Made from a custom braided nylon and polyester rope that provides strength, padding, and stretch, terminated in glass-reinforced nylon Anchor housings.
Form Leather Straps (MSRP: $79.95)
Crafted from premium ECCO full-grain leather with machined aluminum hardware and a custom sealed finish on the bottom of the strap to provide an optimal balance of glide and grip.
Sizing
Cuff: 8.6″
Neck: 30.9″
Short: 40.75″
Standard: 46.65″
Long: 52.55″
Field Plate (MSRP: $39.95)
Reimagines the traditional camera plate with a pop-up thumb screw that lets photographers apply real torque-no coins or tools required. Fully compatible with Peak Design tripods, Capture clips, straps, and most Arcatype heads.
Additional information:
Peak Design Unveils All-New Minimalist Camera Straps and Custom, Tool-Less Field Plate
Available in woven nylon rope or full-grain leather, Form straps feature Peak Design’s most refined connection system to date
San Francisco, CA – Peak Design, the global leader in camera carry solutions and accessories, announces the launch of an all-new family of minimalist, fixed-length camera straps: Form Rope straps and Form Leather straps. Available in multiple lengths and colors, the Form Strap line is joined by the Field Plate, a next-generation tool-free, thumb-drive camera plate engineered for fast and secure attachment to ¼” -20 threaded camera bodies. Field Plate is fully compatible with Peak Design tripods, Capture clips, straps, and most third-party Arca-type heads.
The new Form straps bring Peak Design’s renowned Anchor Link quick-connection system to its cleanest and most elegant design yet. Ultra low-profile hardware is integrated directly into the strap ends with no visible stitching, O-rings, or bulky connectors. The result is a minimal aesthetic with a faster, flatter connection that can hold up to 200lbs. and blends seamlessly into most any camera setup.
Form Rope straps are made from a custom braided nylon and polyester rope that balances strength, padding, and stretch, and are finished with glass-reinforced nylon Anchor housings for lasting durability. Form Leather straps are crafted from premium ECCO full-grain leather with machined aluminum hardware and a custom sealed finish along the strap’s underside to deliver a smooth glide with just the right amount of grip. Both leather and rope versions are offered in fixed-length neck and cross-body configurations, available in small, medium, and large sizes. Form Leather straps come in Black, Amber, and Tan, while rope straps are offered in black, Ocean (blue), and Kelp (green). Complementing the lineup, Peak Design is also introducing Cuff Leather and Cuff Rope wrist straps, which feature a one-size, quick-cinching design in matching materials and colorways.
Peak Design’s new Field Plate pushes traditional camera plate design into new territory. Instead of relying on coins, keys, or fold-out rings, the Field Plate features a pop-up thumb drive screw that lets photographers apply real torque with their hands alone. A simple press deploys the mechanism; twist to tighten or loosen; press again to stow. The intuitive design delivers a premium feel while maintaining Peak Design’s signature slim stack height and full compatibility with Peak Design camera accessories and most third-party Arca heads.
“For more than a decade, photographers around the world have trusted our quick-connecting camera straps, and it’s incredible to spot our little red Anchor Links almost everywhere cameras are carried, ” said Peak Design CEO and Founder Peter Dering. “The new Form straps are our distillation of that heritage into something streamlined, premium, and classic. And while we were at it, we took a fresh look at the humble tripod plate, resulting in the new Field Plate, which makes mounting your camera as simple as using your thumb.”
The Form Leather Strap is available in Long, Short, and Standard configurations (MSRP $79.95) and as a Neck Strap (MSRP $69.95). The Form Rope Strap is priced at $49.95 (Long, Short, Standard) and $44.95 (Neck). Cuff Leather Wrist straps are priced at $59.95, Cuff Rope Wrist straps at $39.95, and the Field Plate at $39.95.
The Fujifilm X-T30 III is a gentle refresh of the Mark II, bringing it into line with the other models in the lineup.
We shot a sample gallery in a Seattle autumn, to show how its images look. Although the camera itself is a fairly known quantity, its new, ultra-wide XC 13-33mm F3.5-6.3 OIS kit lens is a different story. We focused on this lens when putting the gallery together, to show how it performs.
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.
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.
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.
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.
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
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
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
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
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
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.
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.
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
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.
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.
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.
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
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.
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
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.
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.
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.
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 image." 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.
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.”
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
Current Development Stage:
Sigma is still in the pixel architecture design phase and has not yet begun fabricating the full sensor prototype. This involves second-round test-wafer runs to evaluate small-scale prototypes with reduced pixel counts.
Yamaki emphasizes that Sigma has “never designed a sensor by ourselves before,” highlighting the in-house challenges since acquiring Foveon in 2008. Previous Foveon sensors were co-developed, but this full-frame version is a from-scratch effort.
Technical Innovations and Improvements:
The new sensor aims for a full-frame (35mm) format with a stacked back-side illuminated (BSI) structure and on-chip phase-detect autofocus—features absent in older Foveon designs like the SD1 Merrill (2011) or Quattro series (2014-2016).
It retains the X3 1:1:1 layered architecture (equal pixel counts per RGB layer, unlike the 1:1:4 ratio in Quattro sensors), promising better dynamic range, color fidelity, and resolution (potentially 60MP effective).
Yamaki discusses crosstalk between RGB layers as a unique strength, enabling “distinct color gradation” that outperforms Bayer sensors in studio, landscape, and portrait work.
Challenges and Delays:
Development, first teased in 2018, has faced repeated setbacks, including ending a partnership with a sensor manufacturer, requiring a restart. As of October 2025, it’s “almost at the final stage of technology development” but not ready for mass production.
Key hurdles include power consumption, heat dissipation (due to three analog-to-digital converters), and achieving “perfect” pixel performance. Yamaki states they won’t proceed to production until issues are fully resolved: “The Foveon chip will appear when the pixel is perfect.”
No video capabilities are mentioned for the initial release, as early Foveon sensors struggled with even low-res video (e.g., 480p on DP series).
Future Outlook and Commitment:
Sigma remains dedicated, viewing Foveon as a “niche but valuable” technology for enthusiasts seeking ultimate image quality over high-volume sales. It could integrate into future Sigma fp mirrorless cameras (e.g., a “fp X3” variant).
Yamaki expresses optimism: “Technical problems have been narrowing down,” and once confident, they’ll move to full sensor design and production. However, no timeline is given—explicitly not in 2025, and possibly 2026 or later.
The video touches on broader philosophy: Sigma’s “beautiful foolishness” in pursuing innovative, non-mainstream tech like Foveon, despite market trends favoring Sony/ Canon sensors.
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.
Our Community Manager, Mathew Anderson, created this 5-minute 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
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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.
REDCODE RAW, also known as R3D, is RED’s proprietary RAW video codec that has been shaped and honed with every generation of RED’s cameras. R3D is not just made of up compressed RAW video, but carries with it advanced sensor characterizations, robust metadata, RED’s color science, and unique RAW controls that guarantee precise and consistent results throughout the entire imaging pipeline, from sensor to screen.
Detailed Explanation
REDCODE RAW was the first widely adopted RAW cinema workflow codec, which has constantly been evolving over the years with each generation of RED camera. Its foundation starts with RED’s color and sensitivity characterization of the sensor, and ends in the debayering, decompression, and image processing through the RED managed software development kit that all major post-tools have implemented. This standardization, from sensor to screen, allows RED to guarantee precise and cinematic results throughout the entire image pipeline.
Like all REDCODE RAW formats, R3D NE utilizes the latest in RED’s IPP2 pipeline, from decompression and debayering algorithms, to the advanced RAW image processing such as Chroma Noise Reduction. R3D NE has been optimized to use the existing RAW compression capabilities found in Nikon’s EXPEED ASIC, which is what the NE in R3D NE stands for – Nikon EXPEED.
Inside the Nikon ZR itself, sensor data is processed into a RED industry adopted Log3G10/RWG image, allowing for on-set monitoring with the same 3D LUT’s that would be used in any RED workflow. In addition, sensor gains and colorimetry have been tuned to not only provide exposure and color matching with RED’s ecosystem, but to leverage the same ISO behavior the rest of the R3D ecosystem uses, allowing users to balance their dynamic range shot-by-shot if needed.
In early 2025, RED had introduced the ability to process N-RAW through the latter part of this process, and .NEV became part of the RED workflow. Some tools that already had native .NEV maintained their existing workflow and kept direct decode of N-RAW footage. These applications, such as DaVinci Resolve, have now updated to RED’s latest software update, could however be forced into sending these .NEV’s through the RED software by renaming them to .R3D. These files technically remain N-RAW, and are still indicated as such in the software, as they do not include any of the in-camera characterization, metadata, and workflow that makes REDCODE RAW what it is. Importantly, these renamed files will not be the same as an R3D NE file shot with the same camera – the color, exposure, and latitude will all differ.
REDCODE RAW is an ecosystem, providing consistency from set to screen across generations of cameras. The Nikon ZR, and more specifically R3D NE, is just the latest step in bringing the RED workflow to filmmakers everywhere.
*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)
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.
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:
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)
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