whether you want a system built around leaf or focal-plane shutters. But the Fujifilm system no longer has the advantage in out-and-about flexibility it previously had.

Whether you see any benefit from the X2D II's HDR capabilities will depend on what you use it for

Whether you see any benefit from the X2D II's HDR capabilities will depend on what you use the camera for. If you plan to produce prints or work from Raw, it isn't really going to make much difference to you, and you'll probably benefit from explicitly disengaging the function. But if you, for instance, want to be able to share images with a client that have a bit of an extra 'wow' factor, particularly if viewed on their phones, it can deliver results that show off more of the underlying capability of the camera's hardware. The option to output JPEGs that will work as SDR or HDR, as available, makes them especially valuable.

In the past, Fujifilm's GFX cameras had a distinct advantage in this regard: outputting attractive, shareable images immediately, with a choice of creative looks. The Hasselblad only offers a single color mode (there's not even so much as a mono option), but the HDR output can be easily shared via, say, a Google Photos album, letting people immediately see strikingly good-looking results. If this is valuable to you, it's worth ceding a little control over exposure logic and risking a little extra noise to let it handle the highlights.

It's still a medium format camera, so there is additional size and weight to carry around, vs a full-frame camera, and even though you may find the IQ boost you get worth it, for better or worse, this is a camera people will notice. There are a couple of areas in which it lags. Startup time is still a little slow, for instance. And, despite having a super-fast internal SSD, we found the X2D II could sometimes be rather slow to record images, showing a spinning icon on the screen: something we haven't encountered in a while on more mass market systems.

The X2D II feels like a system really hitting its stride

Overall, the X2D II feels like a system really hitting its stride. The fact that you can shoot it as if it were any other mirrorless camera (hell, almost as if it were a point and shoot), feels like a major step forward in terms of practicality. It's still a lot of money, but the X2D II makes it almost unbelievably easy to capture some of the highest image quality currently available.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Sample gallery

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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

All out-of-camera JPEGs in this gallery are Ultra HDR JPEGs: please click "Original" link on the right of the preview to download the original file, if you're viewing on an HDR-capable device.

Several of the previously reported Chinese lenses were already officially announced:

• TTartisan 75mm f/2
• TTartisan 40mm f/2
• TTArtisan 14mm f/2.8
• 7Artisans 14mm f/2.8 & 75mm f/1.4
• Sirui Aurora 35mm f/1.4
• Meike 24mm f/1.4
• Brightin Star 35mm f/1.8
• Viltrox 56mm f/1.2 Pro
• AstrHori 6mm f/2.8
• 7Artisans AF 35mm f/1.8
• Brightin Star 50mm f/1.4 III
• AstrHori 18mm f/5.6

Here is an updated list of what else is coming:

Upcoming Viltrox lenses:

• Viltrox adapter with AI autofocus support called Nexus Focus
• Viltrox AF 9mm f/2.8 Air APS-C lens coming on September 19
• Viltrox AF 14mm f/4 Air full-frame lens coming on September 19
• Viltrox AF 50mm f/1.4 Pro full-frame lens
• New: Viltrox AF 85mm f/2 EVO (new EVO series of lenses)
• Viltrox AF 16mm f/1.8
• Viltrox AF 28mm f/4.5

New 7Artisans lenses (check website for updates):

• 7Artisans AF 24mm f/1.8 (L/Z): coming on Septmber 16th
• 7Artisans 10mm f/2.8 (to be announced next week at the 2025 IBC show)

SG-Image 7.5mm f/2.8 APS-C fisheye lens – already listed for sale on eBay.

Songraw 85mm f/1.2 lens.

Venus Optics Laowa AF 200mm f/2 lens.

Venus Optics Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens.

New Yongnuo 18mm f/2.8 full-frame autofocus lens.

New Yongnuo YN 33mm f/1.4 R DA DSM lens with a lock button.

SG-Image AF 85mm f/1.8 full frame lens coming next week.

New Lee Works 28mm/2.8 lens for Leica M mount is coming (minimum focusing distance less than 0.4m).

New Yongnuo YN 56mm f/1.4R DA DSM lens.

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design.

ZY Optics is expected to announce a new autofocus full-frame lens in the second half of the year.

New Dulens to be announced next week (IBC 2025).

Sirui will also announce a new Aurora lens at the 2025 IBC show next week.

The post Updated list of latest/upcoming/rumored Chinese lenses appeared first on Photo Rumors.

Here is what else is new:

New Nikon rebates for September started in the US

Comparing the Nikon ZR camera with the RED Komodo X, V Raptor Z-mount models

New state-of-the-art, top-of-the-line Oberwerth Signature Line of camera bags launched

Check out the latest rare Leica gear at Leica Store Lisse

The next Tamarkin auction will take place on November 15, 2025

Owlkrown released new “Shutter Toppers” soft release buttons (10% off coupon included)

Ricoh GR IV camera FAQ

Sigma 20-200mm F3.5-6.3 DG | Contemporary and Sigma 135mm F1.4 DG | Art Shortages

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

Fujifilm Dominates MapCamera Sales Ranking Again

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

This month's photo challenge celebrates the camera that's always with you: the smartphone. Photo: Dale Baskin

Our September Editors' photo challenge theme is "Pixels in Your Pocket."

This month, we’re celebrating the camera that’s always with you: the smartphone. As we all know, sometimes the best camera is the one you have with you. Wow us with your best smartphone* photos to show us how small sensors can tell big stories, anywhere, anytime.

Photos can be submitted between Sunday, September 14, and Saturday, September 20 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to enter your photo in this month's Editors' photo challenge.

Click here to enter your photo in our smartphone photo challenge.

*We'll also accept photos taken with tablets that share the same cameras and computational tools as smartphones.

OM System OM-1 II | OM System 50-200mm F2.8 IS Pro w/ MC-20 2x teleconverter | 400mm | F5.6 | 1/400 sec | ISO 200 Photo: Mitchell Clark

This week, OM System announced its long-awaited telephoto zoom, the 50-200mm F2.8 IS Pro. It's designed to give photographers a fair amount of reach with its standard 100-400mm equiv. focal range, and even more if they pair it with a teleconverter, which it's compatible with.

We were able to test it out both with and without a 2x teleconverter; the images taken with it are labeled as such in the gallery below.

See the sample gallery

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.

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design. The new lens will be able to cover medium-format sensors. Here is the MTF chart of the upcoming lens:

Previous coverage of Light Lens Lab lenses can be found here.

Light Lens Lab to start producing photographic and cinematic films

The post Light Lens Lab is working on an insane 300mm f/1.9 lens with APO design appeared first on Photo Rumors.

The Maven Wave 3 filters Kickstarter funding is ending today:

• Ending today: Maven Wave 3 filters
• New: SPINN.DESIGN ProWrapp weatherproof gear wrapper
• New: AXIS by 3 Legged Thing
• Late ledges: Peak Design Pro Tripod
• Late ledges:Lit Duo 1 lightmeter

New on Kickstarter: 3 Legged Thing quick-release camera strap system & SPINN.DESIGN ProWrapp weatherproof gear wrapper

The post The Maven Wave 3 filters Kickstarter funding is ending today appeared first on Photo Rumors.

The Russian Krasnogorsk S. A. Zverev Plant (KMZ) has launched a new Russar 5.6/20 lens for E-mount. The old version of this lens was available only for the L39 mount (see previous Zenit coverage). Here are the details:

• Focal length: 20mm
• Maximum aperture: 5.6
• Minimum aperture: 22
• Number of aperture blades: 7
• Field of view angle: 95°
• Focus: Manual
• Minimum focusing distance: 0.5 m
• Optical design Groups/elements: 4/6
• Filter thread diameter: 49 mm
• Weight: 100 g.
• Price: 43,710 rubles

The post New Zenit Russar 5.6/20 lens for E-mount announced appeared first on Photo Rumors.

Sony a7CR | Sigma 35mm F1.2 DG II Art | F1.2 | 1/125 sec | ISO 100 Photo: Mitchell Clark

Earlier this week, Sigma announced a second-generation version of its full-frame 35mm F1.2 lens, the 35mm F1.2 DG II Art. It promised not only improved optical quality and autofocus performance, but a much smaller and lighter package overall.

We had the chance to use the lens in a variety of conditions to get an idea of how it performs, and you can see our samples in the gallery below.

See the sample gallery

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.

Additional information on the upcoming Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens by Venus Optics (see the latest updated roadmap):

• 180mm telephoto lens, powerful spatial compression capabilities
• Autofocus from 1.5m to infinity
• Manual magnification up to 1.5x
• 14.8cm minimum working distance
• APO apochromatic lens effectively reduces color scattering in images
• Customizable FN button for one-touch access to commonly used functions
• Lens designL 12 elements in 9 groups
• AF/MF switch
• Full frame lens
• Autofocus: EF/E/Z mount
• Manual focus: RF/L mount
• Weight: 400g
• Announcement on September 15th
• Sample photos:

The latest Venus Optics Laowa lens roadmap

The post Additional information on the upcoming Venus Optics Laowa AF FF 180mm f/4.5 CA-Dreamer Macro 1.5X lens appeared first on Photo Rumors.

The black Fujifilm X100VI camera is now in stock at B&H Photo (sold out already). Act fast, they will sell out pretty quickly.

Check out also the latest Fujifilm X100VI camera accessories:

New: Fujifilm X100VI “Slim Skin” case by Akaralabs

Just announced: IDSworks grip for the new Fuji X100VI camera

The post Act fast: Fujifilm X100VI camera (black) is now in stock appeared first on Photo Rumors.

The new Ricoh GR IV camera starts shipping today – check availability at:

• B&H Photo
• Adorama
• Amazon
• Foto Erhardt
• Foto Koch
• WEX Photo
• Camea Canada

The new Ricoh GR IV camera starts shipping today

Here is a nice new strap for your new Ricoh GR IV camera

Ricoh GR IV camera accessories

The new Ricoh GF-2 flash is exclusively designed for the GR IV camera

Via PentaxRumors

The post The Ricoh GR IV camera is now shipping appeared first on Photo Rumors.

This week, we've seen a slew of video and cinema news, timed alongside the International Broadcasting Conference trade show that's kicking off today. Perhaps two of the most notable were the Nikon ZR, a video-focused camera featuring the same sensor as the Nikon Z6III, and the Canon EOS C50, which uses a new 32MP full-frame sensor.

DPReview editors Dale Baskin, Richard Butler and Mitchell Clark sat down to discuss the cameras and the surprisingly different places they fit into the market. Fear not, photographers; they also discuss some of the new stills-focused lenses from Sigma.

As a wedding photographer and YouTube creator, Benj Haisch has a lot of gear. That's a benefit when he's gearing up to shoot an elopement. But when he's packing for a family trip to Hawaii? Turns out, too much gear can be a liability in that instance.

In the first episode of our new series produced in partnership with MPB, Haisch sets out to simplify his travel kit – without breaking the bank.

As a starting point, Haisch connected with DPReview staffer Mykim Dang to discuss his options. That conversation quickly led him to our Lens Feature Search and Lens Comparison Tool where he was able to quickly whittle the list of potential lenses down to just three.

Haisch put DPReview's Lens Comparison Tool to good use. Image: DPReview

From there, Haisch jumped over to MPB, the leading platform for buying, selling, and trading camera equipment, to check on pricing and inventory. Because MPB has the largest range of used digital cameras and lenses in the US – over 20,000 items – he was able to quickly find a Sony FE 24-50mm F2.8 G in the right condition and price point for his budget. Plus, he even traded in a macro lens that was collecting dust to further reduce the cost of his upgrade.

Got gear of your own collecting dust on a shelf, or simply looking for something new? Head over to MPB to upgrade your kit today.Buy, Sell, or Trade with MPB

AstrHori has announced a new 18mm f/5.6 APS-C pancake shift lens for E/X/L/Z cameras, featuring an improved design (see the old version here) and priced at $119. You can order one on this page or at Peargear (AstrHori lenses are also sold at Amazon). Additional information on the new lens:

• Frame Size: APS-C
• Focal Length: 18mm
• Aperture: F5.6
• Angle of View: 76.8°
• Focus Range: 0.3m ~ ∞
• Weight: ~169g (E-mount)
• Mounts: E / L / X / Z
• Price: $119 / €129 / £119

Announced: AstrHori 6mm f/2.8 full-frame circular fisheye lens for E/L/RF/Z ($299)

Updated list of latest/upcoming/rumored Chinese lenses

The post New AstrHori 18mm f/5.6 APS-C pancake shift lens for E/X/L/Z announced appeared first on Photo Rumors.

Here is an updated list of what is coming next from Viltrox:

• Viltrox is also teasing a new adapter with AI autofocus support called Nexus Focus: “Where Al autofocus meets the art of cinema“. The new adapter will give manual-focus lenses autofocus capability and will support the native phase-detection AF, AI subject recognition, eye + face detection, and more.

• Viltrox AF 9mm f/2.8 Air APS-C lens coming on September 19
• Viltrox AF 14mm f/4 Air full-frame lens coming on September 19

• Viltrox AF 50mm f/1.4 Pro full-frame lens
• New: Viltrox AF 85mm f/2 EVO (new EVO series of lenses)

Since Viltrox joined the L-Mount Alliance, here are the first two lenses that will be released for L-mount:

• Viltrox AF 16mm f/1.8
• Viltrox AF 28mm f/4.5

Here is the classification of he different Viltrox product lines:

• LAB: an experimental ultra-high-specification lens with a small screen, control ring, and VCM motor
• PRO: a high-specification lens with an aperture ring and a VCM motor
• EVO: only with a stepless aperture ring and an STM motor
• AIR: lightweight, no additional controls, with STM motor

• Viltrox Z3 TTL flash with a unique mech-inspired design.

Two new Air lenses added to the Viltrox roadmap: 9mm f/2.8 & 14mm f/4

This is the upcoming Viltrox AF 50mm f/1.4 Pro lens

New AF 35-50mm f/1.4 Chinese lens rumored (maybe from Viltrox?)

Updated list of latest/upcoming/rumored Chinese lenses (#IBC2025 show)

The post What’s coming next from Viltrox? appeared first on Photo Rumors.

Here are the latest patents from Fujifilm, Tamron, and Canon:

Canon RF50mm F1.4 L VCM Patent Found

Canon 50mm f/1.2 Patent Found

Canon 20mm F2.8 Macro IS and 24mm F2.8 Macro Patents Found

Fujifilm 165mm F2.8 OIS Patent Found For GFX

Fujinon 6mm f/1.8 and 10.5mm f/3.5 Patents Found

Tamron 28-70mm F2, 25-200mm F2.8-5.6, and 25-100mm F2.8 Patents Found

The post The latest patents from Canon, Fuji, and Tamron appeared first on Photo Rumors.

Here is what else is new:

Pope Francis’s Leica M-A film camera to be auctioned for charity, estimated to fetch €700,000 – €800,000

New SmallRig cage kit for Nikon ZR released

Nikon ZR introductory offer at Foto Erhardt: get an instant €150 discount

Nikon ZR cinema camera additional coverage

But wait, there is more: RED announced a new Streamlined V-RAPTOR XE 8K cinema camera

The first Nikon ZR cinema camera YouTube reviews

Additional coverage of the new Leitz Hektor T2.1 mirrorless cinema lenses with user-interchangeable mounts (E/RF/Z/L)

Post Launch Coverage Of The Canon EOS C50, RF-Mount RF85mm F1.4 L VCM, Canon CINE-SERVO 11-55mm T2.95, and Canon PowerShot ELPH 360 HS A

Canon EOS C50 Cages and Accessories Announced From SmallRig and MID4

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

ZWO Astronomy Photographer of the Year

The Royal Observatory Greenwich has announced the winners of its ZWO Astronomy Photographer of the Year contest. This annual showcase highlights some of the world's best space photography, with winners, runners-up, and highly commended images selected across ten categories.

This year's overall winning image, Andromeda Core, was captured by Chinese photographers Weitang Liang, Qi Yan, and Chuhong Yu. The winning photograph "focused on revealing the intricate structure of the galaxy's central region and its surrounding stellar population." Additionally, contest organizers recognized NASA astronaut Don Pettit for a time-exposure image he captured from the International Space Station using a homemade sidereal star tracker.

We share the winning images from each of the contest's ten categories on the following pages. To see the complete collection of awarded images, visit the competition's website.

Winner: Galaxies

The Andromeda Core by Weitang Liang, Qi Yang, Chuhong Yu (China)
Overall Competition Winner
Winner: Galaxies

This image showcases the core of the Andromeda Galaxy (M31) in exceptional detail, captured using a long focal-length telescope. Taking advantage of the excellent seeing conditions at Nerpio, the photographers focused on revealing the intricate structure of the galaxy’s central region and its surrounding stellar population.

Taken with a PlaneWave Instruments CDK20 telescope, Baader LRGB and Chroma H-alpha filters, PlaneWave Instruments L500 mount, Moravian Instruments C3-61000 Pro camera, 3,450 mm focal length, 500 mm F6.8, multiple 900-second R, G and B exposures, multiple 1,800-second H-alpha exposures, 38 hours total exposure

Location: AstroCamp Observatory, Nerpio, Spain, 31 July, 2, 4–6, 14, 17, 20, 29, 31 August and 1 September 2024

The Andromeda Core © Weitang Liang, Qi Yang, Chuhong Yu

Winner: Planets, Comets & Asteroids

Comet 12P/Pons−Brooks Taking a Final Bow by Dan Bartlett (USA)
Winner: Planets, Comets & Asteroids

Comet 12P/Pons−Brooks reacted visibly to the intensified solar winds associated with the current solar maximum, creating a spectacle of tail dynamics and colorful hues expelled by its nuclear coma, the bright cloud of gas around the comet’s centre.

Taken with a Celestron C14Edge HD SCT telescope with HyperStar V4 lens, 10Micron GM 2000 HPS mount, ZWO ASI2600MC Pro camera, 712 mm F2, 25 x 30-second exposures

Location: June Lake, California, USA, 31 March 2024

Comet 12P/Pons−Brooks Taking a Final Bow © Dan Bartlett

Winner: Sir Patrick Moore Prize for Best Newcomer

Encounter Across Light Years by Yurui Gong, Xizhen Ruan (China)
Winner: Sir Patrick Moore Prize for Best Newcomer

This photograph captures a serendipitous moment when a brilliant fireball from the Perseid meteor shower appears to graze M31, the Andromeda Galaxy. This photograph captures a serendipitous moment when a brilliant fireball from the Perseid meteor shower appears to graze M31, the Andromeda Galaxy.

Originally, the photographers had only planned to capture a close-up of the M31 galaxy. Retrieving the camera the next morning, they discovered this wonderful surprise.

Taken with a Nikon Z 30 camera, 56 mm F1.7, ISO 800, multiple 30-second exposures

Location: Zhucheng City, Shandong, China, 12 August 2024

Encounter Across Light Years © Yurui Gong, Xizhen Ruan

Winner: Our Moon

The Trace of Refraction by Marcella Giulia Pace (Italy)
Winner: Our Moon

This image captures the phenomenon of atmospheric refraction, where moonlight passes through dense layers of Earth’s atmosphere near the horizon, bending in a manner similar to light rays through a prism. Additionally, the redness of the Moon can be explained by a process known as Rayleigh scattering [smaller particles in the atmosphere scatter shorter wavelengths of light, resulting in longer wavelengths, namely red, being more predominant].

Taken with a Nikon D7100 camera, 600 mm F6.3, ISO 100, 1-second exposure

Location: Contrada Sant’Ippolito, Modica, Sicily, Italy, 7 April 2024

The Trace of Refraction © Marcella Giulia Pace

Winner: Aurora

Crown of Light © Kavan Chay (New Zealand)
Winner: Aurora

The image was taken during the G5 storm, the most extreme level of geomagnetic storm, in May. The reds were a level of intensity the photographer had never experienced.

Taken with a Nikon Z 7 astro-modified camera, Sky-Watcher Star Adventurer Pro 2i mount, Nikkor Z 14-24 mm F2.8S, 16 mm, Sky: F2.8, ISO 800, 5-second exposure; Foreground: F5.6, ISO 3,200, 30-second exposure

Location: Tumbledown Bay, Little River, Banks Peninsula Community, New Zealand, 10 May 2024

Crown of Light © Kavan Chay

Winner: Our Sun

Active Region of the Sun's Chromosphere by James Sinclair (USA)
Winner: Our Sun

The chromosphere is the most picturesque part of the Sun. Composed of hydrogen and helium plasma, it is manipulated by the intense and tangled magnetic fields of the Sun. The Sun’s chromosphere does not just change day by day; it changes second by second, which is why solar astrophotographers become obsessed with it.

Taken with a Lunt 130 mm telescope with double-stacked Etalons, Lunt Block Filter 3400 (34 mm), Sky-Watcher EQ6 R Pro mount, Player One Astronomy Apollo-M Max camera, 910 mm F28, Gain 310, 10-second exposure

Location: Cedar City, Utah, USA, 30 September 2024

Active Region of the Sun's Chromosphere © James Sinclair

Winner: People & Space

ISS Lunar Flyby by Tom Williams (UK)
Winner: People & Space

This image shows the International Space Station making a close pass of our Moon. The event was predicted to be a transit but ended up being a close flyby. However, the result is still dramatic, with the station’s solar arrays backlit by the rising Sun. Notably, the white radiators can also be seen and are illuminated by earthshine rather than direct sunlight.

Taken with a Sky-Watcher 400P GoTo Dobsonian telescope, Player Astronomy Uranus-C (IMX585) camera, 300 mm F15.5, 1.5-millisecond exposure

Location: Trowbridge, Wiltshire, England, 27 October 2024

ISS Lunar Flyby © Tom Williams

Winner: Skyscapes

The Ridge by Tom Rae (New Zealand)
Winner: Skyscapes

This is the largest panorama Tom Rae has ever captured, with the full resolution image containing over a billion pixels from 62 images stitched together. The photograph captures the twin glacial rivers with the Milky Way core off to the left of the image, as well as the famous Southern Cross and other pointers high in the centre sky.

Taken with a Nikon Z 6a and Z 7 cameras, iOptron SkyGuider Pro mount, Sky: Nikon Z 6a camera, 40 mm F1.8, ISO 1,600, 49 x 30-second exposures; Foreground: Nikon Z 7 camera, 24 mm F10, ISO 125, 13 x 20-second exposures

Location: Aoraki/Mount Cook National Park, Mackenzie District, New Zealand, 8 April 2024

The Ridge © Tom Rae

Winner: Stars & Nebula

M13: An Ultra-Deep Exposure of the Popular Cluster by Distant Luminosity;
Julian Zoller, Jan Beckmann, Lukas Eisert, Wolfgang Hummel (all Germany)
Winner: Stars and Nebula

M13, or the Great Hercules Cluster, is one of the most prominent and well-studied globular clusters in the northern sky. Discovered by Edmond Halley in 1714, it is located in the constellation Hercules and lies about 22,200 light years from Earth. With an apparent magnitude (a measure of brightness) of 5.8, M13 is visible to the naked eye under dark skies and can be easily observed through binoculars or a small telescope. Our goal was to get the deepest possible image of the cluster, in which, to our surprise, even integrated flux nebula (IFN) clouds appeared.

At approximately 145 light years in diameter, M13 is one of the larger globular clusters associated with the Milky Way – a tightly packed sphere of hundreds of thousands of stars. At its core, some stars are as close as 0.05 light years apart, about one-tenth the distance between the Sun and its nearest stellar neighbour. Although M13 is one of the most photographed astronomical objects, there are only a few deep images that show the numerous small background galaxies in the field.

Taken with a TS-Optics 200 mm/8 ONTC F4 Newtonian telescope, iOptron CEM70G mount, ZWO ASI2600MM Pro camera, 800 mm F4, 300-second exposures, 29.25 hours total exposure

Location: Pena Trevinca, Veiga, Gijón Municipality, Asturias, Spain, 25 September 2024

M13: An Ultra-Deep Exposure of the Popular Cluster © Distant Luminosity

Winner: ZWO Young Astronomy Photographer of the Year

Orion, the Horsehead and the Flame in H-alpha by Daniele Borsari (Italy)
Winner: ZWO Young Astronomy Photographer of the Year

This image was captured with an H-alpha filter to make a monochrome image highlighting the emission nebula. This image was captured with an H-alpha filter to make a monochrome image highlighting the emission nebula.

On the lower left lies the Horsehead Nebula, also known as Barnard 33. This dense dark cloud of gases hides the light coming from the emission nebula IC 434 and creates the apparent shape of a horse’s head.

A little to the left, we find the Flame Nebula, NGC 2024. The star responsible for the illumination of this nebula, IRS2, is located behind dust and gases and is therefore not visible in the optical spectrum.

And finally, in the upper-right of the image, is M42, famously known as the Orion Nebula. This nebula is a huge cloud of dust and gas where a lot of new stars are born. The energy released by the four central stars (the Trapezium Cluster) shapes the nebula, ionising the gas components.

Taken with a Player One Astronomy Ares-M Pro camera, Sky-Watcher HEQ5 Pro mount, Samyang 135 mm F2.0 lens, 135 mm F2.8, 45 x 60-second exposures and 262 x 300-second exposures, 22 hours and 35 minutes total exposure

Location: Leffe, Bergamo, Italy, 11, 14, 15 January, 6 February 2025

Orion, the Horsehead and the Flame in H-alpha © Daniele Borsari

Special feature

Earth From Orbit by Don Pettit (USA)
Special feature

While the ZWO Astronomy Photographer of the Year competition showcases the best of Earth-bound astrophotography, this image demonstrates the immense potential of space-based imagery, revealing the cosmos in ways that would be impossible from the ground.

Captured between October 2024 and March 2025, during ISS Expedition 72

This is one of a number of star-field time exposures captured from the International Space Station (ISS) using a homemade sidereal star tracker. Rotating once every 90 minutes, the tracker counteracts the attitude motion of the orbiting ISS, allowing distant stars to be photographed as fixed pinpoints while the Earth continues to rotate below, previously an impossibility in orbital photography.

Taken with a Nikon Z9 camera, Sigma 14 mm F1.4 lens, F1.4, ISO 6400, with homemade orbital sidereal drive to compensate for orbital pitch rate (4 degrees/min), 15-second exposure.

Earth From Orbit © Don Pettit

Sony a7CR | Sigma 20-200mm F3.5-6.3 DG Contemporary | 76mm | F7.1 | 1/250 sec | ISO 100 Photo: Mitchell Clark

Earlier this week, Sigma announced the 20-200mm F3.5-6.3 DG Contemporary, a full-frame lens that the company says is the first to have a 10x zoom ratio. We were able to test the lens out in a variety of scenarios to get an idea of how it performs throughout its wide range of focal lengths and at different apertures.

The sample gallery contains a few sequences with images taken at 20mm and 200mm, to help illustrate the range it provides.

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.

See the sample gallery