Photo: Moment

Camera accessory brand Moment has introduced a new line of camera bags that take a fresh look at lightweight packs. The Moment Fast & Light camera bags aim to offer slimmed-down, minimalist options for adventurers, with looks that can transition to everyday carry.

Moment says the Fast & Light line was inspired by running and cycling gear, and that's especially true of the vest, the most interesting offering in the lineup. After all, the Exposure 10L Vest looks more like a running vest than a traditional photographer's vest. Moment says the vest can be worn loosely or tightened down for a no-bounce fit using bungees on the sides. It also features bungee sternum straps instead of the front zipper closure found on photographer's vests, allowing a snug fit.

The front pocket design also takes cues from running vests. It offers a zippered stretch pocket and a quick-access stretch pocket on the front straps for easy access to things like film, your phone or those ever-important snacks. The back design borrows features from a cycling jersey, with stretch back pockets that allow for no-look access without removing the vest.

There's a main compartment that supports up to a 14" laptop, a tablet or a hydration bladder. A dedicated battery pocket in the main compartment is connected to a charging channel that lets you run a charging cable through the vest to keep your phone charged while in the front stretch pocket.

Moment says it's designed to keep your gear close to your body so that it "moves the way you do." The pockets disperse items between your side, front, and back, which helps get rid of bulk and keep the weight comfortable. The vest is also lightweight, at just 0.8kg (1.7 lbs). It's made of the company's 210-denier fabric called LiteWeave Ripstop and features a durable water repellent (DWR) coating for protection against the elements. It comes only in black but is available in two sizes: S/M, which fits chest sizes 38-45 inches, and L/XL, which fits chest sizes 45-55 inches.

Photos: Moment

Also in the new lineup is the Sequence 23L Camera Backpack, which looks like a much more traditional camera bag, though with plenty of useful features. Inside the bag are padded dividers that you can fold away when they aren't needed. A removable waist belt adds stability and comfort when needed. It offers two access points, including top access for quick-grab items like layers, and front access for camera gear.

The pack also features vest-inspired shoulder straps with pockets, LightWeave Ripstop fabric with a DWR coating and a laptop sleeve that doubles as a hydration bladder compartment with a pass-through hole for the tube. Side stuff pockets allow you to store water bottles, a tripod or additional layers. It's available in black, white and green.

The 1.5L sling is designed for compact cameras and essentials. Photo: Moment

Finally, the Fast & Light line includes 4L and 1.5L slings. Both can be worn as waist packs or crossbody bags and offer one-handed quick adjustments without hanging straps to dial in fit. They also each offer a front mesh pocket for quick access items and two zippered pockets for better organization. The 4L sling features a removable three-point stability strap that keeps the bag against your body when you're on the move and straps for jackets and tripods.

The new bags are now available for pre-order through Moment's website. Moment says the first 100 units will ship by the end of December, but the second batch won't arrive until March. The Exposure Vest costs $120 and the Sequence Backpack $230. The 1.5L sling is priced at $55, and the 4L sling at $99.

The OM System OM-5 II is a Micro Four Thirds mirrorless camera that uses the same stabilized 20MP sensor as its predecessor. It also features the same processor as the OM-5, so the list of new features is relatively subtle, but it gains some minor updates that make it feel a bit more modern.

Key Specifications

• 20MP Four Thirds CMOS sensor
• 50MP handheld high-res multi-shot mode
• Up to 7.5EV stabilization with Sync IS lenses
• Up to 30fps continuous shooting, configurable pre-capture
• 2.36M-dot 0.68x OLED viewfinder
• IP53 dust and water resistance rating
• USB-C for charging / data transfer
• Updated menu system

The OM-5 II retails for $1199 body-only, the same as its predecessor, and is available now. It comes in black, silver and a "sand beige" tan.

Index:

• What's new?
• How it compares
• Body and handling
• Image Quality
• Autofocus
• Video
• In Use
• Conclusion
• Sample gallery
• Specifications
• Press release

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What's New

USB-C

When the OM-5 launched in 2022, its use of a micro USB port instead of a USB-C one felt like a huge omission, especially given that the European Union was already well on its way to mandating the more modern charging and communication standard. Thankfully, the OM-5 II doesn't repeat that mistake; it uses USB-C for charging and connecting to your computer, where it retains the ability to act as a webcam without any additional software or drivers via the UVC/UAC protocol.

This is mostly an upgrade to the charging experience. You'll still want to use an SD card reader for offloading photos, as the type C port still runs at USB 2.0, less than a tenth the speed of the 5Gbps "SuperSpeed" ports found on a majority of modern cameras.

Updated grip

While the OM-5 II's design is mostly unchanged from its predecessor's, OM System has made the grip a touch larger to help with ergonomics. Compared to the OM-5's, it fills out your hand just a bit more, which helps make it a touch more comfortable and easier to handle.

New menus

The OM-5 II's menus, like those on the rest of the company's modern cameras, now look and work a lot like Canon's.

OM System has also brought over its updated menu system from the OM-1 and OM-3, with color-coded sections and tabs. Unlike its predecessor, the camera will try to give you an explanation for why certain items are unavailable instead of leaving you to guess what you need to change to access those features.

You can navigate through the sections using the front dial and switch pages using the rear one, which can be very quick once you get the hang of it. The four-way controller is required for changing your settings; you can use the touchscreen to switch tabs and sections, but not to navigate through or adjust the settings themselves.

CP button

OM System has replaced the OM-5's exposure compensation button with the 'CP' button that debuted on the OM-3. It gives you quick access to the camera's myriad computational photography modes; giving it a single press will activate your last-used mode, and if you press and hold it, you can use either command dial to scroll through the various modes and select the one you'd like to use.

The OM-5 II doesn't gain any new computational features compared to its predecessor, which is a bit of a shame since we've found the Live Graduated ND feature included in the higher-end models to be useful in some situations (though that may only be possible because of those cameras' Stacked sensors, which capture images faster, with less risk of rolling shutter). However, the OM-5 II still has a suite of useful computational modes:

All the multi-shot modes are processed in-camera, making them much more convenient to use compared to similar modes from other brands that have to be stitched with desktop software. However, that can take a while for some modes; the most taxing are the handheld high-res shots, which lock up the camera for over 15 seconds; even the progress bar won't move from the EVF to the display or vice versa if you move your eye to or away from the camera.

New color modes

Standard Color Profile	OM Cinema 1	OM Cinema 2

The OM-5 II includes the two video-only "OM Cinema" color modes from the OM-3, which are made to capture the same level of highlight information as the Log mode but without the extremely low-contrast, low-saturation logic that requires grading. The company says the OM Cinema 1 mode is designed to highlight yellows in the bright parts of your image and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.

Like Log mode, these modes capture the additional highlight information by using a minimum ISO of 400, meaning they're designed to receive one stop less exposure than standard mode.

Light, camera, action

Speaking of video, the OM-5 II now features a red LED in the top right corner on the front of the camera, which acts as a tally light to make it obvious when you're recording video.

A little help

The OM-5 II adds two new assistance features: a 'Night Vision' mode that boosts the live view's brightness, making it easier to focus and/or compose in dark environments and a 'Handheld Assist' mode that shows you how stable you're keeping the camera during long exposures. It gives you a target that shows how much you've moved the camera since you started taking the picture. It makes it easier to tell whether your photo will come out blurry since you'll know whether you've moved more than the stabilization system can compensate for.

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How it compares

The OM-5 II is mainly focused on people looking to capture their outdoor adventures, a niche that's often serviced by action video cameras. However, there's nothing about its design that precludes it from being a general-use stills camera. As such, we're comparing it to several comparably-priced APS-C cameras that are good for photos (no EVF-less, e-shutter only, single-dial cameras here) but that still include some decent video specs.

* - the original OM-5 could shoot at 10fps mechanical, but not with continuous autofocus.

In some ways, OM System sets itself apart by offering features you'd usually need to pay more for, such as a stabilized sensor and weather sealing. You have to jump up to at least $1499 and the Fujifilm X-S20 to get them in an APS-C camera, and OM System is one of only two camera companies to offer a specific IP rating rather than a vague claim of "weather resistance." The other being Leica.

Like Fujifilm, there's a wide array of sensible lenses available you can pair with the OM-5 II, though Micro Four Thirds offers lighter and more compact options than even APS-C. It also offers an unusually high number of multi-shot modes with in-camera processing, that can boost its performance.

However, the OM-5 II misses out on some features that are quickly becoming table stakes, such as the ability to shoot 10-bit video or stills for playback on HDR displays, a 60p video mode, and a wider array of AI-derived subject detection modes for its autofocus system. At this point, there are cameras well under $1000 that have these features, so they feel like notable absences.

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Body and Handling

Like its predecessor, the OM-5 II is very light, while still managing to remain well-balanced when paired with larger lenses like OM System's 40-150mm F4 Pro. The extra grip helps in this regard, filling out your palm and making the camera feel more substantial without adding much weight or bulk.

The OM-5 II has a selection of buttons and levers, and as is tradition for the brand, most of them can be customized to do pretty much anything you'd like. While the buttons around the four-way controller are fixed, you're free to do what you wish with the buttons on the top plate, including the two semi-circular ones atop the power lever. The settings are separate for stills and video modes.

It also has OM System's customary function lever, which is unfortunately much more limited; it can only be used to power the camera on or off (leaving the dedicated power lever to do nothing), turn the camera into video mode, or to switch between a small subset of dial functions or autofocus settings. It does not recognize the eye recognition mode, so you can't use it to switch between, say, tracking autofocus and continuous autofocus with eye recognition – unlike many other cameras, you can't have both human detection and the general tracking mode on at once.

It also features a locking mode dial, with settings for all the major exposure modes, along with video, scene and art filter modes. Its two top-plate command dials have relatively aggressive knurling, making them easy to manipulate even while wearing gloves.

Despite the revised menus, one of the OM-5 II's best features remains its "Super Control Panel," which is mapped to the OK button by default. It lets you easily access and control most of the camera's main shooting settings on a single touchscreen panel: drive mode, AF mode, face and eye detection, exposure and ISO control, etc. You can just tap on the screen and spin a command dial to change all the camera's key settings.

EVF and Monitor

The OM-5 II's viewfinder remains unchanged from the 2.36M dot 0.68x (equiv.) magnification model found on its predecessor. While it's relatively small, it usually gets the job done, and it's good to have in bright conditions where the fully articulating 3" LCD – also unchanged – will get washed out.

Battery

The OM-5's tripod mount is somewhat controversial, and OM System tells us it's unchanged for the II.

The OM-5 II uses the same 8.5Wh BLS-50 battery as its predecessor, which the company says will last for around 310 shots based on CIPA test standards. While you can generally expect to get more shots than the rated number in real-world use, it's a useful indicator for comparing across cameras. In this case, it's relatively low; if you're going into the wilderness for a weekend, you may want to pack a spare battery or plan on topping it up with your USB-C power bank.

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Image Quality

The handheld high-res multi-shot mode is easier to access than ever on this camera, and can be used to gain a bump in image quality. But it only works with very still subjects, and is slow to process. OM-5 II | OM System 25mm F1.8 II | F5.6 | 1/500 sec | ISO 200 Photo: Mitchell Clark

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

To start by answering the obvious question: there are no discernible differences between the output of the OM-5 and the OM-5 II that couldn't be explained by run-to-run variation; the two cameras perform virtually identically in our tests.

That's not necessarily a bad thing, as the original provided solid image quality. At base ISO, the OM-5 II's Raws have good levels of detail, roughly in line with what the Canon EOS R10 and Nikon Z50II capture, and slightly more than the Fujifilm X-S20 (though that may come down more to the difficulty some programs have with processing pictures taken using Fujifilm's X-Trans color filter). Given its smaller sensor, it's unsurprising that it has more noise across the tonal range than its APS-C competitors.

This also translates to worse low-light performance, though the images from the OM-5 II are still usable at mid-range ISOs and its stabilized sensor will let you shoot at slower shutter speeds (depending on your subject) than with its unstabilized competitors, so you may not have to use the higher ISOs as often.

Its JPEG processing generally does a good job of sharpening and reducing noise at base ISO, though Canon and Nikon have a slight edge when it comes to preserving fine details. At higher ISOs, the OM-5 II does a good job of reducing noise without smoothing away details, as do the rest of the cameras in this lineup.

We found the colors in the OM-5 II's JPEGs to be quite pleasing. They're not overly punchy, but are saturated enough to make images pop.

The multi-shot high resolution modes, which are thankfully processed in-camera rather than in a desktop app, can be used to gain a bit of extra detail under the right circumstances. They only work with very still subjects, such as landscapes (as long as there's not a lot of wind), which limits their usefulness.

Dynamic Range

Shot at base ISO and exposed to preserve highlights. Shadows lifted in Adobe Camera Raw and edited to taste. OM-5 II | OM System 20mm F1.4 Pro | F4 | 1/160 sec | ISO 200 Photo: Mitchell Clark

The camera offers good dynamic range performance, giving you lots of flexibility to shoot to preserve highlights and to raise shadows in post. However, it doesn't have the advantage in read noise that it once did; when the OM-5 came out, we found it had substantially cleaner shadows than the (much more expensive) Panasonic GH6. Comparing it to the GH7, that's no longer the case, not that we suspect most people will be choosing between these two cameras, despite their shared sensor size.

Exposure Latitude | ISO Invariance

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Autofocus

The OM-5 II doesn't have eye detection or animal detection, but the tracking can do a decent job, even on somewhat wiggly subjects. OM System 20mm F1.4 Pro | F2.8 | 1/8000 sec | ISO 800

The OM-5 II has several autofocus modes: single, continuous and continuous with tracking, as well as a special star autofocus mode for shooting the night sky. In the standard modes, you have several selection point shapes to choose from, ranging from a small single point to the whole area. You can also set up four custom-size zones and exclude whichever target modes you want from the menu.

To move the autofocus point or area, you can use the screen for tap-to-focus or the four-way controller. You can also enable the "AF targeting pad," which lets you use the right half of the screen as an autofocus controller while looking through the EVF. These options do a decent job of making up for the lack of an autofocus joystick, though we still occasionally found ourselves missing that direct physical control.

The OM-5 II's autofocus points only cover around 60% of the sensor, which means you'll have to be a bit more cautious when composing, trying to track a subject, or setting up your camera to get a shot when something enters the frame.

The OM-5 II has face/eye detection, which works in single, continuous, and manual focus modes, but it feels like a decidedly first-generation implementation. It typically only recognizes humans' eyes, not animals'. It can occasionally struggle to identify human faces if they're wearing glasses, tinted or clear. And unless you're using tap-to-focus, the camera won't respect your chosen focus point if it recognizes a face; it'll snap to it, and you'll likely have to turn detection off to get it to focus on something else.

The face detection also doesn't work in conjunction with tracking mode; you can have either it or tracking. And, frustratingly, you can't just switch to the C-AF + Tracking mode to turn off face detection; you have to turn off face detection to even be able to access the option, though the camera will automatically switch back to tracking in some (but not all) circumstances.

Autofocus Performance

The OM-5 II's single and continuous autofocus performance is snappy and accurate, generally doing a good job of driving the lens to get the subject in focus without having to hunt. There were very occasional misteps that resulted in slightly soft images, but overall we were quite pleased with it.

Its tracking performance is a slightly different story. While it could do a decent job of keeping the autofocus point on a selected subject, it does feel a ways behind what companies like Nikon, Canon and Sony are doing. The tracking point isn't always as tenacious as we'd like, and it was sometimes unable to lock onto lower-contrast subjects at all. It would also occasionally start to drift off the subject being tracked, and the tracking box the camera displays sometimes lagged behind what it was supposed to be tracking.

Because of its identity as an outdoor adventure camera, the tracking performance means you may have to work a bit harder if you're trying to photograph wildlife or athletic activities. For some, that won't be an issue, but it could lead to a slightly frustrating learning curve for beginner photographers who may otherwise find the OM-5 II's price and relatively robust feature set attractive.

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Video

The OM-5 II's 4K/30 video is reasonably sharp for everyday use, but falls well short of the image quality you can get from other cameras like the Nikon Z50II and Fujifilm X-S20. It includes a Log profile that lets you shoot footage designed to retain flexibility for color grading, but unlike its more expensive siblings, can only do so in 8-bit, which severely limits that flexibility. It also lacks a 4K/60 mode for higher-resolution slow-motion.

It also lacks some of the assistance tools that are increasingly becoming standard for serious video shooting, such as a waveform monitor or false color preview, HDR output, or in-camera support for LUTs (though there is at least preview assistance when you're shooting in Log). And while it has a microphone socket, you won't have any way to monitor the audio, given its lack of a corresponding headphone port and apparent* lack of support for a USB-C to 3.5mm adapter.

This isn't to say that the OM-5 II isn't capable of casually shooting video, but it'd be a frustratingly limited tool for more serious shoots. For capturing clips, though, the IBIS is relatively effective at smoothing out hand shake and other movement, and the autofocus generally does a good job, though it can occasionally drift, especially when capturing more complex scenes.

This is made all the more disappointing as its rolling shutter performance is excellent, taking 10ms to read out the sensor when shooting in 4K/24.

* - We tested with one to no effect, but they're not always universal.

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In Use

When I reviewed the OM-3, I found myself very willing to try out the handheld high-res mode to get a bit more image quality, even in situations where I was a little unsure whether it'd produce good results. That wasn't true with the OM-5 II; I quickly learned that the time it takes to process the 50MP images was far longer than I'm willing to wait. The other computational modes – made easier to access by the "CP" button – are a bit quicker, but it's the area where this camera's processor most shows its age. I also found that they ate through the camera's already relatively meager battery quite rapidly. That made me far less willing to use them outside of very specific scenarios where I knew I'd get the full benefit.

There are very few other cameras that I'd be willing to put in my backpack when paired with a 100-400mm equiv. lens. OM System 50-200mm F2.8 IS Pro | F2.8 | 1/100 sec | ISO 2500

That frustration was somewhat offset by just how easy it was to take this camera anywhere. It's nowhere in the realm of pocketable, even with a small prime attached, but it's small enough that I found myself throwing it in whatever bag I was taking, just in case I ran into interesting things to photograph. That included bringing it along on a backpacking trip and a kayaking outing (my confidence perhaps a bit too buoyed by the IP53 rating), where I was able to get photos that looked substantially nicer than what my phone could've produced.

None of this will be a revelation to the Micro Four Thirds faithful, but it's a benefit worth reiterating. Although in theory someone should be able to build an APS-C rival with a comparable feature set, the OM-5 II still offers an unmatched combination of size, price and capabilities.

It's also hard to overstate how far the new menu system goes to making the camera feel more modern than the original OM-5. While there will be those who prefer a vertical tab system versus a horizontal one, the color coding and improved tips that give you a hint as to why certain options aren't selectable go a long way to making the camera feel more approachable. Their inclusion here makes their exclusion on the original OM-5 all the more baffling, but at least they're here now.

Minor complaint: if you set the function switch to act as the power switch (letting you turn the camera on and control it with the same hand), the default power switch on the left side of the camera becomes completely useless.

The new menus don't solve OM System's issue of its features not necessarily integrating with one another. It remains frustrating that you can't use the mode toggle switch, which would otherwise be a very handy feature, to switch between, say, continuous autofocus with facial recognition, and Tracking autofocus. The face detection mode (and any other modes added after the switch first appeared on the OM-D E-M5 II) can't be controlled by the switch; it will simply stay on, overriding Tracking AF. Still, the camera is very customizable, letting you reassign most of its buttons and dial directions.

Of course, USB-C is also a massive improvement, especially given that the OM-5 II has just okay battery life. Being able to charge your camera using the same equipment you have for your phone, computer, etc., is a luxury that you don't miss until it's gone, and it's a tradeoff this camera no longer asks you to make. Particularly for traveling, this is valuable.

Speaking of tradeoffs, though, we'll also point out that the OM-5 II isn't compatible with OM System's FL-LM3 flash unit, which we consider to be the best pack-in flash unit. We've written an entire article on the matter (and have since attached the flash to our OM-5 II to confirm it didn't work), but felt it deserved a mention here, given that the FL-LM3 did work with the original OM-5.

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Conclusion

By Mitchell Clark

When viewed in a vacuum, it's hard to find much to complain about with the OM-5 II. It has a winning combination of good image quality, ergonomics and usability, combined with extra features you normally wouldn't get at this price point like an IP rating, computational photography modes and very solid IBIS. If this was your first camera, or if you were coming from a much older model, you'd probably be pretty happy with it.

There are, however, places where it starts to show its age. And unfortunately, it's in the basics. Autofocus is perhaps the most glaring; in 2025, even much cheaper cameras (which, admittedly, lack those aforementioned features) will provide more reliable tracking and offer greater AF area coverage and additional subject recognition types. Most will also have better video specs, with more flexible 10-bit recording modes and a headphone jack.

This camera's hardware also makes OM System's computational photography features – a major selling point on some of its other cameras – less appealing, because of just how long it takes to process them. That also means it's less convenient to use the high-resolution modes to gain back some of the image quality you give up by going with a smaller sensor.

The OM-5 II's biggest problem, at least initially, may be the original OM-5 itself, which is now selling for significantly less money. It's not that the Mark II doesn't offer any meaningful upgrades, because it does. But if you're willing to put up with microUSB and the old menus, you're getting essentially getting the same camera, but with slightly faster fixed-focus mechanical shutter burst rates and support for one of the best small flashes out there.

We do think there's a market for the OM-5 II. Like the company's other cameras, it still fits well into its niche as a tool for those traveling outdoors who may encounter bad weather and who don't necessarily want to bring a tripod. But as the entry point to that system, there are enough asterisks that you'd have to really want the specific things the OM-5 II is offering to choose it.

In theory, it's the kind of camera we'd love to recommend to people just starting out with the hobby, but its once ground-breaking spec is just a bit too far behind (in a way that cameras like the OM-3 and OM-1 / OM-1 II aren't) at this point for us to do that. As such, we don't feel as if we can grant it an award.

Scoring

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

Compared to its Peers

The Canon EOS R10 will provide more capable autofocus with better general tracking, face detection, and support for detecting other kinds of subjects. Some users will also greatly appreciate the ability to select an autofocus point with a joystick, rather than a touchscreen or four-way controller, and others will benefit from its much better video spec and higher burst rates. While Canon tightly controls what lenses are available for APS-C RF cameras, the selection that's available now is quite good for most types of shooting, even if it's not as extensive as the Micro Four Thirds system. Of course, it does ask you to give up weather resistance and sensor stabilization.

The Fujifilm X-S20 also has better face-tracking and more subject detection modes, but the autofocus performance gap between it and the OM-5 II isn't quite as big as with the Canon. However, it's even more capable when it comes to video – the headphone jack is great for monitoring audio – and is the cheapest APS-C option to offer a stabilized sensor (though its US price has crept up by a few hundred dollars since we listed it as a competitor).

The Nikon Z50II's comparison will reach much the same as the Canon's; it has much better autofocus and video than the OM-5 II, but is slightly held back by lens selection and an unstabilized sensor. Like the OM-5 II, it lacks an AF selection joystick, though the reliability of its '3D Tracking' system means you may find yourself missing it less. It's also the only APS-C camera in this price range to make a claim of weather resistance, though it's the typical vague promise, rather than the IP rating OM System tests for.

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Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Pre-Production Sample Gallery

The latest DJI leaks and rumors – first are some new leaked pictures of the upcoming DJI Osmo Action 6 camera:

DJI Neo 2 drone – coming on October 30th:

• Gesture and voice control
• New omnidirectional sensors
• 2-axis gimbal
• 19 minutes in the air
• Auto return home
• Direct charging

A new DJI Zenmuse L3 next-generation aerial LiDAR and camera system will be announced on November 4:

Via Igor Bogdanov

The post The latest DJI leaks and rumors: Osmo Action 6, Neo 2, and Zenmuse L3 appeared first on Photo Rumors.

Here is what else is new:

Nikon ZR + 35mm f/1.4 lens kit now in stock in the US

The new Nikon Nikkor Z DX 16-50mm f/2.8 VR & 35mm f/1.7 lenses will start shipping this week

Additional information on the major new Nikon Zf firmware update version 3.00 with “Film Grain” feature

Major Nikon Zf firmware update version 3.00 released with the new “Film Grain” feature and much more

Adobe Lightroom Classic 15.0 now supports native tethering for Leica SL3, SL3-S, Q3, and Q3 43 cameras

The latest “Kasyapa for Leica” reviews

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

Photo: The Camera Store

Break-ins at small businesses are always disheartening, but they hit especially close to home when the business is a photography-related one. After all, local camera stores are vital resources and places of community for so many of us. Unfortunately, that's just what happened to The Camera Store in Calgary, Alberta, Canada, on October 23.

The Camera Store, also well-known for its YouTube channel, recently shared news of the break-in on its blog. It explained that at approximately 2:50 a.m. MDT, an individual forcefully entered the store. That person targeted two of the store's high-end Nikon and Sony showcases, shattering the glass on the display case and stealing the gear inside. Surveillance video The Camera Store shared shows the thief filling a hockey roller bag with professional cameras and lenses and then fleeing the scene. The thief was in and out in under two minutes.

The store said it lost nearly $100,000 CAD (roughly $71,500 USD) worth of inventory and shared a list of all the stolen gear along with serial numbers in its blog post. That amount doesn't include the extensive damage to its display cases and building, which will result in costly repairs, the store said in its post. "We are devastated by this act that not only impacts our staff and customers but also our ability to serve the local photography community," said Evelyn Drake in the blog post.

This isn't the first break-in for this particular store, either. In 2018, a break-in resulted in $35,000 CAD of stolen equipment; another in 2023 involved a loss of more than $30,000 in inventory.

The Camera Store is offering a reward of $5000 in-store credit toward a shopping spree for information that leads to a conviction. Anyone with information or who witnessed suspicious activity around the location should contact the Calgary Police Service at 403-266-1234, or if you wish to remain anonymous, call Crime Stoppers at 1-800-222-8477 using case number CA25462267.

Here at DPReview, we greatly value local camera stores. Earlier this month, we even asked our community about their favorite local camera stores for our Question of the Week series to highlight some of the gems around the world. It’s truly disheartening to hear of a break-in at a store that plays such an important role in the photography community.

Unfortunately, this is just one example of the difficulties these types of stores are struggling with to stay in business. It's a good reminder to all of us to support our local camera stores when possible. Otherwise, we may lose access to these important places.

Image: Adobe

Disclosure: DPReview is attending Adobe Max, with Adobe covering travel and lodging expenses.

Adobe is holding its Max conference this week, which means we're getting a slate of updates to Photoshop and Lightroom that make some of the features it's been announcing over the year available to the general public.

Perhaps the most exciting one, especially for photographers, is Lightroom's Assisted Culling feature. Adobe said it was working on it earlier this year, but it's finally arriving in public beta. The idea is that it will let you quickly filter through a large batch of images to find the good ones, selecting by angle and how in-focus and sharp they are. The company says the feature will be launching in public beta soon.

The updates coming today include a bunch of small tweaks and features, too. Photo: Mitchell Clark

The company has also brought its automatic dust removal feature in Lightroom and Adobe Camera Raw out of beta, which can help deal with spots on your sensor that show up in photos. It's part of the Remove Distractions suite of tools, which also lets you use Generative Fill tools to remove people and other objects from your photos, which the company says is now two times faster. The company also says it's improved the reflection removal tool, which it introduced into Adobe Camera Raw last year.

Adobe is integrating a chat assistant into several of its apps, including Photoshop. Image: Adobe

Another feature previewed earlier this year is what Adobe is calling the "Photoshop AI Assistant." Essentially, it's an AI chatbot that you can ask to do various tasks in the app, such as renaming layers and adjusting saturation, potentially saving you some clicks or time that otherwise would've been spent looking up a tutorial or searching for a specific tool. The company is now starting to roll it out, making the feature available in Photoshop for the web as a private beta, via a waitlist that Adobe says it will let people into starting this week.

Of course, several of the features Adobe has announced make use of generative AI. Photoshop's Generative Upscale feature, which was added to the Photoshop beta earlier this year, is launching in the mainline version of the app. By default, it will be powered by Adobe's Firefly model, but now the company says you'll have the option of using Topaz Labs' Gigapixel and Bloom models as well, which could work better on certain types of images. They can, however, cost quite a few AI credits – up to 20 of them – and, the ones included in the cheaper Photography Creative Cloud plans don't work with any of the features that utilize partner models.

In that vein, the company is also updating Photoshop's Generative Fill to support models other than its own Firefly model. Like Generative Upscale, this feature was announced earlier this year in beta, but is now available to the general public. Additionally, the "Harmonize" feature, which was shown off as a preview at last year's Max and made available in beta this summer, is now widely available. The tool attempts to composite different layers together by matching color and lighting.

One AI Feature that doesn't necessarily involve the cloud is subject selection, which the company says is improved in the latest release. In April it introduced the option to process the selection in the cloud, which provided better performance. Now, that model they were using can be run locally, instead, making it easier to select subjects even if you don't have an active internet connection. Adobe's Stephen Nielson, Sr. Director of Product Management of Photoshop, told us that the company was interested in using local models rather than cloud-based ones whenever it was feasible.

Despite Adobe's best efforts, not everything new revolves around AI

Despite Adobe's best efforts, not everything new revolves around AI. The new, more powerful version of Photoshop Mobile, which launched earlier this year for iPhones and iPads, is also now generally available for Android phones, greatly expanding the number of people who can access it. It has a free tier that you can use without a Creative Cloud subscription, but some features will require one. Access is included in the Photoshop Mobile and Web plan, which costs $7.99/month or $69.99 annually.

Image: Adobe

Speaking of Photoshop Web, the company is bringing the stylization effects feature out of beta. These make it easy to add different looks to your image (or specific parts of it), and include options like "glitch," which separates the red, green, and blue channels to make your image look like a poor VHS transfer, "comic" to give it an illustrated look, and motion blur, which adds directional blur to make it seem like something's moving. Each effect has a set of parameters you can tweak. Of course, they're all things you could have achieved in Photoshop before, but having them as one-click options makes the process substantially easier.

Adobe has also updated Camera Raw, giving you the option to automatically mask out snowy parts of landscapes, letting you easily isolate it for editing. There's also now a slider called "Variance" in the color mixer panel, which Adobe says will let you "fine-tune the color and tone of an image to achieve tonal consistency," especially when it comes to skin tones and fine variations in color.

We'll be on the ground at Adobe Max this year, so stay tuned for demos of some of these new features and previews of what we might see over the next year.

Image: Adobe

Disclosure: DPReview is attending Adobe Max, with Adobe covering travel and lodging expenses.

Adobe has announced new features for its Premiere Pro video editor. The updated tools could make it much easier to achieve effects that previously would've required specialized compositing software.

The first and biggest one is called Object Masks, which lets you select an object, such as a person or product, in the video. Premiere will then use AI to detect the edges and create a mask for it, separating it from the background so you can apply effects or transitions to each part of your video, independently.

The Object Mask feature should make it relatively easy to select and track specific elements of your footage. Image: Adobe

This may sound familiar to Lightroom users; Adobe's photo-editing apps have had similar masking tools for a while now. It's also essentially an automated version of rotoscoping, which has long been one of the most tedious parts of video editing.

Of course, a mask wouldn't be particularly useful if it's only for a single frame. Adobe has also updated the built-in mask tracking features to make them faster and better at dealing with changes in perspective if the object is moving towards or away from the camera. If you're running tracking on an Object Mask, Premiere will try to adjust the mask's shape to match whatever you're trying to track as it moves.

Image: Adobe

The standard shape masks made using the rectangle, eclipse or pen tools have also been updated with a cleaner UI and support for the updated tracking tools.

The updates are launching in public beta today, and will likely be a welcome addition to editors who use Premiere, especially if Object Masks works as well as they do in Adobe's demos.

Exciting as they are, masks aren't the only thing that have gotten an update in Premiere. There's a new auto-censoring feature that uses the automatic transcription to let you bleep out any specific words you don't want included in the final cut. Premiere will also let you use a custom sound, if you'd prefer something other than the traditional swear beep. The feature is launching as a public beta today.

Image: Insta360

Insta360 has announced the X4 Air, a lightweight take on its X series of 360-degree action cameras. Despite shedding some weight, Insta360 promises flagship-level features from the new camera, with 8K 360 video and larger sensors than the X4.

Action cameras are already quite compact and lightweight, but Insta360 cut down the X4 Air to 165g (5.8oz). Insta360 says it is its lightest-ever 8K 360 camera. Still, while the company highlights that as a primary selling point, it's only 35g (1.2oz) less than the X5, and 38g (1.3oz) lighter than the X4. That's around a 19% reduction, but in absolute terms, it's hardly earth-shattering weight savings.

The X4 Air effectively sits in between the X4 and X5, with upgrades over its namesake and both shared and downgraded specs when compared to the X5. Despite the shared specs, Insta360 makes it clear that the X4 Air sits below the flagship model. "Where X5 is engineered for precision, X4 Air is made for freedom," the company says. The most prominent difference is that the new camera uses dual Type 1/1.8 (7.1 x 5.3mm) sensors, which are significantly smaller than those in the flagship model.

Insta360 says the new camera is capable of up to 8K30 when recording 360-degree video, just like the last two X model cameras. What's new, though, is that the 8K resolution is also available when using the 'Active HDR' mode, which is Insta360's wide-dynamic range footage compressed into an SDR space. That's an improvement over the X5's 5.7K 60 max resolution when recording with Active HDR.

Insta360 says the biggest improvement comes from AdaptiveTone, which it describes as its "intelligent exposure algorithm." The company says Adaptive Tone analyzes light from both lenses independently to balance brightness and color better. It says this protects highlight and shadow detail for higher quality 360 images without heavy color grading.

Images: Insta360

The X4 Air also offers durability upgrades over the X4. The company implemented the user-replaceable lenses introduced on the X5 so users can swap lenses themselves if they get scratched or shattered (extra lenses are a separate purchase). The camera is also waterproof to 15m (49") without a separate case.

Otherwise, the X4 Air gets all the standard Insta360 features. That includes a Portrait Mode that automatically detects faces and adjusts brightness and color accordingly, a night mode that promises better lowlight performance and the company's FlowState Stabilization and 360° Horizon Lock. It also supports gesture and voice control, and provides multiple preset recording modes to simplify the editing and sharing process.

The Insta360 X4 Air is available starting today in Graphite Black and Arctic White. The Standard Bundle costs $400, while the Starter bundle, which includes a 14cm Invisible Selfie Stick, Lens Cap and extra Battery, costs $440.

Composite image of Nikon Zf product rendering and Nikon Grain Effect sample photo.

Nikon has just released firmware v3.0 for its Zf classically styled full-frame mirrorless camera, adding a grain effect option and other updates, including a JPEG-only 'C15' 15fps burst mode and UVA/UAC tethered webcam mode.

The latest firmware brings the grain effect we got a chance to preview, earlier this month, as one of what the company says are more than twenty upgrades and enhancements. Nikon has not shared details of all these changes, but it does say they include additional on-screen frame guide options, an option to apply focus peaking only when live view is magnified and an option to manual focus the lens wide open, regardless of capture aperture.

Click here to see our Nikon Zf Grain Effect samples

In addition, Nikon says it's added an option to its EVF/LCD auto switching system so that the rear screen doesn't black out if something gets too near the eye sensor when the screen is folded out from the body.

The grain effect option is the biggest update, though, bringing the choice of six intensities of grain and three sizes. Nikon says the pattern constantly changes so that each image looks distinct and video has a convincing randomness to the grain's appearance.

The firmware can be installed via Nikon's SnapBridge software and there's now an option to have it automatically install updates via the Nikon Imaging Cloud service. You can set a time of day at which the camera checks for updates and, if turned off and connected to a power source, it will download and install the firmware.

Nikon Zf firmware v3.0 is available (free) immediately.

B&H Photo is currently listing a new, not yet announced AstrHori 9mm f/2.8 APS-C lens for E/X/Z/RF/MFT mount:

Check the official website for any updates.

Announced: new AstrHori AF 85mm f/1.8 Mark II full-frame lens for E/L/Z

Via CanonAddict

The post New AstrHori 9mm f/2.8 lens already listed for sale at B&H Photo (E/X/Z/RF/MFT mount) appeared first on Photo Rumors.

Canon is already teasing the announcement of the long-rumored Canon EOS R6 Mark III for November 6th at 1:00 am EDT (see the latest R6 Mark III rumored specifications):

The latest Canon rumors

Canon RF 45mm f/1.2 STM Details

The post The first Canon EOS R6 Mark III teaser is already out (November 6th announcement) appeared first on Photo Rumors.

The Sigma 135mm f/1.4 DG Art lens for Sony E and Leica L mount is now in stock at:

• US: B&H Photo
• UK: WEX Photo
• DE: Foto Erhardt

The post The Sigma 135mm f/1.4 DG Art lens is now in stock (E+L mount) appeared first on Photo Rumors.

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.

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

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. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: ultrawide camera

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. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: telephoto camera

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. Click to view the full-sized images: Pixel 9, Pixel 10

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

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. Click to view the full-sized images: Pixel 9, Pixel 10

Night Sight: main camera

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. Click to view the full-sized images: Pixel 9, Pixel 10

Night sight: ultrawide camera

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. Click to view the full-sized images: Pixel 9, Pixel 10

Low light portrait

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. Click to view the full-sized images: Pixel 9, Pixel 10

Conclusion

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.

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)

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Image: Apple

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.

In addition to the new a7V camera, Sony is also rumored to announce three new lenses in the upcoming months:

• Sony 100-400mm f/4 GM II (replacement for the current Sony FE 100-400mm f/4.5-5.6 GM OSS)
• 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:

New Sony price drops before the a7V announcement: a7RV now $900 off, a7IV now $700 off

Via camerainsider

The post Sony is rumored to announce three new lenses, boring cameras expected in the next 2-3 years appeared first on Photo Rumors.

Here is what else is new:

Today only: get an additional 5% off on OM System gear in Europe on top of the current discounts

PPP Cameras released a new Leica M10/M10-P V2 screen cover with an integrated thumb grip

Leica M11-P Safari and Q3 43 cameras added to the CCD Sensor Corrosion Upgrade Program

2025 Tamarkin Photographica Auction: online bidding is now open

Canon RF 45mm f/1.2 STM Details

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

Peak Design introduced new Form camera straps (fixed-length, full-grain or woven nylon rope straps available in multiple sizes and three different colors). The new collection is available for sale at B&H Photo. Here are the details:

Form Rope Straps (MSRP: $49.95)

• 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 post Peak Design introduced a new line of Form camera straps appeared first on Photo Rumors.

Fujinon 13-33mm F3.5-6.3 OIS @ 33mm | 1/125 sec | F6.3 | ISO 160

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.

Here is an updated list of the latest/upcoming/rumored Chinese lenses:

The Nikon Z-mount of the new Viltrox AF 85mm f/2 EVO lens will be announced on November 5th.

Viltrox will release the first two L-mount lenses in 2026:

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

Viltrox will also be releasing new wide-angle 0.8x and tele 1.4x front conversion lenses that attach to the front of the lens (not teleconverters that attach between the lens and the camera). This will most likely come for the Fuji X100 and other popular fixed lens cameras.

New Meike AF 23mm f/1.4 lens coming soon.

Light Lens Lab will soon release a new LLL 35mm f/1.4 Aspherical “11873” lens for M-mount.

Artralab 28mm f/2.8 lens for Leica M-mount.

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

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

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

New Yongnuo YN 56mm f/1.4 R DA DSM lens (RF mount version).

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

New Viltrox zoom lens (Viltrox AF 35-50mm f/1.4 maybe?)

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

New Dulens lens coming soon.

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