Google's newest Pixel 10 smartphone (right) gained a dedicated telephoto camera module, similar to Google's Pixel Pro models.
Image: Google
When Google announced its new Pixel 10 smartphone with a new telephoto camera, giving it a triple-camera array similar to the Pixel 10 Pro, it positioned it as an upgrade over the dual-camera systems of its predecessors. However, as we reported at launch, Google made some cost compromises to squeeze that third camera into the phone: the main and ultrawide cameras were downgraded compared to previous Pixel models.
In a world where new phones generally arrive with better cameras than their predecessors, this raises a key question for owners of models like the Pixel 7, 8 or 9: is upgrading to the Pixel 10 for its telephoto camera worth the compromise?
To find out, we conducted side-by-side photo comparisons of the Pixel 9 and Pixel 10 across various lighting conditions.
Pixel camera hardware
Comparing the camera specs of the last four Pixel models reveals a significant shift by Google with the Pixel 10. Moving left to right in the table below, we've marked any camera modules that notably improved upon earlier generations in green. Camera models downgraded relative to previous generations are marked in red.
Editor's note: To make comparisons more straightforward, all focal lengths in this article are listed as full-frame equivalents.
Pixel 7
Pixel 8
Pixel 9
Pixel 10
Main (wide) camera
Lens*
24mm F1.85
25mm F1.68
24mm F1.68
24mm F1.7
Sensor
50MP Type 1/1.31 (72mm²)
48MP Type 1/2 (31mm²)
Ultrawide camera
Lens*
16mm F2.2
11mm F2.2
12mm F1.7
13mm F2.2
Sensor
12MP Type 1/2.9 (19mm²)
48MP Type 1/2.55 (24mm²)
13MP Type 1/3.1 (16.1mm²)
Telephoto camera
Lens*
N/A
110mm F3.1
Sensor
10.8MP Type 1/3.2 (15.5mm²)
*Full-frame equivalent focal lengths
Main camera: The Pixel 7, 8 and 9 used a Type 1/1.31 (72mm²) sensor like the ones used on Google's Pixel Pro models and similar to those on recent iPhone Pro models. In contrast, the Pixel 10 uses a Type 1/2 (31mm²) sensor, which has less than half the surface area of the earlier models. A smaller sensor captures less light, creating a disadvantage in low-light conditions that even advanced image processing can't overcome.
Ultrawide camera: The Pixel 10's ultrawide camera is also smaller than its recent predecessors, and 30% smaller than the ultrawide sensor in the Pixel 9. It's also a 13MP sensor, similar to the Pixel 7 and 8's 12MP sensor, but falls behind the Pixel 9's 48MP Quad Bayer sensor that facilitates additional computational processing to improve image quality.
Telephoto camera: The Pixel 10 is the only model in this group with a dedicated 5x telephoto camera module. But don't get confused; it's not the same telephoto camera module found on the Pixel Pro models, which use a larger sensor.
However, it's worth noting that modern smartphones are based on computational photography: a larger sensor (if it's combined with a bright lens) should yield better results, but a smaller sensor might be able to keep up if newer algorithms can combine more images. All things being equal, a larger sensor should be better, but since the computational component of smartphone cameras is somewhat opaque, all things may not be equal. So, we'll need to look at photographic tests to see how the cameras compare.
Photographic tests
We took matched photos using the Pixel 9 and Pixel 10 across a variety of lighting conditions to find out how the Pixel 10's new triple-camera array stacks up to its predecessor's dual-camera configuration. A sample gallery with all of these side-by-side photos, and more, is included at the end of the article.
Daylight: main camera
Image Comparison Slider
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In bright light, the main cameras on both phones deliver broadly similar results, at least when viewed on a small screen. At 100% view, however, it's clear the Pixel 9 retains more detail than the Pixel 10. Whether that's a function of the smaller sensor, the lens, or a combination of the two is hard to tell, though in some photos the Pixel 10's lens exhibited slightly more chromatic aberration than the Pixel 9.
Winner: Pixel 9
A close-up view from the main cameras on the Pixel 9 (left) and Pixel 10 (right). The Pixel 9 manages to capture more detail.
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The difference between the ultrawide cameras is more dramatic. Even in bright sunlight, the Pixel 9's ultrawide camera is sharper and retains noticeably more detail than the Pixel 10. The differences can become even more apparent when you get close to the corners.
Winner: Pixel 9
A close-up view from the ultrawide cameras on the Pixel 9 (left) and 10 (right). The Pixel 9 retains noticeably more detail even in bright sunlight.
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Things get interesting when we look at the Pixel 10's headline feature: the new 5x telephoto camera module, a feature absent on the Pixel 9. Instead, the Pixel 9 simulates a 5x camera using a crop of the main camera's sensor. Google markets this as "optical quality zoom," but take that claim with a serious grain of salt.
(Note that while Google describes both models' telephoto settings as "5x," the 110mm equivalent camera on the Pixel 10 is actually 4.6x longer than the main camera, which explains the wider field of view in the comparison shots below.)
A close-up view from the 5x "zoom" on the Pixel 9 (left) and the 5x telephoto camera on the Pixel 10 (right). Look closely at the text on the signs, and you can see that AI upscaling techniques used on the Pixel 9's 5x mode don't quite live up to Google's claims of "optical quality" zoom.
As we've explained previously, cropping is not "optical quality zoom," and while the linked article is about iPhones, Google employs the same basic approach, using AI and computational techniques to maintain image resolution.
A look at the close-up images above quickly reveals the limits of this approach, particularly on the text of the signs in the window. In the Pixel 9 image, much of the text morphs into quasi-hieroglyphics. In contrast, the Pixel 10's dedicated 5x telephoto camera retains perfectly legible text. You'll see similar effects on other subjects, but it's particularly noticeable whenever there's text in a scene.
Winner: Pixel 10
High dynamic range
Image Comparison Slider
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Both models handle HDR (high dynamic range) scenes well, allowing photos to appear more realistic when viewed on HDR displays, such as those found on smartphones. The Pixel 9 retains a bit more detail, but the most noticeable difference is in the processing, where the Pixel 10 tends to lift shadows a bit more aggressively.
On a smartphone screen, HDR images from both models look good. Note that the versions you see here have been flattened to fit an SDR display, so while they do look a little different, it's not the best way to compare photos intended to be viewed using an HDR screen. To really see this difference, you'll need to download the original, full-sized images to a device with an HDR display to compare them.
Winner: Pixel 9 (by a hair)
HDR images from the Pixel 9 (left) and 10 (right) differ in processing, with photos from the Pixel 10 generally having a flatter, more HDR "look" to them.
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Google's Night Sight feature is designed to help smartphone photographers get better results in low light. The Pixel 9's sensor, which has more than twice as much surface area as the Pixel 10's, can make a big difference, and Night Sight photos from the Pixel 9 consistently outperform those from the Pixel 10.
The photo I chose to illustrate this point pushes both cameras to their limits. Upon closer inspection, both images look like watercolor paintings, but the Pixel 9 exhibits less noise and retains more information in the shadows rather than crushing them to black, and the Pixel 10 essentially obliterates all but the most prominent stars. Both cameras can deliver better Night Sight photos in less challenging situations, but the relative performance remains the same.
Winner: Pixel 9
A close-up of Night Sight photos from the main cameras on the Pixel 9 (left) and 10 (right). Neither camera exhibits stellar results in this challenging scene, but the Pixel 9 exhibits less noise and holds onto information in the shadows rather than crushing them to black.
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Night Sight, using the ultrawide cameras with their much smaller sensors, pushes the limits of computational photography even further. The Pixel 10 is particularly challenged because it has a smaller sensor and a slower aperture, giving it about 40% of the light-gathering ability of its predecessor. That difference is clearly visible in Night Sight photos, with the Pixel 9 easily outperforming the Pixel 10 in almost all scenarios.
Note that the Pixel 7 and 8 ultrawide sensors are closer in size to the Pixel 10 (though still about 20% larger), so the difference in performance won't be quite as dramatic.
Winner: Pixel 9
A crop of Night Sight photos from the ultrawide cameras on the Pixel 9 (left) and 10 (right). Both cameras struggle here, but the Pixel 9's 50% larger, Quad Bayer sensor handily outperforms the Pixel 10.
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People photos and portraits represent one of the most common uses for any smartphone camera. We love to take photos of each other, and it frequently happens indoors and in low light.
The Pixel 9's larger sensor wins out here, producing more natural, less pixelated-looking textures and skin. Whether that's important depends on how you plan to use the pictures. If you're sharing photos with people who will primarily look at them on smartphones, it might not. If you want to make a print, it will.
Winner: Pixel 9
A close-up of a low-light photo taken in portrait mode on the Pixel 9 (left) and 10 (right). The Pixel 9's larger sensor allows it to retain more natural-looking details.
While the Pixel 9 came out on top in all but one of the head-to-head comparisons, the choice between the newest Pixel and its recent predecessors is nuanced, and the best option depends on your priorities.
The Pixel 10's dedicated telephoto lens makes the camera more versatile for social media use, and could be a key factor for anyone who uses the telephoto feature a lot, handily outperforming the virtual 5x camera on earlier models. If flexibility outweighs absolute image quality, it could be a good option.
But physics matters, and you're more concerned about absolute image quality, the larger sensors and faster ultrawide lens on the Pixel 9 give it a clear edge. The Pixel 7 and 8 retain that advantage on the main camera, but the difference in ultrawide modules is less pronounced.
What's clear is that Google made a strategic decision to further differentiate the base model Pixel from the Pixel Pro models. Rather than giving Pixel owners the same cameras as the Pixel Pro, but fewer of them, it's setting up the Pixel Pro as the go-to choice for serious photographers while giving Pixel owners a more versatile solution, but at some cost to image quality.
Sample gallery
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The latest Canon Q3 financial report confirms that Trump’s tariffs continue to be an issue for companies:
Profit down due to tariffs in Q3, but thanks to an increase in net sales and effects from last year’s sales structure review, sales and profits up YTD
In our markets, additional U.S. tariffs and geopolitical risks led to trend of postponed investment greater than in Q2
Additional information on the Canon Imaging division:
Financial Results
For the Imaging Group, we posted strong sales growth of entry-level interchangeable-lens cameras such as the EOS R50 and EOS R100, particularly in China and Asia. Sales of compact cameras also expanded thanks to a substantial increase in supply through increased production in response to strong demand. As a result, overall camera net sales increased 5%. For network cameras, we posted a net sales increase of 8% as sales remained solid. As a result, Imaging Group net sales increased by 5.9%.
Financial Projection
For the Imaging Group, starting with cameras, we aim to increase net sales by 9% for the full year. In the fourth quarter, in addition to entry-level interchangeable-lens digital cameras and compact digital cameras, where demand is strong, we will work to expand sales of full-frame interchangeable-lens digital cameras during the year-end selling season. As for network cameras, we aim to increase net sales by 17% for the full year, supported by continued steady market growth in each region. As a result, we expect Imaging Group sales to grow at a double-digit rate as it aims for 1 trillion yen in sales.
Cameras
As for the interchangeable-lens digital camera market in 2025, through the aggressive sales promotion of each company to stimulate demand, particularly in the unit sales of entry-level models, we expect the market to grow 6% to 6.8 million units compared to last year.
In the third quarter, we posted steady growth in camera sales, particularly in China and Asia. As a result, camera net sales increased by 4.6%, further exceeding the high level of sales in the same period last year, which was boosted by the launch of the EOS R5 Mark II, a full-frame mirrorless camera.
Amid growing demand for entry-level mirrorless cameras, we posted strong sales growth as new camera users, including young people looking to step up from smartphones, chose our EOS R50 and EOS R100. Sales of our new EOS R50 V and PowerShot V1, which were launched in the second quarter of this year, also increased due to favorable reviews from users who shoot videos for SNS and Vlogs. As for compact digital cameras, for which demand is increasing, we expanded sales through a substantial increase in product supply by expanding production.
In the fourth quarter, for the year-end selling season, during which demand for cameras is at its highest, we will increase sales of entry-level interchangeable-lens digital cameras through promotional activities and expand sales of full-frame models and interchangeable lenses.. As for compact digital cameras, for which demand is growing, particularly among young people,
by further increasing production, we plan to double our unit sales from the third quarter and increase our net sales of cameras by 8.4% for the full year. (Source)
Adobe's Project Indigo, a powerful camera app for iPhone, is finally available for the iPhone 17. Despite Apple releasing the iPhone 17 over a month ago, Project Indigo wasn't previously compatible with the new phone, reportedly due to the front-facing camera.
A post on Adobe's forum on October 16, as reported by The Verge, shared that the company had issues when developing support for the new iPhone 17 series of phones. "We have run into some issues, especially with the front camera," the post from product manager Boris Ajdin said. "Some of them we flagged to Apple, who have made a fix and will ship it with iOS 26.1. Sadly, that means we need to consider disabling the front camera in Indigo until that version of iOS is shipped."
A screenshot of the App Store update on the Project Indigo page.
For context, the iPhone 17's front camera uses a square multi-aspect ratio sensor, which isn't typical for smartphone cameras. The square sensor allows users to capture landscape or portrait photos and videos without rotating the phone. However, it also apparently complicates things for camera app developers, at least in the case of Adobe's app.
It appears that Adobe has now solved some of those issues. Over the weekend, Adobe's Chris Welch shared on Threads that Project Indigo is now ready for the iPhone 17. Welch shared a screenshot of the App Store listing, which says it required lots of "grinding, sanding, welding and polishing."
While the app is functional on iPhone 17s now, the selfie camera is currently disabled. The App Store description for Project Indigo says that front camera support for 17-series devices will be added in the next version of the app, which will come after Apple publicly releases iOS 26.1.
Sony 100-400mm G (variable aperture, very lightweight)
A new f/2 aperture ultra-wide-angle zoom (hint: a third-party manufacturer has a lens with the same focal length, but only with an f/2.8 aperture – Sony 16-28mm f//2 GM maybe?)
Regarding the camera bodies, Sony is reportedly going to release “bad” camera modes in the next two to three years:
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.
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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.
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