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Product photos: Mitchell Clark
Leica has announced the Noctilux M 35mm F1.2 Asph., the latest entry in its famed series of fast primes, and the first one to offer a wide-angle focal length. Since their introduction in 1966, Noctilux lenses have traditionally been 50mm, though the company added a 75mm option in 2017.
The lens is made up of 10 elements in five groups, and the company says it was made possible by the latest iteration of its in-house "Precision Glass Molding" process. Leica says this allowed it to obtain "an unprecedented degree of geometric freedom and surface precision" when molding the lens's three aspherical elements, with tolerances as tight as three nanometers per millimeter of diameter. It has a minimum focusing distance of 0.5m (19.7").
As is standard for Leica M lenses, the Noctilux 35mm F1.2 is a manual focus design, with an etched distance scale on the barrel. It also features an aperture ring and an integrated lens hood, which rotates to extend out or to stow away. It can also accept 49mm threaded filters. It has an all-metal build and weighs 416g (14.7oz). Despite its heft, it's quite compact at 50mm (~2") long.
The lens is an interesting offering from Leica in 2026. Even almost 20 years after its introduction, major manufacturers don't seem to be all that interested in competing with the Noctilux 50mm F0.95, so it's still a relatively unusual offering in the market*. But while the mechanical simplicity of the manual focus-only 35mm version makes it unmatched in compactness and weight, it's not a particularly singular offering. There are several modern, autofocusing 35mm F1.2 lenses available on the market from the likes of Sigma, Nikon and Viltrox, and several (shockingly cheap) manual focus offerings from the usual suspects.
That's not to say that people looking at the Noctilux would necessarily be interested in those options, just that it's not the kind of statement piece we typically associate with its nameplate. Still, it's an undeniable piece of craftwork, and it's hard to complain about the images it produces, at least in the samples we were able to take with it.
The Noctilux M 35mm F1.2 Asph. is available starting today at a retail price of $9650. That's a 50% premium over the Summilux 35mm F1.4, actually placing it on the lower end of what brands usually charge for that particular 1/3 stop difference.
* - There are several manual focus, 50mm F0.95 lenses from brands like TTArtisan, 7Artisans, Brightin Star and others, and, of course, there's the Nikkor Noct, but you can't get something that fast for modern mounts from Canon, Sony, Sigma, etc.
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Press release:
New: The Leica Noctilux-M 35 f/1.2 ASPH.
Leica Camera AG presents the first Noctilux M-Lens with a focal length of 35 mm
Teaneck, January 29th, 2026 – Since first being introduced in 1966, the name “Noctilux” has represented the pinnacle of optical craftsmanship at Leica. The name is made up of the Latin words “noctu” and “lux”, meaning “night” and “light”, and refers to the exceptional speed of this lens series. With a maximum aperture of up to f/0.95, Noctilux lenses are considered to be the epitome of optical development, opening up creative possibilities beyond the ordinary. They deliver images with an unrivaled visual aesthetic. With the new Noctilux-M 35 f/1.2 ASPH., Leica Camera AG is presenting the first Noctilux M-Lens in the company’s history to feature a 35 mm focal length.
Like all Noctilux lenses, the latest addition to the family impresses with its exceptional speed and superior imaging performance. The new, compact Noctilux-M 35 f/1.2 ASPH. produces clear, high-contrast images characterized by a distinctive look. The shallow depth of field at a wide aperture, precisely separates subject and space, creating a velvety soft bokeh and lending images tangible depth as well as a cinematic atmosphere. Stopping down the aperture allows you to selectively increase the depth of field. A floating element within the complex optical construction ensures consistent performance across the entire focusing range, from the close focus distance to infinity.
Up until now, the unique offering of Noctilux glass has been leveraged exclusively for 50 and 75 mm focal lengths. The new Noctilux-M 35 f/1.2 ASPH. now makes the revered Noctilux quality available for the versatile 35 mm focal length for the very first time. The perfect combination of a wide aperture and natural perspective makes it ideal for outstanding portrait, reportage, available-light, and street photography. Subjects are clearly in focus thanks to precise separation, while retaining their context thanks to harmonious transitions to the background.
This new lens is the first Noctilux to feature an extended close focus distance down to 50 cm. When used with the new Leica M EV1 and its high-resolution integrated electronic viewfinder, focusing is particularly convenient across the entire focusing range. M-Cameras with a rangefinder can focus to a distance of 70 cm via the optical viewfinder. In the close-up range of 70–50 cm, focusing is carried out via Live View on the rear LCD panel or the Visoflex viewfinder. The large focusing angle of the Noctilux-M 35 supports this, thereby enabling precise and sensitive work.
The new Leica Noctilux-M 35 f/1.2 ASPH. has been optimized for M-Cameras with high-resolution image sensors, in addition to having been completely redesigned and handcrafted in Wetzlar. Decades of experience and state-of-the-art production technologies have gone into its development, including processing of special glass materials and aspherical lens elements manufactured in Wetzlar using innovative Precision Glass Molding (PGM) technology, which shapes lenses in a highly precise process, achieving exceptional quality standards. The optical design comprises ten lenses in five groups, including three aspherical lenses. A floating element ensures consistent imaging performance over the entire focusing range. The integrated lens hood reduces glare and reflections, ensuring high contrast and brilliant color rendering, even with backlighting. Measuring just 1.9 inches in length, with a diameter of 2.5 inches, and weighing only 14.6 ounces, the new lens also impresses with its remarkably compact size.
The Leica Noctilux-M 35 f/1.2 ASPH. will be available worldwide as of January 29th, 2026, from Leica Stores, the Leica Online Store, and authorized dealers. The retail price is $9,650.00
Laowa has announced that it will be bringing its 90mm F2.8 2X Ultra Macro APO lens to a new mount: Micro Four Thirds. The lens was originally made for full frame cameras, and it's been around for RF, Z, E and L mount systems for a few years now, but it's still exciting to see a manufacturer bringing out a new lens for Micro Four Thirds.
The lens, which will have a 180mm equiv. field of view on the new mount, has a design with 13 elements in 10 groups with 3 ED lenses. It can minimum working distance of 20.5cm (8.1"), allowing for 2:1 reproduction.
Its design is fully manual focus, but the lens has contacts that Laowa says will support EXIF data communication and electronic aperture control (which is, in fact, the only kind of aperture control for the lens; unlike the full frame version, there's no manual aperture ring). And while it's still a full frame lens at heart, the Micro Four Thirds version is a bit smaller and lighter than the versions made for other mounts, coming in at 540g (19oz) and measuring 115mm (4.5") long. It accepts 67mm filter threads.
Laowa says the lens will be available starting on February 29th, for $449.
Press release:
Laowa Expands Ultra Macro Lineup: The Acclaimed 90mm f/2.8 2x Ultra Macro APO Now Available for Micro Four Thirds
Anhui, China – January 29, 2026 – Anhui ChangGeng Optical Technology Company Limited (Laowa) is pleased to announce that the Laowa 90mm f/2.8 2x Ultra Macro APO is now available in Micro Four Thirds (MFT) mount.
Previously released for full-frame mirrorless systems, this specialized lens now brings its industry‑leading 2x magnification and Apochromatic (APO) performance to the MFT community, with the added benefit of an Auto Aperture mechanism. Thanks to the 2x crop factor of the MFT sensor, photographers can now enjoy an impressive 4x equivalent magnification without sacrificing resolution, making it a highly precise tool for exploring the microscopic world.
Unprecedented 2x Magnification and Reach
The Laowa 90mm f/2.8 2x Ultra Macro APO allows photographers to capture subjects at twice life-size. When paired with the 2x crop factor of the Micro Four Thirds sensor, this lens delivers an incredible 4x full-frame equivalent magnification. This enables the capture of microscopic details and textures that are often invisible to the naked eye, providing a powerful advantage for nature and scientific photographers.
Superior Sharpness and Rendering
Designed for the most demanding imaging tasks, the lens features a sophisticated optical formula of 13 elements in 10 groups. As a dedicated Apochromat (APO), it is engineered to suppress both longitudinal and lateral chromatic aberration to nearly zero. This ensures that high-contrast edges remain crisp and free of color fringing, even when shooting wide open at f/2.8.
Beyond its technical precision, the lens utilizes 9 aperture blades to produce a soft, creamy background fall-off, making it a versatile tool for compressed, cinematic portraits with a 180mm equivalent field of view.
Optimized for the MFT Workflow
This new MFT-specific version is built for modern digital integration, featuring electronic contacts that allow for seamless aperture control directly from the camera body. This integration ensures that all EXIF metadata is recorded and better supports image stabilisation. To further enhance usability in the field, the lens employs an internal focusing design. By maintaining a constant lens length, photographers can work confidently at the minimum working distance of 205mm without the risk of the lens barrel extending into skittish subjects or interfering with lighting setups.
Compact and Portable Design
Despite being originally designed for full-frame cameras, the Laowa 90mm f/2.8 remains remarkably compact on Micro Four Thirds. Weighing approximately 540g and measuring 115mm in length, it is still significantly smaller and lighter than equivalent macro setups. This compact form factor, combined with its robust build quality, makes it an ideal companion for handheld field work and long days of exploration in the natural world.
Pricing & Availability:
The Laowa 90mm f/2.8 2X Ultra Macro APO MFT Mount will be available for purchase starting February 29, 2026, through the Venus Optics official website (https://www.venuslens.net/) and authorized resellers. The U.S. retail price is USD 449.
DJI has announced the RS 5, the latest version of its gimbal designed for creators and video professionals using mirrorless cameras. The update is a relatively subtle one over last year's RS 4, but it brings improvements to the gimbal's compatibility with DJI's accessory ecosystem, some tweaks to its physical switches and knobs and refinements of the algorithms it uses to keep your camera steady.
The RS 5 will look familiar to anyone who's seen or used previous RS (née Ronin) gimbals. However, the company has included the same mechanism for switching between horizontal and vertical shooting as was found in the RS 4 Mini, which should make the process just a touch easier than it was on the RS 4. The company has also added more ways to fine-tune the balance; the RS 4 had a knob for slightly shifting the tilt axis, while the RS 5 gains additional controls for its other axes. It weighs roughly the same as the RS 4, and supports the same 3Kg (6.6lb) payload.
Image: DJI
DJI has also made some software improvements, allowing the RS 5 to control Panasonic and Fujifilm cameras via Bluetooth, in addition to the Canon, Nikon and Sony models its predecessor supported. This lets you use the gimbal's interface to start and stop recording, control powerzoom lenses and set parameters like aperture, ISO and shutter speed, so you don't have to deal with two sets of controls or work around the gimbal to reach your camera's buttons. The gimbal also now has an indicator that will suggest adjustments to your pace and gait to help achieve even steadier footage.
The RS 5 can charge 60% faster than the RS 4
The company says it's also made improvements to the battery. When paired with the included RS33 battery grip, the RS 5 can charge 60% faster than the RS 4, getting 14 hours of power with just an hour of charging, assuming you have a 65W PD-capable power brick to plug it into.
The gimbal has gotten some other accessory-related updates, too. It can now natively attach to the company's latest RS Intelligent Tracking Module, an $85, sold-separately accessory that lets you have the gimbal automatically pan and tilt to follow a selected person or other arbitrary subject. While you could connect the module to the RS 4, doing so required using an adapter that used 'RSA' port, precluding the use of other accessories that might need to connect to it. With the RS 5 that port remains free while you're using the module.
The new Electronic Briefcase Handle now includes controls. Image: DJI
The company has also introduced a new "Electronic Briefcase Handle," which lets you shoot with the gimbal at a different angle than would be practical with the standard handle. The pre-existing briefcase handle was, essentially, just a bent piece of metal, but the electronic version gives you buttons and other controls that let you operate the gimbal while using it.
According to DJI, the fifth-gen stabilization algorithm used by the RS 5 will perform better during quick movements, with the peak torque the motors are able to provide increasing by 50%. The comapny also says it'll perform even better when you're shooting vertically, something that's becoming increasingly common and influencers and brands continue to make content aimed towards social media.
As with the rest of DJI's recent releases, the RS 5 won't be officially launching in the US. The standard configuration is available in the UK for £485, and in Europe for €569. A combo pack that includes the RS Enhanced Intelligent Tracking Module, Electronic Briefcase Handle, a cable and carrying case, is also available for an additional £134 and €150, respectively.
Press release:
DJI Launches the RS 5, an All-New Lightweight Commercial Gimbal
DJI RS 5 Prioritizes Stability and Efficiency for Videographers, with New RS Enhanced Intelligent Tracking Module
JANUARY 29, 2026 – DJI, the global leader in civilian drones and creative camera technology, today launches DJI RS 5 – an all-new, lightweight commercial camera gimbal that brings videographers new levels of flexibility, creativity, and control for their work. The latest offering from the Ronin Series empowers videographers with enhanced intelligent subject tracking, stability and control mechanisms, and a longer runtime, redefining what’s possible for solo videographers.
Enhanced Intelligent Tracking and Stable Maneuvers
First introduced with the RS 4 Mini, the latest generation of the RS Intelligent Tracking Module has been updated with a number of impressive features. The new RS Enhanced Intelligent Tracking Module allows videographers to frame live footage and track any subject right from the gimbal’s touchscreen.
The new module also provides the ability to track objects other than people, such as vehicles, pets, or any object, and can maintain locked focus on a human subject up to 10 meters away, simplifying the process of shooting a scene with a crowded environment. If the subject leaves the frame, the module can easily re-aquire him or her, ensuring efficiency during a shoot. The module can be installed magnetically, without the need for an adapter or other accessories, making operation quick and convenient. Any videographer, regardless of experience level, can now effortlessly achieve complicated camera movements, such as surround shots, reverse tracking, or single-person fixed-camera tracking.
DJI RS 5 features the 5th generation RS Stabilization Algorithm, improving peak motor torque by 50%. This ensures greater stability in fast-moving scenes, such as when a videographer captures footage while walking or running, or when the camera undergoes extreme movements or switches angles quickly. It also offers significantly improved stability when shooting vertically.
Weighing just 1.46kg with the battery grip and quick release plates, RS 5’s compact body can carry a payload of up to 3kg and is capable of carrying a wide range of mainstream mirrorless cameras and lens combinations1. It also switches to vertical shooting without needing extra accessories, ensuring flexibility and ease for a wide range of videographer needs.
Unbridled Creativity
Videographers can finally get their shot with new features that unlock creative perspectives and enable a longer shoot day. RS 5’s new Electronic Briefcase Handle makes it possible to capture intriguing camera angles from above or below the subject, while offering electronic control of the footage. Its comfortable grip and easy-to-reach joystick or button controls allow for one-hand operation, while its smooth transitions reduce wrist fatigue. Additionally, the all-new on-screen Z-Axis Indicator suggests how the videographer should adjust their gait and pace to reduce image shake, helping to achieve steadier and more professional shots.
For longer shoots, RS 5 can be fully charged in just one hour2,3, a 60% improvement in charging efficiency compared to RS 4. The standard battery delivers 14 hours2 of power to ensure it lasts during long days on set. For even more power, the new BG70 High-Capacity Battery Grip extends RS 5’s runtime to 30 hours2, reducing downtime and lost hours waiting for more power.
DJI has also expanded camera compatibility for wireless control, with RS 5’s Bluetooth shutter now supporting Panasonic and Fujifilm cameras1, in addition to previously supported cameras from Sony, Canon, and Nikon.
The new fully-adjustable, fine-tuning knobs with Teflon™ interlayers on each axis arm enable precise balancing when installing a camera. The DJI RS 5 delivers a smooth and efficient leveling experience, even with heavier professional imaging equipment.
Trusted Efficiency from DJI, with DJI Ecosystem Compatibility
Along with its impressive roster of new features, RS 5 also incorporates some of the most reliable features from DJI’s flagship gimbals:
The 2nd-Gen Automated Axis Locks automatically unlock the gimbal when it powers on, ensuring creators are ready to film in an instant. Similarly, the gimbal locks immediately upon power-off or during sleep mode.
The 3rd-Gen Native Vertical Switch allows videographers to switch to vertical shooting within a few seconds.
DJI RS 5 is also compatible with DJI’s comprehensive product ecosystem. When paired with two DJI Focus Pro Motors, RS 5 allows videographers to adjust the zoom via the joystick and the focus via the dial wheel. Additionally, the DJI SDR Transmission provides high-definition live feeds, remote gimbal and camera control, and more collaboration opportunities.
Catering to each individual creator's unique needs, the RSA Communication Port connects to the Electronic Briefcase Handle, the RS Tethered Control Handle, and third party ring handles, enabling videographers to switch between different shooting combinations to fit their vision. The open RS SDK also allows third-party developers to build custom functions for the RS 5, making for endless shooting possibilities.
For more information4, please refer to www.dji.com/rs-5
1 For more details on camera and lens compatibility, please refer to the Ronin Series Compatibility Search page here: www.dji.com/support/compatibility.
2All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the official DJI website.
3Requires a 65W charger supporting PD protocol and DJI RS BG33 Battery Grip.
4Not officially available in the United States via official websites.
24 mm wide angle: Captures more in the picture – without distortion
f/1.8 aperture with 11 blades: Sharp at wide aperture, dreamy bokeh
VAF Series: Highest resolution for modern full-frame cameras
HFT-X Coating: Clear contrasts – even in backlight and at night
STM autofocus: Fast, quiet, with face and eye tracking
Rollei AF 35mm f/1.8 lens
35 mm focal length: Natural, balanced – perfect for reportage & street photography
f/1.8 aperture with 11 blades: Sharp at wide aperture, soft bokeh
VAF Series: Highest resolution for modern full-frame cameras
HFT-X Coating: High contrast in backlighting, sun & night
STM autofocus: Fast, quiet, with face and eye tracking
Press release:
Designed to meet the highest demands: Rollei AF 24 mm F/1.8 and 35 mm F/1.8
Norderstedt, January 28, 2026. Rollei is expanding its VAF series and launching two new lenses: the Rollei AF 24 mm F/1.8 for wide-angle photography and the Rollei AF 35 mm F/1.8 as a versatile reportage lens. Both lenses are available now for Sony FE and Nikon Z mounts.
The launch of Rollei’s first lens, the AF 85mm F/1.8, was met with a positive response from professional photographers and enthusiasts alike. The combination of high image quality, precise autofocus, and robust construction at a fair price proved convincing across the board. With the new focal lengths, Rollei is now strategically expanding the VAF series to include two popular focal lengths, thus covering the spectrum from landscape and reportage to portraiture.
24mm wide angle: Ideal for landscape, architecture & astrophotography
The Rollei AF 24mm F/1.8 is the perfect choice for wide-angle photographers who value brightness and image quality. The 11-blade F/1.8 aperture produces a creamy, perfectly round bokeh – even wide open, the image remains sharp and high-contrast. The high-quality optics consist of 14 elements in 11 groups, including 4 ED, 2 HR, and 2 AS lenses, which minimize aberrations and ensure exceptional edge-to-edge sharpness.
The HFT-X coating effectively reduces ghosting and flare, while the fast and quiet STM autofocus with face and eye tracking is optimized for both photos and videos. Despite its robust construction, the all-metal body weighs only about 480 grams. The Sony FE version also features a linear aperture ring for smooth, silent aperture control in video.
With a minimum focusing distance of 0.32 meters, the 24mm lens is also suitable for detailed close-ups. The 62mm filter thread makes it compatible with all common ND and effect filters. Thanks to the USB-C firmware port, updates can be installed in just 30 seconds.
35 millimeters: Versatile for documentation, everyday life & portraiture
The Rollei AF 35mm F/1.8 is the classic reportage focal length, enabling particularly authentic images thanks to its proximity to the natural field of view. Whether street photography, documentary work, or portraits with creative subject isolation – the F/1.8 aperture with 11 blades delivers round, creamy bokeh and excellent sharpness at wide apertures.
The lens consists of 11 elements in 8 groups, including 7 ED, 2 HR, and 2 AS lenses for minimal chromatic aberrations and high resolution across the entire image field. The STM autofocus is fast, precise, and virtually silent – ideal for video and discreet photography.
The robust, all-metal body weighs only about 490 grams, while the HFT-X coating ensures high-contrast, color-accurate images. With a minimum focusing distance of 0.40 meters, even details and close-ups can be captured impressively. The Sony FE version also features a linear aperture ring for video-friendly aperture control.
The AF/MF switch, the freely assignable FN button, and the 62mm filter thread offer intuitive operation. Firmware updates are quick and easy via the USB-C port.
Precision down to the last detail: VAF series with new logo
Customer feedback on the Rollei 85mm F/1.8 revealed a desire for a more understated logo design. Rollei took this feedback seriously and is therefore pleased to present a revised logo alongside the two new focal length lenses: contemporary, understated, and with a clear, modern design language. The new logo emphasizes the professional aspirations of the VAF series without distracting from the essential element – the lens.
Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.
This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.
What are the best (and worst) photography-related gifts you've received?
What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.
In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.
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Playing 'Top Trumps' with camera specs doesn't give the full picture, but it can still reveal something interesting.
Composite image: Richard Butler
It occurred to me, recently, that the latest enthusiast cameras can often shoot faster than the pro cameras of just a few years ago. So I decided to do some quick comparisons to get a sense of how far cameras have come, in a series of regards, since the last generation of pro-level sports cameras.
The biggest change, of course, is the move from DSLRs to mirrorless. The previous gen pro sports models from both Canon and Nikon were DSLRs, whereas Sony launched its pro tier cameras in earnest with the mirrorless a9, back in 2017.
Speed
Max frame rate (Mechnical / Electronic)
Canon EOS-1D X Mark III (2020)
Canon EOS R6 Mark III (2025)
16 fps / 20 fps
12 fps / 40 fps
Nikon D6 (2020)
Nikon Z6 III (2024)
14 fps / 10.5 fps
14fps / 20 fps
Sony a9 II (2019)
Sony a7 V (2025)
10 fps / 20 fps
10 fps / 30 fps
The most obvious spec comparison is shooting speed, as that's historically been the main area in which pro models stand out from more mainstream offerings.
The enthusiast models are all faster than the pro models in their e-shutter modes, but this does come with some rolling shutter distortion. It's worth highlighting that, despite its maximum shooting rate being lower, the Sony a9 II, with its Stacked CMOS sensor, still reads out faster than any of the newer cameras.
But in many of these instances, the enthusiast models are just as quick in their mechanical shutter modes as the previous generation sports camera was. The enthusiast models don’t always have such deep buffers as their pro forebears, but they increasingly have at least one CFexpress slot to help clear those buffers quickly.
Autofocus
Of course shooting speed means nothing if your images aren’t in focus, but the modern cameras will do remarkably well in this regard. The pro DSLRs had AF systems honed by decades of development, and could be adjusted to suit a wide range of sports and subjects.
Subject recognition (Number of subjects recognized)
Canon EOS-1D X Mark III
Canon EOS R6 Mark III
Eye detection (LV), Face / head (OVF)
9 subjects + Auto
Nikon D6
Nikon Z6 III
Face detection
9 subjects + Auto
Sony a9 II
Sony a7 V
2 subjects
6 subjects + Auto
However, we’d expect the enthusiast models to be competitive, as they all have AF systems that directly derive from their respective company’s most recent pro cameras. They also have subject recognition AF systems and much wider AF coverage that makes them much easier to get the best out of, for those of us who aren’t full-time professionals.
As a rough generalization, modern lenses perform better and the number of pin-sharp images delivered by mirrorless camera focus systems tends to be higher.
All three of the modern enthusiast models also offer some degree of pre-burst capture, again helping to boost the success rate of photographers who can't perfectly anticipate when the key moment is going to occur.
Viewfinders
The biggest difference we see is the move from optical viewfinders in the DSLRs to electronic viewfinders in the mirrorless cameras. Whether in terms of response time or just preference, there will be some photographers who simply prefer an optical finder, regardless of the spec of an EVF.
However, it's worth noting that each of the mirrorless cameras has a viewfinder that's at least as large as the largest optical viewfinder in play here. The 0.8x magnification, high brightness finder in the Nikon Z6 III is going to feel appreciably larger than the 0.76x finder in the EOS-1D Mark III, and even more spacious in comparison with the D6's 0.72x OVF.
Image stabilization
Another big difference is that the two most popular DSLRs didn't have in-body image stabilization, instead making use of in-lens stablization. This tends to be more effective for the long focal lengths used for sports, but less effective than in-body stabilization for the wide-to-normal focal lengths used in a lot of photojournalism and general photography.
Image stabilization (Max correction posisble, per tesing using the CIPA standard)
Canon EOS-1D X Mark III
Canon EOS R6 Mark III
In-lens only
Up to 8.0EV
Nikon D6
Nikon Z6 III
In-lens only
Up to 8.5EV
Sony a9 II
Sony a7 V
Up to 5.5EV
Up to 7.5EV
As well as the shift to in-body stabilization, Canon, Nikon and Sony have subsequently developed systems that can combine the effect of in-body and in-lens stabilization to boost the overall amount of correction that's possible and to play to the strengths of both systems.
Video
Max frame rate (Mechnical / Electronic)
Canon EOS-1D X Mark III
Canon EOS R6 Mark III
4K/60 (10-bit)
5.5K/60 (Raw)
4K/60 (10-bit)
7K/60 (Raw)
Nikon D6
Nikon Z6 III
4K/30 (8-bit)
5.4K/60 (10-bit)
6K/60 (Raw)
Sony a9 II
Sony a7 V
4K/24 (8-bit)
4K/60 (10-bit)
Unsurprisingly, perhaps, video is an area in which the modern cameras show the greatest advantage, not just in the resolutions and frame rates listed here, but in terms of the support tools and capabilities. It’s increasingly common to have false colour displays or waveforms to aid with exposure, as well as 10-bit Log or Raw capabilities, that still weren’t commonplace, just one generation of pro camera ago.
Video is one of the biggest areas of difference: even the mirrorless Sony a9 II, for all of the advances of its Stacked CMOS sensor, still only shot 8-bit video footage, which gives much less scope than 10-bit or Raw footage for color grading.
Photo: Dan Bracaglia
Battery life
One difference not captured here is battery life. We haven’t quoted the CIPA figures, as they aren’t especially comparable between DSLRs and mirrorless cameras, but the pro DSLRs will have vastly better endurance, as much from not having to power a screen to show a preview as from their significantly larger batteries. The Sonys are the outliers, in that the a9 II and a7 V use the same battery, and the newer camera is rated as giving more shots per charge.
The 'pro' differences
There are differences beyond specs and capabilities, though. In all three instances, the pro models have a level of build quality and environmental sealing that are essential for high-priced tools that need to keep working, day in, day out, regardless of the rigors of the job. All three also have features such as Ethernet connections that are essential for some professional applications but irrelevant for the majority of enthusiasts.
Weight (with battery & card)
Canon EOS-1D X Mark III
Canon EOS R6 Mark III
1440g
699g
Nikon D6
Nikon Z6 III
1450g
760g
Sony a9 II
Sony a7 V
678g
695g
Price
Even with the high levels of inflation over the past few years, the enthusiast models are significantly less expensive than the pro models were. Even without taking inflation into account, the professional DSLRs here cost at least twice as much as the latest enthusiast cameras. Factor inflation in and the new cameras come in at as little as 1/3rd the original list prices of the pro models.
MSRP at launch (Money terms / Real terms)
Canon EOS-1D X Mark III
Canon EOS R6 Mark III
$6500 / $8170*
$2800
Nikon D6
Nikon Z6 III
$6500 / $7890*
$2500
Sony a9 II
Sony a7 V
$4500 / $5670*
$2900
*Price adjusted using the consumer price index inflation figures, adjusted to the launch date of the newer camera
And, while we’re not saying enthusiast cameras are in every way a match for the pro cameras of the last generation, it’s striking at how close they are. And at how far we’ve come, during a period where you could easily make the mistake of thinking things haven't particularly changed.
Topaz Labs released several new fidelity models across their apps. These updates focus on more natural detail, reduced artifacts, and improved consistency across different content types. The models support use cases like portraits, animals, vintage photos, and older videos. Here’s what’s new:
WONDER 2
The most precise detail-restoration model yet. Wonder 2 brings back facial detail and textures without the “AI look” – cleaner results, fewer artifacts, and faster performance.
Ideal for portraits and subtle restorations
Available in Bloom, Topaz Photo (cloud), and Topaz Gigapixel (cloud)
RECOVER 3
A versatile enhancement model that works on a wide range of images, including portraits, landscapes, and animal photos. Recover 3 delivers softer, more realistic results with improved detail.
Works especially well on wildlife and pets
Available in Topaz Photo (local) and Topaz Gigapixel (local)
PROTEUS NATURAL
A fresh take on our Proteus model for clean, natural video upscaling. It fixes compression issues, halos, and aliased edges while preserving the original look.
Works alone or alongside another enhancement model
I created this image while I was working full-time, applying to far too many graduate schools and navigating a long-distance relationship. Photo: Abby Ferguson
It's well established that photography is a superb tool for documentation purposes. It's also fairly well accepted as an art form. It's less recognized, or at least talked about, as a therapeutic tool, but it can be a powerful resource for just that. If you'll allow me to get a bit personal, photography has helped me get through some very challenging times. I won't go so far as to say that it's saved my life, but I know many people can say that is the case for them.
To be clear, I'm not a therapist, and I don't see photography as a replacement for therapy with a licensed professional. Instead, I view it as a therapeutic tool. I have seen the impact the medium has had on my own life and the lives of others. For those who haven't used photography intentionally as a tool for healing or growth, perhaps this can be a helpful guide on how to do so, or a gentle push to lean on the medium as such when you need it.
Distraction and mindfulness
Sometimes using the camera as a distraction tool can be just what you need. Photo: Abby Ferguson
Sometimes, photography can simply be a good distraction. There are times when it's best to focus on something other than current events or difficulties in your personal life, and photography can be an excellent method for that. Taking photographs requires focus (no pun intended) and attention. Instead of dwelling on heavy or hard things, you can, at least momentarily, put your energy towards something else.
When taking photographs, you pay more attention to light, shadow, shapes and details. You look carefully at the things directly in front of you at that particular moment. It forces you to stay in the here and now, which is similar to general mindfulness practices that aim to help you manage stress. It's a simple thing, but it can make a significant difference.
Having my dog with me on hikes often has the added bonus of some comedic relief. Photo: Abby Ferguson
For some, photography is a solitary endeavor, which can be an excuse to give yourself time and space to just breathe. When I need stress relief, I often find myself going on a hike by myself (and my dog) with my camera. I typically come back feeling more refreshed and in a much better headspace than when I set out.
Simply being in the outdoors is a big part of that for me, but the camera also helps me tune out everything else more effectively while I'm hiking. Even if I only feel inspired to take a few photographs, it at least makes me pay more attention to what's around me instead of putting my head down and trudging through. Plus, if I do manage to get a photograph that I think is cool, it gives me a sense of accomplishment, which is always a nice mental boost.
Photography as an outlet
I took this self-portrait just last weekend, since I was in desperate need of a creative outlet, and this concept kept coming to mind. Photo: Abby Ferguson
What's been even more important for me at various points in my life is using photography as an outlet and a means of self-reflection. Creating photographs can be excellent for self-expression, and also a tool for working through difficulties and managing emotions.
Photography is a fantastic resource when I don't want to talk about what I'm going through but still want to express it in some way. Alternatively, sometimes I haven't even fully processed what I'm dealing with and don't have words for it. Photography helps me get out some of the emotion instead of simply bottling it up. There are even times when creating a photograph has helped me better understand my current mental state, even if I hadn't been willing to acknowledge it prior to that.
"Photography helps me get out some of the emotion instead of simply bottling it up"
For a long time, self-portraits were my preferred method of photography as therapy. I've produced some deeply emotional and personal self-portraits over the years for that reason. Some of them were the result of my knowing exactly what I was dealing with and what I wanted to convey. Others were simply a result of struggling with something and not quite knowing how to articulate it, so I poured my emotion into a self-portrait. At times, these were somewhat elaborate and thoroughly planned; others were more spontaneous. Both formats helped in their own way.
Still life has become a relatively new therapeutic tool for me. Photo: Abby Ferguson
These days, I've been using still life as my primary outlet. Instead of putting myself in front of the camera, I'm photographing objects that I feel can convey what I'm working through in my head. They may not look as personal at first glance, but they were incredibly valuable as I processed and dealt with things going on in my life.
My method of using photography as an outlet involves conceptual work, but that doesn't have to be the case. Any type of imagery that helps you express yourself or process your emotions is beneficial, even if it isn't intentionally done.
Photography can just be for you
Photo: Abby Ferguson
The bigger picture here is that photography doesn’t always have to be for an audience or a client; it can simply be for you, and that’s often where its most therapeutic power lives. I've recently written about tackling photo projects to find your creative spark again and about embracing bad photos. In all of these cases, the key is that photography can be a personal endeavor that can have a significant impact on your life. When you give yourself permission to create without pressure, photography becomes a method to clear your head, listen to yourself, notice what you’re feeling and be present with it.
Whether you’re a working photographer or a hobbyist, making space for personal projects can be therapeutic. It can reconnect you with why you picked up a camera in the first place, help you process what you’re going through and simply remind you that the act of paying attention is worthwhile in itself.
So, whether you're going through a particularly hard season or not, let me encourage you to pick up your camera with no goal other than to see what comes out. Or plan a shoot with the specific intention of showcasing your emotion or mental state. The photos don’t have to be "good." They just have to be honest, and they only ever need to mean something to you.
Adobe has announced an update to Photoshop that brings new types of adjustment layers and improves generative AI-powered fill tools. It's also adding a feature in beta that makes it easier to manipulate text into certain shapes.
Late last year, Adobe announced it was adding two new adjustment layers to Photoshop: one that controlled dehaze and clarity, and another for adding a grain effect. Now, those are coming out of beta and should be available to everyone using the app. While you've been able to use similar effects in Photoshop before, you had to bake them into a specific layer in your image, and once they were added, you couldn't adjust them. Having them as an adjustment layer, though, lets you easily adjust the effects after adding them, and easily have them apply to multiple parts of your image.
The update also brings some of Photoshop's AI-powered features out of beta, with the company promising better, higher-resolution results when using the Generative Fill, Generative Expand and Remove tools in the web version of Photoshop. The company also says it's improved the reference image feature in the Generative Fill tool, which lets you use an existing image to give the model a better idea of what you want it to generate.
Finally, there's a feature that Adobe's calling Dynamic Text, which the company says will make it "easy to transform any text layer into circular, arched, or bowed shape." While you could obviously already achieve something similar with paths and the text tool, Adobe says the Dynamic Text tool will automatically fit your text to the shape, something you'd have to manually manage using other techniques.
The new adjustment layers are available in the latest version of Photoshop, which Creative Cloud subscribers can download starting today. Dynamic Text will be available in the Photoshop Beta app.
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Image: Nikon
Nikon has announced firmware V1.10 for the ZR camera, heralding the first update for the video-focused camera. Given that it comes only a few months after it launched, it's no surprise that the changes it brings are mostly small quality-of-life tweaks, rather than massive overhauls to how the camera works.
Perhaps the biggest change is that Nikon says it has "significantly extended" the amount of time the camera can record for in many of its modes. While it used to top out at 125 minutes, it can now continuously capture for up to six hours in its sub-100fps compressed modes, though doing so will require the use of an external power supply or battery.
The company has also added the option to display a red line in your histogram or waveform to make it obvious where the clipping point is, which can be especially useful as you switch between modes with different base ISOs.
When it launched, the ZR supported timecode synchronization via Bluetooth, making it easier to keep track of footage and audio captured with multiple devices in the edit. The update adds support for timecode sync over a wired connection through the microphone jack. Other quality of life features include a setting to keep the green light around the power button illuminated while the camera is on (by default, it turns off quite quickly) and the LUT import screen can now display up to 50 CUBE files, rather than 10 (though the camera can still only store 10).
The firmware update is available today as a free download from Nikon's website.
Press release:
NIKON RELEASES FIRST FIRMWARE (V1.10) FOR THE NIKON ZR CINEMA CAMERA
MELVILLE, NY (January 26, 2026) - Nikon Inc. is pleased to announce the first firmware update for the recently released Nikon ZR full-frame cinema camera. Version 1.10 is available now and adds an assortment of functional enhancements and features to benefit a wide range of videographers.
Firmware version 1.10 supports timecode input over a wired connection, making it easier to synchronize with audio recording devices and other cameras. The update also significantly extends the maximum recording time, making continuous shooting possible even for long recording sessions. In addition, a file-naming convention similar to that of RED cameras has been adopted, enabling more efficient data management, especially when shooting with multiple cameras. A number of features that enhance usability have also been added, including a function that displays a warning line indicating the maximum brightness level in the brightness information display (histogram and waveform monitor) when recording R3D NE videos in Log3G10, as well as a setting to prevent unintentional battery drain.
Nikon will continue to enhance its products through firmware updates that address user needs, while also contributing to the development of imaging culture in the field of cinema.
Enhanced Multi-Camera Production and Workflow Features
In addition to conventional timecode synchronization over a Bluetooth connection, the camera now supports a simpler and more reliable wired connection that enables timecode synchronization with external devices connected to the camera via the external microphone/line input connector. Timecode synchronization is simplified, as Bluetooth pairing is not required. Once initially synchronized, the timecode remains running even after disconnecting the generator (jam sync), eliminating the need to re-synchronize.
In addition, a file-naming function similar to that of RED cameras has been implemented to enhance production workflows. This feature prevents duplicate video file names, and makes managing large numbers of files from multiple cameras much more efficient with video-specific file names and the display of file names on the live view screen.
Significantly Extended Recording Time
The maximum recording times for continuous recording have been significantly extended from 125 minutes to up to 360 minutes (6 hours)1. This enables long takes and shooting at events that require extended recording, such as interviews, concerts, documentaries and special events. This extended recording time applies to ProRes 422 HQ, H.265 and H.264 formats at various frame rates.
Improved Exposure Monitoring
Firmware version 1.10 offers users a function that displays a warning line indicating the maximum brightness level in the histogram or waveform monitor to avoid unintentional clipping. This indicator line varies according to ISO sensitivity when recording R3D NE videos in Log3G10, making exposure easier to control.
Additional Enhancements
A [Power-on lamp energy saver] option has been added to the setup menu, allowing users to choose an option that keeps the power-on lamp lit at all times when the camera is powered on. This allows users to check whether the camera is on or off at a glance, even when the monitor is closed, helping to prevent unintentional drain on the battery while carrying or transporting the camera. In addition, [Video file type] can now be set to [R3D NE 12-bit (R3D)] in the video recording menu even if the shooting mode is set to AUTO.
Furthermore, the number of LUTs that can be viewed while importing from a memory card using Custom Setting [3D LUT] > [Import CUBE file] has been increased from 10 to a maximum of 50. This allows users to have greater variety when choosing the LUT that will best match the intended final look from a broader range of options while on location.
For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.
Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.
*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
1.When [ProRes 422 HQ 10-bit (MOV)] (except 119.88p or 100p), [H.265 10-bit (MOV)] (except 239.76p–100p), [H.265 8-bit (MOV)] (except 239.76p–100p), or [H.264 8-bit (MP4)] (except when recording slow-motion videos), at 25°C/77°F with [High] selected for [Auto temperature cutout]. Use of an external power source such as a portable battery is required.
Here are the latest leaks on the upcoming DJI Osmo Pocket 4 camera – the official announcement is rumored to be on January 29th:
Standard Model
Sensor: 1-inch CMOS sensor for improved low-light performance and dynamic range.
Video Capabilities: Up to 4K at 120fps for high-frame-rate slow-motion footage; potential support for higher resolutions or frame rates in certain modes.
Stabilization: 3-axis mechanical gimbal for smooth handheld shooting, with refined tracking for faces and objects.
Display: 2-inch rotating OLED touchscreen for easy vlogging and composition.
Controls: New dedicated zoom button and customizable “C” button for quick access to functions like mode switching.
Battery: 1545mAh capacity, offering around 20% more runtime than the Osmo Pocket 3 (potentially over 200 minutes of use).
Connectivity: Wi-Fi 6 support for faster file transfers and app integration; seamless DJI Mimo app compatibility for editing and sharing.
Design: Compact pocket-sized form factor similar to the Pocket 3, with single-lens setup and improved build for one-handed operation.
Accessories (Creator Combo): Includes wide-angle lens attachment, battery handle, mini tripod, protective case, and possibly new add-ons like a “FrameTap” module.
Pro Model (Rumored Variant)
Camera Setup: Dual-camera system with wide-angle and 2-4x telephoto lenses for optical zoom, variable aperture (f/1.7-f/2.8), and Hasselblad color science.
Sensors: Larger dual 1/1.1-inch CMOS sensors for enhanced low-light and portrait capabilities.
Other Features: Builds on the standard model with instant lens switching, potentially higher frame rates (e.g., 6K support), and pro-level controls; larger camera block integrated with rotating display.
Pricing for the standard Creator Combo will be around $699-$749. The Pro version might follow in Q2 of 026.
Connexion
