The September Editors' photo challenge

The theme for our October Editors' photo challenge was "Fall Follies."

With the last wisps of summer in the air and days getting shorter, we challenged you to show us what makes fall special. From vibrant leaves to fall harvests and annual traditions, we asked you to show us what Fall Follies looks like through your lens.

Our community of DPReview photographers didn't disappoint, capturing nature's grand finale in a blaze of color. As usual, we were overwhelmed with great pictures – many more than we can present here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

Thanks to everyone who participated in this photo challenge. If you want to participate in other photo challenges, visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Fall in upstate New York

Photographer: mxzrevman

Photographer's statement: I was very lucky with the timing. The leaves were just perfect, and the weather was perfect with the sun at a nice height above the horizon. This was at Thatcher State Park outside of Albany, New York.

Equipment: Nikon Z5 + Nikon Nikkor Z 20mm F1.8 S

Day of the Dead

Photographer: JeffryzPhoto

Photographer's statement: In Mexico, this time of year means preparations for Day of the Dead, or Día de Los Muertos: the time when departed souls can return to visit loved ones left behind. Marigolds feature prominently, their color and scent helping to guide them.

Equipment: Fujifilm X-T4 + Fujifilm XF 8-16mm F2.8 R LM WR

Hidden gem

Photographer: JC-W

Photographer's statement: The Moselle, a river between Luxembourg and Germany, is a famous wine region. In October each year, you can find these beautiful grapes on the hillsides separating both countries.

Acer

Photographer: TheDispossessed

Photographer's statement: An acer, photographed in Durham Botanic Gardens, England. Capturing these leaves involves being there at the right time on the right day to get the light just right.

Equipment: Canon EOS 80D + Canon EF 70-300mm f/4-5.6 IS USM

Foggy fall in Norway

Photographer: hach

Photographer's statement: This photo was taken from the roadside overlooking a small farm. Underneath is the Tyrifjorden lake, covered by fog. The location is at Sollihøgda (Sunny heights), just north of Oslo.

Equipment: OM System OM-1 + OM System 40-150mm F4.0 PRO

Follow the colors

Photographer: RacingManiac

Photographer's statement: Early fall colors at the Kiyomizu Dera in Kyoto. I like the treeline, and the roof of the shops all lead to the pagoda on the opposite side of the footpath

Equipment: Sony a7 IV + Sony FE 70-200mm F4 G OSS II

Fall Sunset at Graveyard Fields

Photographer: Sam Bennett

Photographer's statement: Pink echoes in the valley of Graveyard Fields in Western North Carolina as the forest slowly heals itself year over year after the ravages of Hurricane Helene.

Equipment: OM System OM-3 + Olympus M.Zuiko Digital ED 12-45mm F4 Pro

Cypress trees

Photographer: Gman58

Photographer's statement: We were taking a fall road trip to visit friends in the mountains of Tennessee when I noticed these beautiful cypress trees, living in the water of the lake, at the terminus of the Ocoee River Gorge.

Equipment: Pentax KP + HD Pentax-DA 20-40mm F2.8-4 ED Limited DC WR

Joe Lay Reservoir, Grand Staircase, Utah

Photographer: MtnBikerCalif

Photographer's statement: I was fortunate enough to be in the Grand Staircase-Escalante National Monument in Utah with four friends, mountain biking the Great Western Trail. My OM-1 is too heavy and inconvenient while biking through tough terrain, but my new iPhone was great for photography and helped with navigation. I wasn't expecting the incredible fall colors of the aspens. They were the highlight of the trip. I'd never seen such expanses of golden leaves.

Equipment: iPhone 17 Pro

Autumn leaves

Photographer: SergeAP

Photographer's statement: Autumn is beautiful with its dramatic blend of vibrant, lush colors and the deep lyricism and silence of evening city parks, the already cold and damp air with the amazing taste of fallen leaves, and the warmth of melancholy memories of the past summer.

Equipment: Nikon D800

Fish and fog on the Rogue River

Photographer: Eric Hensel

Photographer's statement: I rarely arise before dawn, these days, with two exceptions: salmon fishing or a photography expedition. I managed to combine both pursuits on this particular morning, as I tried out a lens I had purchased from a local shop for twenty dollars. I couldn't believe my luck when I rested the lens on the handrail of the Depot St. Bridge in Rogue River, Oregon, just as a drift-boat was heading toward me in the fog.

Equipment: Sony a7 + Vivitar series-1 70-210mm f/3.5

Fall in Silverton

Photographer: Tough Gritz

Photographer's statement: When the Aspens bring out their fall display, they make for exceptional landscapes like this one on Highway 550 facing north from Silverton, Colorado, toward the town of Ouray, Colorado, on the Western Slopes of the Rocky Mountains.

Equipment: OM System OM-5 II + OMS 8-25 f/4 PRO

Short lens, long shot

Photographer: decentred

Photographer's statement: Shot way back when, on Kodachrome. The light was low, the ISO was 64, I was crouched down, elbows tucked in, holding my breath, dialing in some self-timer to get the mirror slap out of the way early, and shooting at maximum aperture.

Equipment: Nikon FE + Nikkor AI 35mm

Autumn view of the valley

Photographer: cbf_si

Photographer's statement: The creeping morning mists herald the arrival of winter. But first, nature delights us with an explosion of autumn colors. Photographed from Mount St. James (Sv. Jakob) in Slovenia.

Equipment: Sony Alpha a99 + Minolta AF 35-70mm F4

Happy family

Photographer: wim

Photographer's statement: I'm always amazed by the shapes of leaves. They're all different, just like people. I found these personalities and happily placed them side by side.

Equipment: Fujifilm X-T1 + Fujifilm XF 35mm F1.4 R

Autumn

Photographer: Robert_Schild

Photographer's statement: On a walk through the woods, I came across these branches climbing up trees with a display of beautiful autumn colors. It was still early autumn, and most trees were still green, but these leaves stood out.

Equipment: Pentax K-1

Fall color, Eastern Sierra

Photographer: REHS

Photographer's statement: When you hear the words "near peak," you need to make your reservations, cancel pending appointments, and activate your back-up coverage. Charge your batteries, pack the essentials, and pray for good weather. And then, get there early!!! It all fell into place this year, but the only show seemed to be in the area just west of Bishop, California. I'm so grateful that I didn't miss this event!!! Yaahoo!!!

Equipment: Nikon D850 + Nikon AF-S Nikkor 24-70mm f/2.8G ED

In the spotlight

Photographer: more cow bell

Photographer's statement: After some morning rain showers, a shaft of sunlight spotlights a fallen leaf whose journey from treetop to earth was interrupted by a tangle of branches.

Equipment: Fujifilm X-T2 + Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR

Yoshino colours

Photographer: gnohz

Photographer's statement: Many photos taken here depict a snowy night scene with street and building lights leading to the main Zao Hall building of the Kinpusen-ji Temple (at top right), so I opted for a different take to show the splendid autumn colors instead.

Equipment: Nikon D850 + Nikon AF-S Nikkor 85mm F1.4G

Equipment: Nikon D610

Old tree

Photographer: brian505

Photographer's statement: I captured this photo in a forest back in 2015, showing a giant beech tree that, I was told, might be around a 100 years old. Its trunk was so wide that it would take about four people holding hands to circle it completely.

Equipment: Nikon D7000

The M EV1 is, perhaps, the exception that proves the rule, in the sense that by not conforming the existing pattern it helps clarify the pattern that otherwise exists. Photo: Richard Butler

The very nature of hubris is, perhaps, that you can't recognize it in the moment.

When the Leica M11 was launched, I mused that the increased versatility and precision offered by its live view system might risk making the optical viewfinder and rangefinder design look irrelevant. Having now used a camera shorn of those features, I appreciate their value more than ever.

But there was another, unexpected, prompt for self-reflection when it came to working out how to describe the M-EV1. Namely: is it a Mirrorless camera?

What is a Mirrorless camera?

It's generally been our position that rangefinder cameras aren't Mirrorless. Somewhat facetiously, I've sometimes pointed out that the rangefinder optics themselves typically contain a mirror, but, more seriously, the point is that rangefinders existed for many decades before we ever had need to describe a camera as Mirrorless. And, given the way they are primarily used is radically different (manual focus via an optical viewfinder, rather than via a liveview feed from the sensor), it seemed unnecessary to retroactively include them in the class of cameras we were trying to give a name to.

The M EV1 throws a spanner in the works, though (or perhaps removes one). In every respect it operates like a Mirrorless camera being used in manual focus mode, so surely it's Mirrorless, in both the small and big 'M' senses. And, if it is, then, by extension, all Leica Ms are.

"When I use a word, it means just what I choose it to mean" - Lewis Carroll's Humpty Dumpty

And yet, that's not really how these things work. Mirrorless is an especially awkward example, in that it's become a noun but its origin is descriptive. But most people will recognize that it doesn't apply to literally any camera without a mirror, because that would include all compacts, smartphones and most cameras ever made. At which point we could probably just say 'camera.'

Having helped propose, promote and popularize the term 'mirrorless' in the first place, we're aware of it being an imperfect choice, but it's the one that's stuck. So while I look forward to the accusations of Humpty-Dumptyism, I think it's fair to say enough people recognize what's meant by it, and hence that it's legitimate to use it to mean what we intend, rather than what the word itself seems to imply.

Why do you call it full-frame?

This isn't the only instance of what sounds like an adjective being taken up as a noun in a way that shouldn't be taken too literally. The term full-frame came about because there was a period during which early DSLR users were pairing film-era lenses on cameras with sensors smaller than "35mm" film. Full-frame was a reference to the size of sensor that mimicked the dimensions of that film, using the full imaging circle for which those lenses were designed.

Yes, the German name for the "35mm" format translates as "small picture." Award yourself 10 DPR points for trivia knowledge. Then deduct 20 if you think it's a useful contribution to a discussion about digital photography. Photo: Carey Rose

We only adopted the term because it avoids using milimeters to refer both to focal length and as a descriptor of a format, often in the same sentence. Somewhat ironically, the term "35mm" sensor itself also sounds adjectival, but in reality no part of a "35mm" sensor measures 35mm.

Again, there's little sense arguing over what the words might appear to mean: the majority of people using the term and hearing the term agree what it means. And that's the way language works. It doesn't matter if logically all systems are full-frame, because that's almost certainly not the meaning that's someone's attempting to convey, and it's not the meaning most people would take from it.

What constitutes medium format?

Apparently, there's still room to argue, even when the terminology doesn't appear to describe something specific. For example, the use of 'medium format' to describe formats larger than 35mm.

It's a definition that was already in widespread use, but that some photographers seem determined now to retroactively restrict it solely to formats used in the film era. This ignores the facts that the economies of scaling semiconductors are radically different (and are unlikely to ever make film-mimicking medium and large formats affordable), and that digital significantly outperforms film, so you don't need the same expanses of sensor to achieve excellent tonal quality and resolution.

Full-frame only directly mimics a film format because there were so many people with significant numbers of then-modern film lenses to prompt its continuation. Photo: Phil Askey

In my opinion, it's senseless to bind a new technology to the specifics of a dead one and insist on the creation of a new term, when 'medium format' serves perfectly well. Especially given that, as we've seen, the resultant neologisms such as full-frame and Mirrorless might prove even more objectionable.

Does it actually matter?

So what of the M EV1? Is it a Mirrorless camera? Sort of. Probably. Why not? You could see it as the exception that proves the rule, or recognize that it's a question to which the answer doesn't matter.

Rangefinders sell in such small numbers that it really doesn't matter whether the person speaking is including them, when they say Mirrorless, or whether the person hearing them assumes they are or aren't. Either way both probably know, from context, what was meant, so the distinction becomes irrelevant.

It's not just photographers who have this problem. The name for modern pedals that cyclists clip their shoes into? 'Clipless.' Photo: Richard Butler

The remaining ambiguity will leave room in the margins for someone to say "but what about the M EV1?" or "medium format only refers to 645 and larger."

But that brings us back to the issue of self-reflection. It's worth asking yourself: do you really believe the language is unclear, or that anyone's being misled? Or do you just want to beat someone over the head with a piece of arcane, esoteric knowledge that you happen to have acquired?

Earlier this week, Fujifilm released the X-T30 III, its latest entry-level, SLR-shaped mirrorless camera. It is a subtle update over its predecessor, adding a film simulation dial, more film simulations, updated video specs, a new processor and updated autofocus. The company also released a new kit lens, the XC 13-33mm F3.5-6.3 OIS. It offers a wider perspective than most kit lenses and will be familiar to those used to the ultrawide lens on their smartphones.

Editors Dale Baskin, Richard Butler, Mitchell Clark and Abby Ferguson sat down to talk about the new camera and lens. You listen to our discussion in the video above.

If you're looking for more information on the X-T30 III, check out our first look video and initial review. You can learn more about the lens in our separate article covering the announcement.

Here are the latest updates on Jeff Bridges’ WideluxX camera and pictures of the first prototype camera (check the original Widelux camera on eBay):

Handscrafted WideluxX prototype 0001, ©SilverBridges GmbH

WideluxX prototype 0001, presented by Charys Schuler, ©SilverBridges GmbH

Charys Schuler and Marwan El Mozayen with WideluxX prototype 0001 and Widelux F8, ©SilverBridges GmbH

• Introduction to the WideluxX Prototype: The WideluxX is a revived panoramic film camera developed by SilverBridges, a new company co-founded by SilvergrainClassics’ Editor-in-Chief Marwan El Mozayen, Developmental Editor Charys Schuler, and Jeff and Susan Bridges. It represents a significant milestone for analog photography as the first new handmade film camera designed to last generations.
• Historical Context: The original Widelux factory burned down 20 years ago, nearly ending production of the iconic Panon Widelux F8. This revival project aims to preserve its legacy, bridging the history and future of panoramic analog photography.
• Prototype Details: Prototype 0001 is a one-of-a-kind, handmade item built in Germany near Wetzlar. It retains the core DNA of the Panon Widelux F8 but includes numerous small improvements; however, it does not reflect the final production model’s appearance.
• Development Process and Challenges: The project involved intense effort (“blood, sweat, and tears”) and old-school craftsmanship. An engineer hand-built the prototype, emphasizing artisanal manufacturing over mass production.
• Unveiling and Presentation: The prototype was revealed via a special video at the International Association for Panoramic Photography convention in Minneapolis, Minnesota. The video features Jeff and Susan Bridges, with editing by Ethan Boehme and 16mm footage by Marwan El Mozayen.
• Key Quotes:
  • Jeff & Susan Bridges: “Twenty years ago, the Widelux factory burned down, so we decided that rather than letting our favorite camera die, we’d bring her back to life. We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations.”
  • Marwan El Mozayen and Charys Schuler: “There will be many small improvements, but its DNA is still the [Panon Widelux] F8. We see ourselves as a bridge between the history and the future of analog photography. It’s about the art and craft of camera manufacturing, and about giving a new generation of film photographers the tools to create with.”

Previous coverage of the WideluxX panoramic film camera:

WideluxX panoramic film camera update

Jeff Bridges is developing a new Widelux(X) panoramic film camera

Via Silvergrainclassics

The post Jeff Bridges’ WideluxX panoramic film camera prototype revealed appeared first on Photo Rumors.

Matt Granger published a new video interview with Sigma’s CEO Kazuto Yamaki – here are the latest updates on the Sigma Foveon X3 sensor with 1:1:1 technology:

Short recap

• Sigma is “still working on the development of the sensor” [17:00].
• Current status: The project is still in the “technology development” stage [17:11]. They have not yet started the design of the actual, final sensor [17:11].
• Focus: The team is currently working on the “design of the pixel architecture” [17:20].
• Delays: The project has been “a little bit delayed” [17:30] because as they test prototype wafers, they encounter “technical issues” [17:53].
• Development team: The sensor development is now being handled primarily by the Sigma Japan engineering team [18:02].
• Path forward: Mr. Yamaki mentions that the technical problems “have been narrowing down” [18:12]. Once the team is confident that the technology is ready, they will start the final sensor design and move toward production [18:23].

Long recap

The post The latest updates on the Sigma Foveon X3 sensor with 1:1:1 technology appeared first on Photo Rumors.

TTartisan announced a new AF 27mm f/2.8 “Polar White” limited edition lens for E-mount ($160). Orders are now open at the official online store that offers intentional shipping (check also B&H and Amazon).

TTartisan also announced a new AF 23mm f/1.8 APS-C lens for Nikon Z mount ($127). Orders are now open at the official online store (check also B&H and Amazon).

The post New lenses from TTartisan: AF 27mm f/2.8 E “Polar White” limited edition & AF 23mm f/1.8 Z appeared first on Photo Rumors.

Image: Just_Super / E+ via Getty Images

For over a quarter of a century, DPReview's forums have been home to some of the most insightful discussions about digital cameras and photography anywhere online. They serve not only as a living conversation but also as an invaluable historical archive for photographers around the world.

To ensure we can continue supporting this community for years to come, we'll soon be making some important updates to our forums.

What's happening

Since their inception, DPReview's forums have run on a proprietary, custom-built platform. While that system has served us well, it has become increasingly complex and expensive to maintain. To keep the forums vibrant and accessible, we're migrating to a modern software platform built for today's web.

This update will deliver significant performance improvements and introduce new features, including a mobile-responsive design, enhanced photo galleries, and an all-new direct messaging system that supports group conversations. We've even prepared a short video to give you a preview of what the updated forums will look like.

When it begins

We plan to begin the migration on October 31. During this transition, the forums will enter read-only mode for approximately five days. You'll still be able to browse and search existing discussions, but posting and uploading new content will be temporarily paused while we move all data to the new system.

We've worked hard to ensure no content is lost. When you log back in, all your discussions, posting history, photo albums, private messages, and other data will still be there – you'll simply be joining the same community in a more modern home.

Get more info

We know there will be a lot of questions. To help, we've created a detailed forum thread that provides additional background on this update and what to expect, along with a comprehensive FAQ addressing many common questions. If something isn't covered, please post your questions in that thread and we'll do our best to provide answers.

DPReview's forums are a cornerstone of the online photography community. Updating to a modern platform ensures we can continue to support and nurture that community well into the future.

To all of you who have participated over the years – the experts, the beginners, and even the trolls – thank you for being part of DPReview. We look forward to many more discussions, debates, and shared discoveries in the years ahead.

Thank you for your continued support,
The entire DPReview Team

Read our detailed forum post about this update and what to expect

Read our FAQ about the forum update

Sony dropped the prices for two of their best-selling cameras in the US:

• Sony a7RV is now $900 off: Amazon | B&H Photo
• Sony a7IV is now $700 off: Amazon | B&H Photo

This new discount makes sense, since Sony is rumored to announce a new Sony a7V camera next month:

Sony a7 V coming with the same 33MP sensor?

What’s coming next from the big three?

What’s next for Sony?

The post New Sony price drops before the a7V announcement: a7RV now $900 off, a7IV now $700 off appeared first on Photo Rumors.

Here is what else is new:

Nikon Comedy Wildlife Photography Awards 2025 finalists announced

Nikon released RWG/Log3g10 to Rec2020/N-Log LUT version 1.00

Ricoh released new firmware updates for the GR III and GR IIIx cameras

Artralab is teasing a new 28mm f/2.8 lens for Leica M-mount

Leica released new firmware update version 2.6.0 for the M11, M11-P, M11-M, and M11-D cameras

New FUJIFILM GFX ETERNA 55 Wooden Camera Elite Accessories

Fujifilm XApp 2.7.0 and FUJIFILM X RAW STUDIO Ver 1.27.0 Released With Fujifilm X-T30III Support

Boryoza GF-NZ Auto Focus Lens Adapter Fujifilm to Nikon and Fujifilm GFX to Hasselblad CFV 100C

Sigma 18-35mm f/1.8 DC HSM EF Discontinued

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

The Nikon ZR uses the same sensor as the Z6III but becomes Nikon's first camera to be co-branded 'Red' Photo: Mitchell Clark

Nikon's video division, Red, has put out a statement giving a few more clues about the distinction between the R3D NE Raw codec that makes it debut in the Nikon ZR, and the existing N-Raw system.

Red appears to confirm that R3D NE ('Nikon Expeed') uses the same TicoRaw compression system as N-Raw, which helps explain why N-Raw files could be opened in software that supported R3D NE, by simply changing the filename extension. However, it says the differences go deeper.

What we already knew

We already knew that the R3D codec locks the camera to one of its sensor's two base steps (ie: one of the two effective gain steps within the pixel) with no additional analogue gain added when you change ISO. By contrast, N-Raw works the same way as most cameras do in stills mode: applying increasing gain as you raise the ISO.

This means N-Raw sacrifices a stop of highlight information each time you raise ISO by a stop, in return for some improvement in shadow noise, but means that you can't mimic other ISO settings after the fact. The R3D method retains these highlights irrespective of ISO setting at the point of shooting, meaning you can apply different tone curves to adjust "ISO" as part of post processing.*

What has been discovered

Video testing site CineD has conducted some tests on the ZR and found some interesting details. The first is that the R3D codec appears to decode its Raw data such that it doesn't expand to use the full scale. This is presumably to allow its use with LUTs and alongside cameras that capture a wider dynamic range (either now, or in the future), which would make use of the higher data values. This is analogous to what Panasonic does with its V-Log / V-Log L system. This is not the standard workflow for N-Raw, which typically goes via an N-Log curve.

In addition to various flavors of Raw capture, the Nikon ZR is the first consumer camera we've come across that can natively capture super-wide dynamic range '32-bit float' audio.

Interestingly, CineD also says that it found R3D NE clips a stop earlier than the ZR's ProRes Raw or N-Raw modes, with Nikon responding that there is a "difference of highlight clipping points between N-Log and R3D NE." CineD points out that the Red processing includes a highlight recovery algorithm that recovers detail (but not necessarily color) information around clipping, which is worth being aware of.

Combine all this information and read between the lines of Red's statement and it appears to suggest that R3D NE uses the same basic codec as N-Raw but with a different gain strategy and a different assumed workflow (via Red's Log3G10/RWG gamma and gamut), that requires it to be exposed differently to get optimal results.

So how does it perform?

CineD also found the camera's rolling shutter was a match for the 9.44ms we measured from the Nikon Z6III and that its dynamic range was okay, rather than great, which is again consistent with what we were expecting, given the Z6III's performance.

Sadly, Nikon USA says it will not have any testable cameras available for review until mid November, so we're not yet in a position to check or further investigate any of these findings further.

*Technically, ISO is an sRGB JPEG-based standard, so it's best not to take it too literally when being used as a post-processing parameter in Raw video software. (See also the 'exposure' slider in a lot of photographic Raw software, which changes image lightness but cannot change exposure)

Photo: SilverBridges GmbH

SilverBridges, a company co-founded by Oscar-winning actor Jeff Bridges, recently unveiled the first prototype of the WideluxX panoramic film camera. The team showed off the WideluxX Prototype 0001 in a video released at the International Association of Panoramic Photographers' annual convention in Minneapolis, Minnesota.

The SilverBridges team, which consists of Jeff Bridges and his wife, Susan Bridges, Silvergrain Classics author Charys Schuler, and the magazine’s editor-in-chief, Marwan El Mozayen, also shared news of the prototype on Silvergrain Classics and its Instagram account. "Holding a one-of-a-kind camera prototype in your hand is always going to be exciting," wrote Schuler at Silvergrain Classics about the prototype. "But when some of the blood, sweat, and tears that went into it are your own, it feels nothing short of extraordinary."

Photo: SilverBridges GmbH

Bridges first announced the project to redevelop the Widelux film camera roughly a year ago, and the WideluxX Prototype 0001 marks an exciting step. On his website, Bridges says that most of the images he creates use a Widelux camera, and over the years, he's captured some incredible behind-the-scenes photographs with the camera. The actor has been very vocal about his love for the camera and his desire to bring it back.

The original Widelux, a fully mechanical panoramic film camera, was originally developed in Japan in 1958. Instead of a traditional shutter, the camera uses a swinging lens that rotates horizontally behind a narrow slit to expose the film plane. Unfortunately, a major fire at the factory in 2005 severely disrupted operations. Because of that fire and other factors, production of the Widelux ended in 2000. Today, original Widelux cameras are highly sought-after collector items and go for anywhere from $1200 to $2300, depending on the model.

"We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations."

"20 years ago, the Widelux factory burned down, so we decided that rather than letting our favorite camera die, we’d bring her back to life," Jeff and Susan Bridges say. "We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations." The team also explained that original Widelux models are temperamental and promised that the new manufacturing would offer greater reliability and consistency standards. The company also says it plans to provide dedicated service and maintenance.

Photo: SilverBridges GmbH

The WideluxX is based on the Widelux F8 model. Unfortunately, there are no original mechanical drawings of the camera available, so the team had to reverse engineer the camera and recreate each part. Japan Camera Hunter spoke to Schuler and El Mozayen about the project and shared that everything is being created from scratch, since there are no spare parts to work with.

"There will be many small improvements, but its DNA is still the [Panon Widelux] F8," says Schuler. "We see ourselves as a bridge between the history and the future of analog photography—it’s about the art and craft of camera manufacturing, and about giving a new generation of film photographers the tools to create with."

The prototype video isn't yet widely available, but according to Schuler, it will soon be uploaded to the WideluxX website. Interested users can sign up for updates via the newsletter at WideluxX.com.

Photo: Pomma Partiew / Fujifilm

While all brands tend to put quite a few letters in lens names, Fujifilm is among the worst offenders (though still not as bad as Tamron). Its Fujinon lenses tend to read a bit like alphabet soup, with letters coming before and after the focal length and aperture information. While they are straightforward once you know what they mean, it can be headache-inducing to decipher at first. In this article, we'll break down the different acronyms found in Fujifilm lens names so you can feel like a pro when shopping for or discussing Fujifilm's lenses.

Lens mount and series: XF, XC, MKX and GF

Image: Fujifilm

The first part of Fujifilm lens names, falling right before the focal length, tells us what mount or series the lens is part of. Fujifilm has four different designators for this category: XF, XC, MKX and GF.

The XF designation means the lens is part of the company's X Series and uses the X mount. That means the lens is compatible with any X mount camera. XC lenses are also X mount offerings, though these are part of Fujifilm's compact lineup of lenses. They are more affordable and more lightweight than XF lenses and typically lack an aperture ring. MKX lenses are also part of the X mount, though these are the company's cinema lenses meant for video applications.

Finally, outside of the X mount are Fujifilm's GF lenses. These are G mount lenses that are compatible with the medium-format GFX cameras.

Lens features

After the focal length and aperture information, you'll find letters and acronyms that tell you what lens features are part of the lens. Fujifilm lenses may include a combination of up to five different terms in the lens name. If you don't see one or any of these, that means that the lens lacks that feature.

Build features: R and WR

The XF23mmF2.8 R WR lens features an aperture ring (R) and weather resistance (WR). Image: Fujifilm

When applicable, the first letter used is R. The R in Fujifilm lens names means the lens offers a designated aperture dial so that you don't have to use buttons, dials or menus on the camera body to set aperture.

Some of the Fujifilm lenses feature WR in the name, which stands for Weather Resistant. That means the lens is sealed against dust and moisture to help protect it against the elements. WR typically comes at the end of Fujifilm lens names, so you can quickly see if the lens offers weather sealing.

Focus, stabilization and zoom features: LM, OIS and PZ

The GF32-90mmT3.5 PZ OIS WR lens is a power zoom lens for the GFX system. Image: Fujifilm

The other lens features that make it into Fujifilm lens names relate to focus. LM stands for linear motor. This means that the lens uses a linear-style motor to drive autofocus, which is very fast and relatively quiet.

OIS is Fujifilm's designation for Optical Image Stabilization. Lenses with OIS in the name offer built-in image stabilization that uses gyroscopic sensors and motors to counteract lens movement and reduce blur caused by camera shake. These lenses can help you get sharp images even when working with slower shutter speeds.

PZ stands for Power Zoom. It isn't a Fujifilm-specific term, and it means that the lens offers an electronic zoom mechanism instead of a zoom ring. Power zoom lenses make achieving smooth and consistent zoom easier, making them ideal for video applications.

Specialty features: Macro, T/S and APD

The GF110mmF5.6 T/S Macro lens is both a macro and tilt shift lens (T/S). Image: Fujifilm

Fujifilm may also include some terms for specialty lenses on its lenses. Macro is the easier to decipher, since it's spelled out for us. Lenses with Macro in the name are Macro lenses, meaning they can focus closer than regular lenses and enable detailed close-up photography.

At the time of writing, the T/S designation is only used for two lenses, both of which are in the medium-format G mount lineup. T/S stands for tilt-shift, which means that the lens allows you to adjust the focal plane (tilt) and perspective (shift). Tilt-shift lenses are commonly used for architectural photography.

The APD designation tells us that the lens features a built-in apodization filter. This filter aims to produce smoother bokeh and enhance subject separation, which is ideal for portraiture.

Additional Fujifilm lens terms: Super EBC, Nano-GI and TC

The XF16-55mmF2.8 R LM WR II features Fujifilm's Super EBC coating, as you can see printed on the lens. Image: Fujifilm

Like other companies, Fujifilm also has some specialty terms that aren't in the lens name, but are referenced in lens descriptions. That includes general terms for optical design, such as aspherical lens, but also a few proprietary terms.

Super EBC, which stands for Super Electron Beam Coating, is Fujifilm's proprietary multi-layer lens coating. It's meant to minimize flare and ghosting to improve image quality. Similarly, Nano-GI is a lens coating for the refractive index of the lens that promises to increase clarity.

Lastly, TC is a designation for teleconverters, which are lens accessories and not lenses. These can be attached between the lens and camera and allow you to increase focal length to provide additional magnification without purchasing a longer lens.

It seems that Amazon is getting another shipment of Ricoh GR IV cameras because they just opened their orders (act fast, they sold out quickly last time):

The expected shipping is November 12 – December 6. If you cannot wait that long, the Ricoh GR IV camera is now in stock in Canada at Camera Canada, and you can order one from the US without paying any taxes and with minimal import duties:

The new Ricoh GR IV camera is in stock in Canada and you can order one from the US

Check also availability at:

• B&H Photo
• Foto Erhardt
• WEX Photo
• Camera Canada

Via PentaxRumors

The post Act fast: you can now pre-order the Ricoh GR IV camera at Amazon appeared first on Photo Rumors.

Canon celebrates another milestone – the RF/EF lens production exceeds 170 million units:

Canon’s RF/EF lens production exceeds 170 million units, extending its world record in interchangeable lens production

TOKYO, October 22, 2025—Canon Inc. announced today that, in October 2025, Canon reached a historic milestone of producing a cumulative total of 170 million RF and EF interchangeable lenses for its EOS series, extending its world record¹ for the highest number of interchangeable camera lenses ever produced.

The EF lens was introduced in 1987 as the dedicated lens system for Canon’s EOS autofocus single-lens reflex film camera, debuting simultaneously with the EOS system itself. Since their inception, EF lenses have led the industry by incorporating a series of world-first² technologies, including the Ultrasonic Motor (USM), Image Stabilizer (IS) technology, and a multilayered Diffractive Optical (DO) element, and have undergone numerous evolutions.

In 2018, Canon launched the RF lens series, designed for the EOS R mirrorless camera system, which features a large aperture, short back focus, and high-speed communication system to deliver even higher image quality. The RF and EF lens series lineup now includes a total of 108 models³, covering a wide range of focal lengths⁴ from ultra-wide 10mm to super-telephoto 1200mm. The series also includes the world’s first VR lens⁵, lenses with built-in power zoom suited for video shooting, and even those compatible with power zoom adapters—expanding the scope of creative expression and meeting the diverse needs of users for both still photography and video.

EF lens production began at Canon’s Utsunomiya Plant in 1987. Since then, both EF and RF lenses have gained strong support from a wide range of users—from beginners to professionals—leading to steady growth in production volume. Today, Canon manufactures lenses at five sites: Utsunomiya Plant; Canon Inc., Taiwan; Canon Opto (Malaysia) Sdn. Bhd.; Oita Canon Inc.; and Miyazaki Canon Inc. Milestones include 10 million units produced by 1995 and 50 million by 2009. Then in 2014, Canon became the first company in the world to reach 100 million interchangeable camera lenses produced. In October 2025, the company reached 170 million units, leading to the achievement of this world record. The 170 millionth lens produced was the RF70-200mm F2.8 L IS USM Z.

Canon has maintained the No.1⁶ global market share for digital interchangeable-lens cameras for 22 consecutive years since 2003. Moving forward, Canon will continue to refine its proprietary imaging technologies and further strengthen and expand its lens lineup, pioneering new imaging possibilities and contributing to the continued evolution of photographic and video culture.

• 1

  Includes EF, EF-S, EF-M, EF Cinema, RF, RF-S, and RF Cinema lenses and extenders. As of October 21, 2025 (according to a survey by Canon)

• 2

  Among SLR cameras (according to a survey by Canon)

• 3

  Number of products sold as of October 22, 2025 (including extenders). The number of lens models for sale is different according to market figures.

• 4

  Focal length is 5.2mm to 1200mm when including VR lenses

• 5

  An interchangeable digital camera lens that enables VR footage with a single camera. Among interchangeable lens digital cameras released as of October 5, 2021 (according to a survey by Canon)

• 6

  Refers to unit share (according to a survey by Canon)

The post Canon’s RF/EF lens production exceeds 170 million units appeared first on Photo Rumors.

The previously rumored Leica M EV1 camera with EVF is now officially announced:

• Pre-orders: B&H Photo | WEX Photo | Foto Koch | Calumet (now in stock)
• Not released in the US
• Leica M EV1 vs. Leica M11 vs. Leica M11-P vs. Leica M11-D
• Join the new Leica M EV1 Facebook Group
• Leica M EV1 additional coverage
• Leica M EV1 camera reviews by Niels Ackermann and Sean Reid
• Press release and additional information:

Leica M EV1 camera with EVF officially announced

The post Announced: Leica M EV1 camera with EVF appeared first on Photo Rumors.

The Leica M EV1 is a full-frame manual focus mirrorless camera with a 60MP BSI sensor. It's shaped like the company's other M-series models but has no optical viewfinder or rangefinder mechanism, relying instead on an electronic viewfinder.

Key specifications

• 60MP BSI CMOS full-frame sensor
• 60, 36 or 18MP output, Raw or JPEG
• 5.76M dot OLED EVF with 0.76x magnification
• Two-way Fn switch on front
• 2.33M dot LCD rear touchscreen
• 64GB of internal storage
• 2.4/5Ghz Wi-Fi

The Leica M EV1 is available everywhere except the USA, where gaining FCC approval has caused a delay. Once cleared for sale in the US, it will be available at a recommended price of $8995.

Index

• What's new
• How it compares
• Body and handling
• Initial impressions
• Leica M EV1 specifications
• Press release

What's new

The Leica M EV1 features a new, diamond-patterned leatherette coating.

There's not much that's new on the M EV1, other than the concept of removing the rangefinder and optical viewfinder that goes with it, and replacing it with an EVF. Leica points out this isn't the first M-series camera to go without a rangefinder: the M1 made that move, while the MD, MD-a and MD-2 had no viewfinder, either.

Instead the M EV1 uses a variant of the 5.76M dot viewfinder found in the Q3 cameras, with 0.76x magnification. Unlike the conventional Ms, this viewfinder can accurately present the field of view of 21 and 24mm lenses, and show output from 90mm lenses at a decent size.

In addition to adapting better to a wider range of lenses, the magnified live view and focus peaking available in the viewfinder should allow greater precision than the traditional rangefinder mechanism, giving more reliable results with fast aperture lenses and not needing such careful handling or calibration.

How it compares

Leica cameras are luxury goods, as well as being cameras, so it's somewhat hard to compare them. When the brand name and cost (and the exclusivity it implies) are part of the allure, conventional spec comparisons fall apart.

At the most basic level, you can get essentially the same sensor in the Sony a7CR for considerable less money, and get a similar shooting experience by adapting your M-mount lenses to fit. It won't be as small, be as nicely built or say Leica on the front, but in purely pragmatic terms, it'll be comparable.

We could also have compared the Leicas to the company's own SL3 model or Sony's higher-specced a7R V, but we thought choosing the smaller Sony was the closest in size and format.

Of course we don't think anyone will actually be choosing between the Leicas and the Sony, but it gives some perspective on what you do and don't get for your money. But, while it's impossible to objectively say whether autofocus is inherently better than using a rangefinder (and hence haven't assigned red or green highlighting), our experience has been that both the M11-P and a7CR offer a lot that the M EV1 doesn't.

Body and handling

The M EV1 essentially has the same body as the M11-P but with no viewfinder window at the front. The ISO dial is also absent from the shoulder of the camera, presumably as the EVF extends further into the space it would usually occupy.

The rest of the layout is very similar. The body has a nice, solid-feeling weight to it, and it has the same minimalist design that fits in the hand nicely and gives off a sense of solidity when you hold it.

The move to an EVF allows you to adjust the diopter, using the little pop-out dial. It can be adjusted from -4 up to +2 correction.

The camera uses a menu system similar to the one we liked on the Q3 43, but unfortunately with the addition of a 'Leica Content Credentials' option that means it takes an extra step before you can get into the menu proper. It's an odd decision, given Content Credentials doesn't seem like a setting you're likely to want to change regularly.

Battery

The M EV1 uses the same BP-SCL7 battery as the rest of the M11 family of cameras. It's a fairly substantial 13.3Wh unit that Leica says will power the camera to a rating of 244 shots per charge if you use the rear screen and 237 if you use the viewfinder. These numbers use the CIPA testing standard, which tends to significantly under-represent the battery life, but sub 300 ratings usually mean having to carry a spare battery or external USB power pack if you're a prolific photographer.

Initial impressions

by Richard Butler

I remember the first time I got to use a Leica rangefinder. Within a few hours I'd taken two photos that I can still picture in my head, nearly two decades later. They weren't necessarily in perfect focus, but I found it so quick to match the overlayed images that I quickly came to see how a technology could be superseded several times over, yet not be rendered obsolete.

"Anyone really interested in photography should rent a rangefinder for a weekend," has been a recurring phrase I've used in the years since.

Sadly, the M EV1 offers none of this experience.

Leica M-Summicron 35mm F2 | F4.8 | 1/250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler

Focus peaking makes it possible to match some of the speed of using a rangefinder, with perhaps somewhat similarly approximate focus. As with all these systems, it's highly dependent on aperture and light level, meaning everything can end up highlighted, at times, or nothing, sometimes. For the sort of precision that 60MP probably deserves, you'll need to use magnified live view.

Unlike some modern mirrorless cameras, the M EV1 doesn't have anything like a subject recognition system, to let you punch-in on potential subjects, so you'll have to tap on the screen or use the four-way controller to very slowly reposition the target point you want to zoom in on, though be careful not to tap the screen with your nose, if you're left-eye dominant, because that'll move your point, too.

Of course you could focus at the center and shift the camera, as you might with a rangefinder, but that would throw away any precision benefit that live view should have.

Leica M-Summicron 35mm F2 | F2.0 | 1/1250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler

I wrote, back when the M11 was launched, that the flexibility of live view and the added focusing precision it offered risked making the rangefinder and optical viewfinder seem redundant. My experience with the M EV1 so far suggests I was wrong.

I should make clear, I'm not a fan of shooting with manual focus lenses on modern cameras, full-stop. I find it slow and imprecise, and the focus tools are nothing like as simple and fast (albeit imprecise) as a split prism finder on an SLR or a rangefinder.

This job doesn't allow me the leeway of being 'there or thereabouts' in terms of focus, and I just find the whole thing slow, frustrating and fiddly.

Leica M-Summicron 35mm F2 | F2.8 | 1/1160 sec | ISO 64 Photo: Richard Butler

Based on using the camera for a week, I can't see the point in paying 91% of the cost of a Leica rangefinder, only to get something that isn't a rangefinder and that's no more elegant to shoot with than any other mirrorless camera trying to manual focus. Yes it's beautifully made and it has a red dot, but I'm not sure you gain much over, say, a Sony a7CR, with which it shares a sensor.

After a few minutes of shooting with an M9, I understood why someone might buy a rangefinder. After a few days with the M-EV1, I'm at a loss to why anyone would buy this instead.

The previously rumored Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens are now officially announced:

• Pre-orders: B&H Photo | Amazon | Photo Erhardt | WEX Photo
• Additional information
• Product page (lens)
• Press release (lens)
• Recap:

• 26.1MP X-Trans CMOS 4
• Fujifilm’s X-Processor 5
• Dedicated Film Simulation dial
• 6.2K/29.97p with AI subject detection
• Tactile dials & touchscreen LCD
• Enhanced FUJIFILM XApp compatibility

The post The rumored Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens are now officially announced appeared first on Photo Rumors.

The Fujifilm X-T30 III is the company's latest entry-level, SLR-shaped mirrorless camera, with its latest color mode recipes and autofocus.

Key specifications

• 26MP X-Trans APS-C BSI CMOS sensor
• Film simulation dial with recipe positions
• Tilt up/down rear screen
• 2.36M dot EVF
• 4K/60 video with 1.18x crop, 6.2K/30 full-sensor capture
• 315 shot-per-charge battery life, 425 in power saving mode

The X-T30 III will be available from November 2025 at a recommended price of $999. There will also be the option to buy the camera with a new, unusually wide, 13-33mm F3.5-6.3 OIS zoom lens, which will cost around $1150.

Index

• What's new?
• What is it?
• How it compares
• Body and handling
• Video
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new?

The Film Simulation dial on the camera's shoulder has three custom positions that can be assigned to film simulations or the simulation-and-parameter-tweak combinations known as 'recipes.'

The X-T30 III, as the name implies, is an iterative update of the existing X-T30 II. It gains the latest Fujifilm processor, which brings subject recognition autofocus. This brings it into line with the X-M5 and X-T50.

It also gains a Film Simulation dial, instead of the drive mode dial on the previous X-T30 models. Like the more expensive X-E5, the three custom positions on the dial can be set up to store 'recipes': sets of JPEG processing settings that modify the behavior of an underlying film simulation.

The more powerful processor also brings a boost in the video features, with 60fps 4K video options (with a 1.18x crop) and the option to shoot using the whole sensor in 6.2K resolution at up to 30fps.

Finally, the X-T30 III becomes the first model to be offered with a new 13-33mm F3.5-5.6 stabilized kit zoom. This offers an unusually wide 20-50mm equivalent range, which is likely to be a welcome capability for photographers whose previous experience has mainly been with the wide-angle cameras on smartphones.

What is it?

The X-T30 III maintains the classic-SLR looks of the X-T series.

The X-T30 III plays the same role in the lineup as its predecessor did: the least expensive SLR-shaped camera in the Fujifilm range. Like the Mark II and the X-M5, it's built around an unstabilized 26MP BSI CMOS sensor. It's an APS-C-sized chip with Fujifilm's proprietary X-Trans filter pattern in front of it. This was originally designed to reduce visible errors in images but increasingly just seems to make the files a little more tricky to process.

The X-T30 III offers a decent set of features: it'll shoot moderately quickly, captures good quality video and offers a range of subject-recognition AF modes, making it quick and easy to focus on common subject types. It also has a switch to jump quickly to its Auto mode that tries to select the appropriate scene mode and settings for whatever you point it at. It's also somewhat unusual in still offering a small pop-up flash.

The standout feature of the X-T30 III, in common with the rest of the Fujifilm range, is the provision of its film simulation color modes, giving you a selection of (mostly) well-judged, attractive color responses, for your images. The Mk III puts these at your fingertips by providing a dedicated dial, making it easy to experiment with the different looks it offers.

How it compares

The X-T30 III is one of Fujifilm's entry-level models. The viewfinder means it's a little more expensive than the rangefinder-style X-M5, but it has a list price lower than that of the image-stabilized X-S20. We'll include the X-S20, as the most affordable stabilized APS-C camera.

In terms of rivals, the Nikon Z50II is probably the most like-for-like competitor, with Canon's EOS R10 also offering similar specs for similar money. We're omitting the distinctly elderly Sony a6400 as it only shoots 8-bit video and doesn't have such extensive subject recognition AF. The OM System lineup either offers the OM-D E-M10 IV for less money or the OM-5 II for more, both are built around smaller but stabilized sensors. The OM-5 II is the least expensive mirrorless camera to offer an 'IP' rating for its weather sealing.

In spec terms, there's not much to choose between these models. What the chart can't show is that the Nikon probably has the best autofocus tracking performance here, with the Canon a very close second (it's a little less dependable in video mode). This is still something of a weakness for the Fujifilm, though its subject-recognition modes do well.

Both the Canon and Nikon handle better than the Fujifilm, having fewer, but in our experience, better laid-out controls that are harder to operate accidentally. The Fujifilm's Auto switch will be handy for some users and anyone looking for a camera to grow into is more likely to find the lenses they want in the X mount, but the offerings for Canon and Nikon are (finally) improving, so it's worth investigating whether the lenses you think you might want are available for each system, before picking a camera body.

The X-T30 III is also the smallest camera here and offers a wider array of attractive color modes than its rivals. There's also the option of that slightly pricy but unusually wide kit zoom.

Body and handling

The X-T30 II offers plenty of hands-on control, including two clickable command dials, an exposure comp dial and an AF joystick, but these have all been fitted into a small space.

The body of the X-T30 III is essentially the same as the one from previous X-T30 models, meaning it's slightly smaller than the X-T50 and lighter. A ridge down the front of the camera and a protruding bump on the back means it fits firmly in the hand, and feels secure thanks to the tactile rubber coating, front and rear.

The X-T30 III has a fair degree of external control, including six buttons that can be customized and four swipeable directions on the rear touch screen. It also has two well-positioned clickable command dials, a dedicated exposure comp dial and dedicated shutter speed dial, as well as that film simulation dial.

There's also a joystick for positioning the AF point or navigating the menus and flick switches under two of the dials to activate the flash and to engage full Auto mode.

While we're pretty impressed, overall with this level of direct and customizable control, we find it's perhaps a little overwhelming on a body this small. If you have larger fingers, or don't know what all the controls do, the X-T30 III risks being a bit of a handful.

The X-T30 III only has three ports on its right-hand side, but they offer a lot of functions.

In terms of ports, the X-T30 III has a 2.5mm socket the serves double-duty as a remote control connector or a mic input. Most mics use a 3.5mm plug, so you'll need an adapter to attach one. Below this there's a USB socket that can be used for charging the camera, transferring data or connecting a pair of headphones, with the supplied adapter.

Finally, there's the micro HDMI socket for outputting video or a Raw video data stream that can then be encoded by either a BlackMagic or Atomos external recorder to BRaw or ProRes Raw, respectively. This isn't the obvious model to do that from, especially not given how delicate micro HDMI sockets can be, but it's nice that Fujifilm hasn't omitted a feature this hardware can support.

Battery

The X-T30 III uses the same 8.7 Wh NP-W126S battery as most of Fujifilm's smaller cameras. It powers the camera to a rated value of 315 shots per charge, or 425 in 'Economy' mode. These numbers don't reflect the number of shots you'll get from the camera (getting twice the rated figure isn't unusual, depending on your use of image review, flash or burst shooting), but they're broadly comparable between cameras.

A figure of over 300 shots per charge is good for this class of camera and is likely to mean you can use it for a weekend of casual shooting without having to think about the battery. The battery can be recharged over USB.

Video

The X-T30 III's video specs are competitive but there are other models better suited to video within the range.

The X-T30 III gains all the video modes we've seen appear in this generation of 26MP Fujifilm models. In many respects, it's a sensor better suited to video than the 40MP chip in their more expensive models, because it doesn't have to read out so much data to produce its 4K footage.

The X-T30 II can capture full-sensor, 'open gate' footage at up to 30p in 6.2K resolution, or it can deliver 4K derived from this 6.2K resolution in more common aspect ratios. It can shoot 4K at up to 60p with a slight crop.

However, while the video specs are more than solid for this class of camera, the X-T30 III's lack of image stabilization makes the X-T30 II a harder camera to shoot good footage with. The kit zoom is stabilized, and you can add digital stabilization in the camera, but the X-S20 is probably the better choice if video is a significant interest to you. As well as stabilization, the X-S20 has standard 3.5mm mic and headphone sockets and is compatible with the accessory fan unit to extend recording times.

Initial impressions

by Richard Butler

The X-T30 III is a welcome update to one of Fujifilm's more affordable and popular models. The introduction of the higher-specced, and more expensive X-T50 made it less clear that it'd get another update, but here it is. For existing Fujifilm users, it's not likely to cause much excitement: it's just a familiar, existing model being brought into line with the rest of the range by inheriting familiar, existing features.

But for anyone outside the system, it's perhaps a bit more significant. It brings one of Fujifilm's more affordable cameras up to the same standard as models such as the X-M5 and X-S20. So you can now choose whether you want a rangefinder shaped camera or a DSLR-shaped one, you can choose whether you want to pay for image stabilization or not, and you can choose between the dedicated dials of the X-T series or the command dial approach of the X-S cameras.

Fujifilm's Film Simulation modes are a significant feature of its cameras, not because they mimic filmstocks, particularly, but because they offer a series of subtle and attractive color options. Fujinon XC 13-33mm @ 33mm | F6.3 | 1/120 sec | ISO 160 Photo: Richard Butler

Personally, I've always found the little X-Ts to be somewhat awkward: they offer a lot of direct control on a very small body for both better and worse. I sometimes worry that this risks making them look intimidating to new users, but that's more of a hypothetical concern, in practice I find the controls just a bit too small and fiddly to really use.

My biggest concern is the small, easily pressed clickable front dial, which you'll almost certainly have to use if you want to shoot in aperture priority. I found it extremely difficult to turn without also pressing, which would result in the camera cycling out of Auto ISO to either the highest or lowest ISO setting. As someone who primarily shoots in aperture priority mode, and using the kit lens that lacks an aperture ring, I found I had to customize the front dial to only control aperture, to stop me inadvertently changing ISO constantly.

The unusually wide Fujinon XC 13-33mm F3.5-6.5 OIS lens that you can get in a bundle with the X-T30 III helps set it apart from its predecessor and its peers. Fujinon XC 13-33mm @ 13.3mm | F8.0 | 1/680 sec | ISO 320 Photo: Richard Butler

Likewise, on the day I tried using the camera with gloves, I repeatedly caught the Q button with the edge of my gloves, popping up the quick menu. The good thing is that you can customize the camera to overcome these issues, but I had to make quite drastic changes to make it practical to use the camera in a hands-on manner, which just heightened my concern about the camera's controls not being optimized for either the inexperienced or the experienced user. At least, not out of the box.

The new kit zoom is an excellent addition, though. At F6.3 at the long end, it's a little slow, and not all my shots were quite as sharp as I'd hope, but the ability to just keep going wider and wider really set it apart from other entry-level models I've used.

Pre-production Fujifilm X-T30 III 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.

Image: Fujifilm

Fujifilm has announced the XC 13-33mm F3.5-6.3 OIS, a 20-50mm equiv. zoom that slots into its lineup of budget lenses for its APS-C cameras. It's the kit lens for the X-T30 III being announced alongside it, and is currently only available if you buy that camera with it, but it's an interesting addition to the company's lineup.

The lens is made of ten elements in nine groups, with four aspherical lenses and three ED elements. It has a minimum focusing distance of 0.2m (7.9"), and a nine-bladed aperture, which should provide more circular bokeh than the seven-bladed one on the XC 15-45mm F3.5-5.6 OIS PZ.

At 125g, Fujifilm says it's the lightest zoom lens for its X mount system; it's also the company's first manually retracting lens for the mount. That means it can get as short as 37.5mm (1.5"), though in use it'll be at least 55.6mm (2.2"). It accepts 49mm filters, and its optical stabilization provides a benefit of 4EV.

Retracted, the lens is absolutely tiny. Image: Fujifilm

Given its XC designation, it's not surprising that the lens doesn't have many external features. You get zoom and focus rings, but that's pretty much it; unlike most of the higher-end XF lenses, there's no aperture control ring.

The lens provides an interesting focal length, going relatively wide for something that's around normal on the long end. Fujifilm's other standard zoom lenses start around 23 or 24mm (though they typically provide a fair bit more reach). It's possible this is to help it, and the camera it's being sold with, appeal to younger people who are used to wide-angle lenses from their smartphones.

Fujifilm says the lens will be available standalone in "late January 2026" at an MSRP of $399.

While we haven't had the chance to shoot a dedicated lens sample gallery with a high-resolution body yet, you can see plenty of images we took with the lens in our sample gallery for the Fujifilm X-T30 III.

Fujifilm XC 13-33mm F3.5-6.3 OIS specifications:

The previously rumored Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens leak ahead of the official announcement – here are the basic specifications:

• Price: £799
• Fourth-generation sensor (26 MP)
• Fifth-generation image processor
• Fujinon XC 13-33mm f/3.5-6.3 OIS lens:
  • Optical structure: 9 groups 10 elements (including 4 aspherical surfaces, 3ED)
  • Aperture blades: 9
  • Closest focusing distance: 20 cm
  • Filter diameter: ø49mm
  • Optical image stabilization: 4 stops
  • Size: Φ61.9mm x 37.5mm
  • Weight: 125g

Update – officially announced now:

The rumored Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens are now officially announced

The post Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens leak ahead of the official announcement appeared first on Photo Rumors.