Topaz Labs released major upgrades to Topaz Photo and Astra: Wonder 2 is now local, plus Starlight Fast 2 and Scene Controls are now in Astra. Here’s what’s new:

Topaz Wonder 2 (now runs locally in Topaz Photo): Wonder 2 is our newest image enhancement model that denoises, sharpens, and upscales in a single step, with no sliders or tuning required. It is a giant, powerful model that now runs locally thanks to our proprietary NeuroStream technology, which dramatically reduces VRAM usage and allows powerful AI to run on standard creator hardware.

Topaz Astra update: Astra now includes Starlight Fast 2, along with new scene detection and batch rendering. These updates allow creators to enhance videos faster and process multiple files more efficiently, making Astra more powerful for real-world workflows.

Additional information:

Topaz Labs Introduces Topaz NeuroStream–Breakthrough Tech for Running Large AI Models Locally

DALLAS, March 3, 2026 – Topaz Labs, the leader in AI-powered image and video enhancement, today announced Topaz NeuroStream, a proprietary VRAM optimization that allows complex AI models to be run on consumer hardware. This announcement comes alongside a new local image enhancement model, Wonder 2 (Local), that would not be possible without NeuroStream optimization.

Designed as foundational technology, NeuroStream will not be limited to only Topaz Labs models in the future, and has the power to change local AI model use across the entire image and video industry.

“We envision a world where AI models are simply on your device—no cloud needed, no additional usage costs, no specialized hardware, and no security gaps” says Topaz Labs CEO Eric Yang. “Our pro customers have been asking for this since we launched our first large, generative model. And now, we’re very excited to make it a reality.” Without rendering costs, NeuroStream democratizes the use of large AI models. “Creators shouldn’t need specialized hardware or complex workflows to achieve professional results.”

Optimized for NVIDIA Hardware

With a focus on local processing, Topaz Labs has collaborated with NVIDIA to optimize NeuroStream. Very few consumer systems can run a large video model, but with NeuroStream implemented, that same model can be used on every NVIDIA GeForce RTX and RTX PRO GPU.

“As the demand for local processing on RTX GPUs continues to grow, NeuroStream provides an opportunity to run complex AI models on nearly all hardware,” said Gerardo Delgado Cabrera, director of product for AI PCs at NVIDIA. “This latest collaboration with Topaz Labs is part of ongoing efforts to help develop technology optimized for use with NVIDIA-powered devices.”

About NeuroStream: Industry-First VRAM Optimization

NeuroStream is a proprietary technology that reduces VRAM usage by up to 95%, enabling large, complex AI models to run locally on consumer-grade GPUs without sacrificing performance, speed, or output quality. This breakthrough dramatically expands hardware compatibility, democratizing advanced image and video enhancement models previously limited to high-end systems or cloud-only usage.

About Wonder 2 Local: Denoise, Sharpen & Upscale Instantly

Announced in January 2026, the Wonder 2 model represents a fundamental shift in AI image enhancement. It is the first model to denoise, sharpen, and upscale an image simultaneously, eliminating the need for multiple tools, sequential processing, or parameter tuning. Wonder 2 (Local) is now available in Topaz Photo.

The post Major upgrades to Topaz Photo and Astra are now live appeared first on Photo Rumors.

Photo: capanikon

For last week's Question of the week, we’re turning the spotlight on something photographers love to debate: what’s your favorite camera brand? Some of you swear by one trusted name and have used it for decades, while others have explored multiple brands before finding 'the one'. There were quite a few of you who also talked about your experience in switching from one camera brand to another – a brave decision.

What I personally found interesting was how many of the responses talked about camera and lens brands that aren't often discussed on our forums. The Mamiya, Bronica, Siruis or TTArtisans of the world.

Keep reading to see which camera brands our readers chose as their favorites.

Your favorite camera brand

Skinma: OM System / Olympus. Nothing else comes close. I love the size of the cameras, as I can take a body and two lenses, a water bottle, food, and a flash all in my Lowepro sling bag. Performance is also great. I still have my original Olympus E-M5 as a backup body, and its image quality is fantastic compared to that of more modern cameras.

capanikon: A friend showed me his Nikon F3. I was impressed with the industrial rawness of it, the metal and hardness. The haptic shutter speed dial, buttons and switches. It felt like a real machine. I like the style of the F-mount lenses with their clicky aperture rings and bunny ears, helicoid focus, and rubber focusing rings. So, I sold my EOS and switched to Nikon. First, a used N8008; later, an F4s and an F3hp.

Satyaa: None! Every time I started to like a brand, they lagged in something I needed, and I had to switch. I like different bodies and lenses for different reasons, but no favorite brand right now. I am speaking as a hobbyist on a budget. If money is no constraint, I guess one could get anything in any brand. Leica might be my favorite brand at that point.

Photo: maoby

Kipplemaster: I have used a lot of different stuff and am definitely not a brand loyalist. Currently have a selection of Sonys as well as a couple of Nikon 1s. Out of ‘millions’ of lenses I've owned, that one is surprisingly easy to call. Probably my ‘sweet spot’ for loving my camera kit was the original Canon 5D and associated L lenses. My second-favourite lens is the Canon 200mm F2.8L.

I like trying weird stuff like the original Lytro and the Nokia 808 PureView, a 40MP camera on a weird Nokia phone in the days when 40MP wasn't even available on any DSLR. Most of them have been fun. All of which is a long-winded way of saying I don't really have a favorite brand. I almost forgot to mention that some of my other favourite lenses have been Sigmas.

greycell: I've followed DPReview for at least 15 years, and weirdly never felt compelled to comment before. I even hesitate to say Olympus (slash OM System) is ‘my favorite’, but it's what I'm used to and work with within my own means and limitations. I chose it originally because it's what my dad used, and I inherited all his classic manual lenses from the OM-1 era onward. I know it's not even the best for the low-light concert photography I like to do, but it feels good enough with modern processing tools.

SimonV: Having tried and owned almost all brands, there's only one that stands out and doesn't feel like it does things the same as others, and that's Fujifilm. I wouldn't call myself a fanboy in any regard since many of their models are a bit too fiddly for me and seem built for smaller hands and fingers, but they're the only company I've found that is both capable (albeit not at the top of any category) and, most importantly, Fun to shoot with.

If I were a pro, I'm sure it would be different, but I'm a hobbyist, and the most fun I've had has been with Fujifilm. Especially their later models like the X100VI and GFX100RF, which provide both fun and excellent image quality.

Photo: dimpsey

sportyaccordy: I shoot Sony because I'm just super picky about lenses and will compromise everything else for that. I really loved shooting with Canon. On paper, yes, sometimes Canon isn't the best, but the shooting experience/build quality, etc., make up for that. And now on the body side, at least I think they are basically back on top. Lenses are getting better, but still not where I want them (and even if/when they get there, I'm not switching again).

LLW902: I've got a Sony a7c II with a 24-70mm F2.8 and a Fujifilm X-E5 with a 23mm pancake lens, both sitting on my desk right now. Both are great cameras, but I'd reach for the Fujifilm first for almost anything, except a professional opportunity where it was absolutely critical I not miss focus on the first try. I guess that's a rather roundabout way of saying that Fujifilm is my favorite, even though, on the merits, it is a less accomplished device.

Tony5D: Currently using Nikon Z7II, but decided to change from Fujifilm (XE2, XT2, then XH1) mainly because my main subjects are landscape and architecture. The Nikon offers full-frame and 42MP, and is not much bigger than the X-H1. I have also used just about everything else because I was in the industry. Old favorites? Minolta CLE is easy to pack for flights, and the Canon G5 X Mark II, which I carry at all times, is a backup.

dizzeeK: Let's be honest, for someone shooting stills that aren't birds or sports, anything will work. I can only speak for me personally, though. I have to say, Canon. I have been through many cameras/systems since the film days, and I am most happy with Canon, despite the RF system not being the ‘best’ on paper. It is a joy to use, and the results are great. Who else has a 70-200mm F4 that is that compact and well featured?

So many other stories we couldn't fit in this article are shared in the forums. Thanks to everyone who took the time to explain why your favorite camera brand stands out to you.

Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums. We can't wait to read and share your stories!

Share your favorite camera brand and see what other community members think!

At the 2026 Mobile World Congress (MWC), the Hong Kong-based company Tecno showcased its new “Modular Magnetic Interconnection Technology,” a concept designed to transform a standard smartphone into a photography tool. The system relies on a remarkably slim base device that magnetically snaps onto various hardware modules to expand its capabilities:

Core Concept: “The Phone That Grows on Demand”

• Ultra-Thin Base: The main smartphone is just 4.9mm thick, featuring a matte glass back divided into eight modular zones to guide accessory alignment.
• Hybrid Connection: It uses a rectangular magnetic array for physical attachment, pogo-pins for power delivery, and a combination of Wi-Fi, Bluetooth, and mmWave for high-bandwidth, low-latency wireless data transfer.
• Dual Aesthetics: Two design variants were presented: the Atom Edition (clean, silver-aluminum with red accents) and the Moda Edition (a bolder, “geek-inspired” look).

Key modular attachments:

• Telephoto Lens: Acts as a standalone imaging system with its own sensor, using the phone’s display as a live viewfinder for professional-grade photography.
• Action Camera: A module designed for rugged, versatile shooting angles that can even function independently from the phone.
• Power Bank: At 4.5mm thick, these 3,000mAh packs are stackable, allowing users to combine multiple units to significantly increase battery life without excessive bulk.
• Gaming & Utility: Other modules include a dedicated game controller, a high-performance microphone (with an attachable “dead cat” for wind noise), storage expansion, and a Wi-Fi router extension.

Press release:

HONG KONG, Feb. 25, 2026 – AI-driven innovative technology brand TECNO is set to unveil its groundbreaking Modular Magnetic Interconnection Technology at MWC 2026. This concept, embodied by TECNO Modular Phone, represents TECNO’s pioneering exploration of the next-generation form of smartphones, where hardware expansion is instantaneous through magnetic attachment and intelligent connectivity. Designed to bridge the gap between escalating AI computing demands and the spatial constraints of modern smartphones, the platform will allow users to transform their devices into modular powerhouses. Attendees will witness a customizable modular suite, enabling the seamless attachment and removal of slim, high-performance modules tailored to individual needs.

Unlike traditional smartphones locked into fixed feature sets, TECNO’s modular system offers ultra-thin, flexible modules that empower creators and professionals to tailor their devices to any scenario. This reconfigurable vision is embodied in two distinct design interpretations of the Modular Phone. The ATOM edition of TECNO Modular Phone follows the philosophy of “Rational Order with Personal Expression,” featuring a clean silver-aluminum body and signature red accents. The MODA edition of TECNO Modular Phone offers a bold, geek-inspired aesthetic. Both models frame modularity as a platform for lasting personal choice, embodying TECNO’s commitment to technology that grows with its users.

“We believe the ultimate goal of technology is not to create a static masterpiece, but to offer an extension of human freedom. By pioneering this modular architecture, we are breaking the constraints of fixed hardware and returning the power of choice to the user,” said Leo Li, TECNO Product Head of Modular Magnetic Interconnection Technology. “This is more than a leap in connectivity; it is an experiment in mobile liberation, where the device is no longer defined by its factory form, but by the user’s intent in every moment.”

A Moment-To-Moment Modular Ecosystem

Built on TECNO’s Modular Magnetic Interconnection Technology, the ecosystem currently features around ten high-performance modules, designed to meet users wherever they are in life and evolve alongside their shifting needs and surroundings. Whether capturing professional photography, gaming, communicating off-grid, or extending battery life, the modular system offers unmatched freedom to configure a personalized stack.

The ultra-thin POWER BANK effectively doubles usable power, supplying energy seamlessly to both the smartphone and attached accessories. Complementing this is the ACTION CAMERA, which unlocks new creative workflows and shooting angles without compromising the phone’s lightness. For professional imaging demands, TECNO’s TELEPHOTO LENS acts as a standalone system using the phone’s display as a viewfinder, providing low-latency live previews and instant captures. This Customizable Modular Suite is not just a collection of accessories, but a dynamic toolkit, allowing users to carry only what they need, when they need it.

Innovative Design and Effortless Connectivity

Central to TECNO’s modular concept is a breakthrough in ultra-thin industrial design that redefines how expandable hardware feels in daily use. The base smartphone measures just 4.9mm thick, with the POWER BANK at an ultra-slim 4.5mm. Even when combined, the total thickness remains comparable to typical smartphones, ensuring modular expansion feels natural, preserving portability and simplicity.

The smartphone features a high-quality glass back panel with a laminated anti-glare treatment, creating a soft, matte finish, while a polished metal frame adds durability and refined visual contrast. Subtle lines across the phone’s back divide it into eight modular zones, guiding accessory placement and alignment without sacrificing the clean aesthetic.

A hybrid connection architecture supports this design, featuring a precision-engineered rectangular magnetic array for secure, intuitive module attachment, paired with physical pogo-pin connectors for efficient, low-heat power delivery. Data transmission seamlessly switches among Wi-Fi, Bluetooth, and millimeter-wave (mmWave) communication, enabling higher bandwidth and lower-latency interaction. This invisible, automatic process allows users to enjoy instant pairing, freeing them from technical complexity to focus on their experience.

Building a Modular Platform for the Future

TECNO’s Modular Magnetic Interconnection Technology is designed as a scalable platform built to evolve with future innovations. By establishing a consistent physical and connectivity foundation, TECNO opens possibilities for expanded modular experiences across AI-powered tools, storage expansion, lifestyle-focused accessories, and beyond. While the interface is proprietary, TECNO envisions the potential for future solutions that extend beyond its ecosystem, enabling broader compatibility and utility across use cases.

Presented as a concept platform at MWC 2026, the modular ecosystem demonstrates TECNO’s long-term design thinking and commitment to technology that is adaptable, personal, and responsive to real-world needs, as technologies, materials, and ecosystems continue to mature.

The post Not again: Tecno modular magnetic camera-phone concept appeared first on Photo Rumors.

The latest MacBook Pros are familiar on the outside, but have some interesting changes on the inside. Image: Apple

This week, Apple announced its latest generation of MacBook Pros, which also marks the debut of its high-end M5 Pro and M5 Max chips. The company says the new processors are up to 30% faster in "pro workflows" than its previous CPUs, which is good, since the laptops' starting prices are a bit higher than their predecessors'.

Part of that uplift likely comes from the M5 Pro and Max simply having more CPU cores. The Pro starts with 15, upgradable to 18, while all Max models have 18. These represent an addition of three and four cores, respectively.

It's not just a matter of adding more slightly upgraded cores, though. Previous generations of M chips, and the standard M5 that's been around for a while, have had a mix of what Apple calls Power and Efficiency cores. The M5 Pro and M5 Max follow a similar paradigm, but rather than using the same types of cores as the standard M5, as previous Pro and Max chips did, they use the M5's performance cores for their less intensive processing and introduce "all-new performance cores." In other words, the M5's most powerful cores are the M5 Pro and Max's weakest ones.

Performance > Super > Efficiency

The company has rebranded those as "Super" cores across its lineup; the M5 has a mix of Super cores and Efficiency cores, while the M5 Pro and Max have Performance cores and Super cores. The new branding is a little hard to keep track of*, especially since it's not necessarily clear how the previous-gen "Performance"-branded cores compare to the apparently new and improved Performance cores. However, in the current M5 generation, it boils down to: Performance > Super > Efficiency.

While GPU core counts have remained largely the same, the company says they have a "next-generation architecture," higher memory bandwidth, and higher performance in AI tasks (in fact, the press release mentions "AI" around 25 times). The company also promises that its latest GPUs have greater performance in compute and ray-tracing.

For those interested in the intricacies of chip design, Apple says the M5 Pro and Max feature a new "Fusion Architecture" that combines two 3nm-class dies. It's reminiscent of the chiplet design that's served AMD's Ryzen series so well, and it could make it possible for Apple to more easily offer a bit more freedom when it comes to configuring your mix of CPU and GPU cores in the future. Image: Apple

Beyond the new processors, the laptops are relatively similar to their predecessors, with the same displays, three Thunderbolt 5 ports, SDXC card slot, and dedicated coprocessors for encoding and decoding codecs like H.264, HEVC, ProRes and ProRes RAW. However, there are some other small upgrades: the 2026 MacBook Pros have Apple's N1 wireless chip, providing an upgrade to Wi-Fi 7 from the Wi-Fi 6E found in the previous generation. The chip also includes Bluetooth 6, updated from Bluetooth 5.3.

Apple has also tweaked the default storage and memory configurations. The M5 Pro laptops all now start with 1TB of storage (the 16" version used to start with 512GB), and the M5 Max ones start with 2TB. The company also promises that the computers' SSDs will run up to two times faster than those of their predecessors.

The M5 Pro laptops can also now be optioned with 64GB of memory, up from 48GB, though doing so will cost a pretty penny; you have to spend $200 to get the higher-end Pro chip, then add on $600 to upgrade from the base 24GB of memory (though, given what's happening with the rest of the industry, those prices seem less egregious than they once did).

You certainly don't need a Pro or a Max chip to edit photos... but it doesn't hurt. Image: Apple

For most photographers, the standard M5 MacBook Pro will be plenty powerful, as will the cheaper M5 MacBook Air (though it misses out on the SD card reader and HDR-capable screen). But those doing heavy edits on high-resolution files, or who want to configure their machines with ludicrous amounts of memory or storage, will appreciate these higher-end options. The extra horsepower may also be useful to anyone who edits video; the standard M5 is no slouch, but the extra CPU cores, GPU power and SSD speed will make the process that much smoother.

The M5 Pro MacBook Pros start at $2199 for the 14" model, and $2699 for the 16" one: a $200 premium over the starting prices of their corresponding M4 models. Upgrading to the Max chip will add $1400 to the price. Preorders open on March 4th, and the laptops will be available starting on the 11th.

* As is tradition. I'm sure there are even folks at Apple who have a hard time keeping the relationships between Studio, Ultra, Pro, and Max products straight.

Here are the latest Kickstarter updates:

New – Peak Design travel bags: $816,212 pledged by 2,481 backers with 30 days to go.

CamCast – turn your camera into a smart, connected system: $59,902 pledged from 356 backers with 6 days to go.

Shargeek 300 – the next-gen power beast: $539,451 pledged from 2,622 with 23 days to go.

Now available: Spinn Design wrappers (use code SPINN-RUMORS for a discount)

LIGAR film and digital camera: $20,831 pledged from 134 backers with 19 days to go.

New Yashica camcorder: coming soon.

The post Kickstarter updates: new Peak Design bags and more appeared first on Photo Rumors.

 


At the 2026 CP+ show, Samyang announced a new AF 35mm f/1.8 P FE full-frame lens with an ultra-compact design, almost identical to the existing AF 85mm f/1.8 P FE and AF 16mm f/2.8 P FE lenses from the Prima series. Here are the key new/updated features from Phototrend:

• Larger, textured manual-focus ring
• USB-C port for firmware updates
• Dedicated AF/MF switch
• More robust build with improved weather sealing
• Quieter and optimised autofocus motor
• Check for pre-orders

In the US, some LK Samyang lenses are also sold under the Rokinon brand. In Europe, Smyang lenses are sold at Foto Erhardt and WEX Photo.

LK Samyang to release a new line of “Prima Series” lenses

Via Phototrend

The post Samyang announced a new AF 35mm f/1.8 P FE lens appeared first on Photo Rumors.

Leica SL3-P camera rumors

CP+ 2026: Sigma CEO Kazuto Yamaki on Unprecedented Lens Demand, APS-C, AI, and Market Trends

Check out this custom modified panoramic Pentax 645 camera (half-frame medium format)

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

Here is some additional information on the Schneider Kreuznach × LK Samyang lens prototypes (previously reported here), courtesy of Phototrend from their CP+ report:

Samyang AF 20-50mm f/2 FE

• Focal length & aperture: 20-50 mm f/2 (constant)
• Mount: Sony E (FE)
• Key points: Brighter and wider than the existing AF 24-60 mm f/2.8; expected to be bulkier and heavier
• Status: Very early development (possible 2028–2029 launch to avoid cannibalising the 24-60 mm)
• No further specs (elements/groups, size, weight, etc.) available yet

Samyang AF 28-85mm f/2-2.8 FE

• Focal length & aperture: 28-85 mm f/2-2.8 (variable aperture; originally planned constant f/2 but adjusted for size)
• Mount: Sony E (FE)
• Key points: Slightly larger than the new AF 24-60 mm f/2.8; no built-in stabilisation
• Status: Early concept; possible late-2027 or spring-2028 release if feedback is positive
• No further specs released

Samyang AF 28-135mm f/2.8 FE

• Focal length & aperture: 28-135 mm f/2.8 (constant)
• Mount: Sony E (FE)
• Key points: New linear VCM autofocus motor (faster and quieter than previous stepper motors, ideal for video/action); more versatile range than competing 28-105/35-100 mm f/2.8 zooms
• Status: Already in production; prototype shown at IBC 2025; earliest release late 2026
• No detailed optical formula, size or weight figures yet

Samyang AF 300mm f/4 FE OIS

• Focal length & aperture: 300 mm f/4
• Mount: Sony E (FE)
• Key points: First Samyang lens with optical image stabilisation (OIS); built-in 1.4× teleconverter (becomes 420 mm f/5.6); multiple custom controls; positioned as a lighter/cheaper wildlife/sports alternative to 70-200 mm f/2.8 zooms
• Status: Early development; competitive pricing targeted
• No further specs available

Samyang AF 200mm f/1.8 FE OIS

• Focal length & aperture: 200 mm f/1.8
• Mount: Sony E (FE)
• Key points: Bright prime with integrated OIS; technological showcase to compete with Laowa/Sigma 200 mm f/2 options
• Status: Early development (only one of the two telephoto primes may eventually be produced to avoid internal competition)
• No further specs released

In the US, some LK Samyang lenses are sold under the Rokinon brand. In Europe, Smyang lenses are sold at Foto Erhardt and WEX Photo.

A complete list of all Schneider Kreuznach x LK Samyang lenses can be found here:

Complete list of all Schneider Kreuznach x LK Samyang lenses

Four new Schneider Kreuznach × LK Samyang AF lens prototypes: 20-50mm f/2, 28-85mm f/2, 200mm f/1.8, and 300mm f/4

Here is the rumored Schneider Kreuznach x LK Samyang AF 60-180mm f/2.8 lens

Schneider Kreuznach × LK Samyang rumored to announce a new 20-50mm f/2 lens at the 2026 CP+ show

Via Phototrend

The post Additional information on the Schneider Kreuznach × LK Samyang lens prototypes appeared first on Photo Rumors.

At the 2026 CP+ show in Japan Meike had on display their upcoming Meike AF Air 25mm/35mm/56mm f/1.7 compact APS-C lenses for Sony E, Fujifilm X, Nikon Z (previously reported here). Here are the new details from Phototrend:

Meike Air Series new ultra-light APS-C prime lenses

• Mounts: Sony E, Fujifilm X, Nikon Z
• Aperture: f/1.7 (all models)
• Autofocus: STM motor (quiet and fast for photo/video)
• Design: Extremely compact, no aperture ring
• Weight: ~170 g per lens
• Availability: Expected May 2026 (check availability at B&H Photo)

Meike Air 25mm f/1.7

• Focal length: 25 mm
• Price: ~170 USD

Meike Air 35mm f/1.7

• Focal length: 35 mm
• Price: ~160 USD

Meike Air 56mm f/1.7

• Focal length: 56 mm
• Price: ~160 USD

Additional information on the rumored Meike Air compact APS-C lenses + a new AF 85mm f/1.4 SE lens

First pictures of the upcoming Meike AF 85mm f/1.4 II MIX lens (E/Z/L)

2026 CP+ show recap

Via Phototrend

The post Meike AF Air 25mm/35mm/56mm f/1.7 compact APS-C lenses additional information (Z/E/X) appeared first on Photo Rumors.

Image: Apple

Apple announced the Studio Display XDR, a new pro-level entry in its display lineup aimed at photographers and video editors, thanks to its HDR and wider color gamut support. In addition to the new display, the tech giant unveiled an updated version of its standard Studio Display.

The Studio Display XDR effectively replaces Apple’s 32‑inch 6K Pro Display XDR in the lineup. It uses a 27-inch 5K Retina XDR display, with added mini-LED backlighting. It features 2304 local dimming zones and an impressive 1000 nits of SDR brightness and 2000 nits of peak HDR brightness, making it well‑suited for HDR workflows. It also offers a 1,000,000:1 contrast ratio.

The Studio Display XDR is meant for creative professionals. Image: Apple

The monitor supports P3 and Adobe RGB color gamuts with over 80 percent coverage of Rec. 2020, making it ideal for those who need highly accurate colors. Additionally, it offers a 120Hz refresh rate and a continuously variable refresh rate between 47Hz to 120Hz, making it smoother for video playback than the outgoing Pro Display XDR.

In terms of connectivity, the Studio Display XDR can function as a Thunderbolt hub, offering one port with 140W of charging power, enough to charge a 16-inch MacBook Pro. It also includes a second port for connecting high-speed accessories or daisy-chaining other displays and two additional USB-C ports. The display features a 12MP Center Stage camera with Apple's Desk View support, a three‑mic array and a six‑speaker system.

Apple also updated its standard Studio Display, though it's more of an iterative update rather than a redesign. Like the previous generation, it is a 27-inch 5K Retina display with 600 nits of brightness and support for P3 wide color. However, it now offers Thunderbolt 5 connectivity, allowing users to connect high-speed accessories or daisy-chain displays. It maxes out at up to 96W charging, which is enough to fast‑charge a 14‑inch MacBook Pro.

The Studio Display XDR is still pricey, but at least it comes with a tilt- and height-adjustable stand this time. Image: Apple

All of the advanced features on the Studio Display XDR come at a steep price; the monitor starts at $3299, or $3599 with anti-reflective nano-texture glass. The good news is that it now includes a tilt- and height-adjustable stand, unlike the Pro Display XDR. The Studio Display keeps the same $1599 price as the previous generation. Preorders for both the Studio Display XDR and Studio Display begin tomorrow, March 4.

Today, GoPro unveiled its new GP3 custom imaging processor. This is a 5nm System-on-a-Chip (SoC) with a dedicated AI Neural Processing Unit (NPU). Key upgrades vs. the GP2:

• More than 2x pixel processing power.
• Superior AI-driven image quality and low-light performance.
• Real-time scene recognition, subject detection, and automatic setting adjustments.
• Better power efficiency and thermal management for longer runtimes in tough conditions.
• Supports higher resolutions, frame rates, and overall pro-level performance in small form-factor cameras.

It debuts in new GoPro cameras launching in Q2 2026. The processor isn’t limited to action cams — GoPro explicitly confirmed it’s heading to:

• Action cameras
• 360 cameras
• Vlogging cameras
• Ultra-premium compact cinema-grade cameras

Sample images from the next-gen GP3-powered system already show big leaps in low-light and overall quality. GoPro’s CEO has called 2026 “the year of GP3” with new flagships, heavy AI focus, and a major comeback push:

View this post on Instagram

A post shared by GoPro (@gopro)

Hero 14 Black Status & Rumors

• No Hero 14 in 2025 — the first time in a decade GoPro skipped an annual flagship Hero Black update. The Hero 13 Black stays the top model for now.
• GoPro’s SVP of Global Marketing confirmed: “The Hero Black story isn’t over.” They’re taking extra time for meaningful upgrades instead of iterative ones.
• Expected 2026 arrival (likely Q1/Q2, tied to GP3) with a possible 1-inch sensor for huge low-light gains, redesigned body, and bigger resolution/framerate jumps – but nothing confirmed beyond the GP3 integration.

The post GoPro unveiled a new GP3 custom imaging processor for their upcoming cameras appeared first on Photo Rumors.

Image: Honor

Honor and Arri have announced a "strategic technical collaboration" to bring Arri's image science and workflow features to Honor phones. The two companies unveiled the partnership at the Mobile World Congress (MWC) 2026, promising that the results will be showcased in the smartphone maker's upcoming Robot Phone.

The collaboration between the smartphone maker and high-end cinema camera manufacturer aims to bring pro-level video features to smartphones. The companies explained that they will combine Honor's mobile imaging capabilities with Arri's cinematic image quality, making high-end video creation more accessible.

Image: Honor

They didn't provide many details about the upcoming phone or how Arri-specific features will be integrated into it, beyond saying it will use Arri's "image science foundation." In theory, it may be similar to how Leica and Hasselblad have collaborated with phone companies to enable their color profiles on phones, though there could be other workflow features as well.

"The challenge is not to replicate cinema hardware, but to translate the underlying principles into compact, real-time mobile architectures," says Dr. Benedikt von Lindeiner, Vice President at Arri and responsible for the technical collaboration with Honor. "Our goal is to bring a true cinematic aesthetic to smartphone imaging – natural color, gentle highlight roll-off and a sense of depth that feels authentic to how stories are meant to be seen."

Honor first showed off the Robot Phone in October of last year with a CGI teaser. The video showed a concept smartphone with a gimbal-mounted camera that extends above the phone, resembling a DJI Osmo Pocket 3 with a phone in place of the handgrip. At the time, the company said it would share more at MWC. This collaboration announcement mentions the Robot Phone again, but doesn't include any new details. Honor did say, however, that the phone will be coming later this year, so it may be closer to reality than we originally thought.

Here is what else is new:

Leica price increase in the US confirmed for March 13, 2026

The Leica wooden toy camera is back: now available for pre-order

Now available for pre-order: Light Lens Lab 75mm f/2 “SP-II” lens for Leica M-mount

The Mandler 35mm f/2 “Seven Elements” lens for LTM-mount is now open for pre-orders again (limited quantities)

2026 CP+ interview: Panasonic still committed to Micro Four Thirds

New OM System cashback savings in Europe

New: OM System x Millet wearable shoulder photo pocket II released in Japan

OM System OM-3 recipes hub

RAW FILE CONVERTER EX 3.0 powered by SILKYPIX Now With Fujifilm X-T30 III Support

Sony a7V Exploded

Lomography Nour Triplet V 2.0/64 “Bokeh Control Art” lens for Nikon Z-mount now available

Stores and distributors in China are removing all Sirui Z-mount lenses

Honor and ARRI officially announce a new collaboration for a new gimbal-stabilized smartphone video device: pic.twitter.com/eVH7757Lbh

— Photo Rumors (@photorumors) March 1, 2026

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Reviewing the a7 V reminded me of the challenges, and the importance, of including subjective assessment in reviews. Photo: Mitchell Clark

Reviews are, by most definitions, subjective: ultimately they always have some degree of opinion. An informed opinion, subject to careful consideration of any inherent biases and critically assessed by other editors, we'd like to think, but still, ultimately, subjective.

This is especially true of camera reviews. A camera isn't a simple device that can be summarized by conducting objective performance tests in an analytical report. For a start, the comfort and usability of a camera are important factors, that can't be objectively assessed. All the more so because a camera is a device that can be used for self-expression. Enjoyment is absolutely critical.

All of this was at the front of my mind as I wrapped up our recent review of the Sony a7 V, and as I, as lead reviewer on this camera, start to build my case for arguing its position in our various Buying Guides. It's a really difficult task, because the a7 V is an extremely capable camera, but one that competes against some of the most all-round capable cameras we've ever seen, battling it out in arguably the most competitive part of the market. There are a few differences in objective spec and performance, but they won't be significant enough for most people to help them make a choice.

The Sony a7 V: so good. And yet...

The a7 V was a particularly challenging camera to review in that regard. It's supremely capable and is an obvious choice for existing Sony users. It'll be a huge step up for anyone using an a7, a7 II, a7 III or a7C, and will be a better camera for some a7 IV users, especially if they shoot video. But for someone without a brand commitment, it's more difficult.

The first thing you have to do is check your own biases.

The easiest thing to do would be to look at how many lenses are available for the Sony E-mount, stop the count and brush any awkward concerns about usability or ergonomics under the carpet. But I feel that would be both simplistic and dishonest. Because, by the end of my review, I found myself thinking that I enjoyed using the Canon EOS R6 III more.

I have an annoying habit of admonishing my colleagues for using the term 'intuitive.' Almost no aspect of camera operation is intuitive: it's learned. And if you're thinking that it's intuitive, it might just be that it's something you learned so long ago that you've forgotten doing so. And that's where familiarity bias can creep in. Photo: Richard Butler

This puts me in perhaps the most uncomfortable position that you encounter, in reviewing: having to work out how much or how little your personal experiences and opinion count, and how much weight to give them. I spent a lot of time asking myself why I was impressed with the camera more than I was enjoying it. Could I point to why I found the interface of the camera rather more awkward than its rivals'?

How objective can you be?

The first thing you have to do is check your own biases. Do I dislike this interface because I haven't taken the time to learn it? Do I prefer a different way of working purely based on familiarity? I don't believe so: I've used Sony cameras just as much as any other brand, and have no more connection to, say, Canon's cameras than to Sony's.

I kept asking myself those questions, the whole time I was using the camera, to make sure I was being fair. And I kept looking to see if I could put my finger on why I found the interface so distancing.

The color-coded sections in Nikon's setup menu makes it easy to learn and navigate, but plenty of the rest of the menu structure is struggling under the weight of the feature set and level of customization. Composite image: Richard Butler

In the end, I'm not sure I found it. I can point to plenty of details I don't like: the strangely phrased and oddly truncated menu names (are Sony's menus still subject to the same character limits as MS DOS?), the superfluous control panel built awkwardly into the new menus, the clumsy handling of features with interacting settings. But I can't be sure that it's the sum total of these annoyances that left me feeling disconnected from what the camera was doing.

But, all the while I'm quizzing myself on this, I'm also very aware that lots of people don't find this a problem. Or simply don't mind. As I've written in just about every Sony review I've ever written: with a bit of customization, you rarely have to use the main menus. Equally, there'll be plenty of people whose primary experience of digital photography may be with Sony cameras: they won't find any of this a problem, because that's just how cameras work, from their perspective. And it's a completely valid perspective.

The interactive settings panel, shoehorned into Sony's latest menu system manages to be both too easy to inadvertently navigate away from, while simultaneously always feeling like it's in the way. I'm not sure a prompt to contemplate the nature of paradox is what I'm looking for in a user interface, but I have to assume it's possible that someone finds it useful. Composite image: Mitchell Clark / Richard Butler

Beyond the user interface, I also found the grip somewhat uncomfortable. Much of the time you tend to support a camera's weight by cradling the lens in your left hand, but I found that myself having to release the camera, relax and stretch my fingers, at regular intervals. Again, this risks being specific to my hand size or shape, or the way I try to grip the camera, but my colleague Mitchell seems to have had the same experience.

Conversely, I don't remember having the experience I've seen some people report, where the proximity of the mount to the hand grip means your knuckles can grate against some of the more stout E-mount lenses. Did I only avoid this through lens choice? Or, again, is this just another personal factor that didn't particularly make apply to me?

How do you proceed?

Is the Canon EOS R6 III's grip objectively better (for everyone) than the Sony a7 V's? It's impossible for me to know. But would it help anyone if I pretended there was no difference in my experience with each? Photo: Mitchell Clark

So what's the correct way to report these issues? I've seen some Sony users insist that they shouldn't be mentioned at all, because they may be personal, rather than universal. But it would be dishonest to omit a factor that might put me off buying a camera, if there's a chance someone might go and spend their money, based on what I wrote (or didn't write).

Instead I did what this job requires: I reported my concerns but was careful to present them proportionately and in context. I made clear which concerns and criticisms I felt would apply to everyone and which wouldn't. And I endeavored to stress that part of the reason the menus have become so overwhelmed, and potentially overwhelming, is that the camera does so many things and offers such a high degree of customization.

Subjective factors like usability aren't trivial complaints, they're fundamental

These are the questions we'll be wrestling with this, as a team, as we look to update our Buying Guides. Because, even on reviews with only my name at the top, we try to represent more than just a single perspective or opinion, in our coverage. But our decision will still factor-in the subjective, because cameras aren't simple devices where you can test a couple of metrics and report which one is objectively "best." And we'd be failing you if we treated them as such.

I saw the subjective concerns about the a7 V dismissed as "all they've got to complain about." And this is a position I don't need to be so introspective about: it's utterly wrongheaded. It's true that the a7 V is a really good camera (hence the Gold award) but at a time where some of the most significant things setting dedicated cameras apart from phones are the experience of controlling the photo and the enjoyment of photography, subjective factors like usability aren't trivial complaints, they're fundamental.

DxO launched PureRAW 6 with DeepPRIME XD3, now extended to Bayer sensors (previously exclusive to X-Trans sensors), as well as next-generation High-Fidelity DNG compression, delivering significantly smaller files while preserving full RAW integrity and flexibility.

You can get 10% off DxO products with code RUMORS.

Additional information:

DeepPRIME XD3: The new benchmark in RAW processing

DeepPRIME XD3, previously exclusively for X-Trans sensors, marks a major leap forward in RAW image quality by now extending its groundbreaking technology to Bayer sensor cameras. An extension of DxO’s renowned DeepPRIME technology, DeepPRIME XD3 is designed specifically for the most demanding files captured under challenging conditions. It produces cleaner, sharper images than ever before, extracting phenomenal detail while maintaining natural textures and colors. It brings professional-grade clarity to every file, from high-ISO night scenes to finely detailed landscapes, establishing a new benchmark for what’s possible in RAW conversion.

Next-level DNG compression: RAW power, smaller files

DxO PureRAW 6 redefines efficiency with new High-Fidelity Compression, delivering RAW-quality output in DNG files up to four times smaller than standard uncompressed versions. This breakthrough means that photographers no longer need to compromise between quality and storage. DxO’s intelligent compression technology maintains the full dynamic range and flexibility of a RAW workflow while dramatically reducing disk usage. Large-scale processing and archiving become faster, lighter, and more efficient than ever.

AI sensor dust removal: Automated perfection

DxO PureRAW 6 brings effortless image cleanliness with the introduction of AI Sensor Dust Removal — the most advanced and accurate automatic dust-spot correction available. By harnessing the power of AI, PureRAW 6 intelligently identifies and removes sensor dust marks across entire batches of images. Users can fine-tune the cleaning threshold for total control, while automation eliminates the need for tedious manual retouching. The result is a spotless workflow that saves time and preserves image integrity, even when processing thousands of photos at once.

Faster processing: Batch Parallelization

DxO PureRAW 6 accelerates high-volume processing with new batch parallelization, intelligently preparing the next image before the previous one is finished. The result is dramatically faster throughput and smoother handling of large sets of files — a powerful boost for demanding workflows.

DxO released new lens modules for the Sony A7 V camera and the latest lenses from Sigma, Viltrox, and Samyang

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When combined, the Travel Backpack 2-in-1 provides 42L of storage. Photo: Peak Design

Peak Design has announced the launch of a new travel bag collection designed to meet the needs of various types of travelers. The lineup consists of a modular, two-in-one backpack, a duffel bag, a 20L backpack and a small crossbody bag.

The largest and most interesting of the new offerings is the Travel Backpack 2-in-1. This bag aims to solve the dilemma of deciding which backpack to bring on trips if you need extra space for packing but want a small bag at your destination. It consists of a 35L main pack and a 15L daypack that zip together (with the daypack on the front), providing 42L of storage when combined. It also comes with the company's detachable Travel Hip Belt. Both are made from a weatherproof 330D nylon canvas shell and offer hidden AirTag pockets, mesh water bottle pockets on both sides and luggage pass-throughs.

The Travel Backpack 2-in-1 includes a daypack (on the left) and a main pack (on the right) that can be zipped together. Photo: Peak Design

The main pack portion features a stowable sternum strap and removable hip belt, and the backpack's straps can be unclipped and put away if you need to check the bag. There are also magnets on the shoulder straps to keep them flat against the back panel when you don't want to unclip them. It is compatible with Peak Design's Camera Cubes, up to the large size, and offers padded laptop and tablet sleeves. The 15L daypack is slim and lightweight, making it easier to get around once you arrive at your destination. It also offers a padded laptop sleeve, but it's important to note that it isn't meant for the Camera Cubes, and most sizes won't fit inside the daypack.

The Travel Weekender 25L Photo: Peak Design

The Travel Weekender 25L is an ideal size for short trips, providing upright access, an extra-wide clamshell opening for easier packing and a vertical luggage pass-through. The bag features an organization pocket on the outside for essentials. On the inside are two zippered pockets and seven stretch panel pockets to keep things organized. It also uses a folding bottom design that allows it to collapse flat for easy storage or to compress when shoved under an airplane seat. The duffel bag fits up to one Large PD Packing Cube, two Smedium Packing Cubes or one Smedium Camera Cube, along with a 16-inch MacBook Pro. Like the Travel Backpack, it is weatherproof and will keep your stuff dry.

The Travel Backpack 20L Photo: Peak Design

The Travel Backpack 20L is designed for everyday use or travel. It's international carry-on approved, so you won't have to worry about needing to check it if you're hopping airlines around the world. Like the other bags, it features a vertical luggage pass-through and a padded laptop sleeve. It also offers an expandable main compartment for when you need a bit more space, a soft-lined top pocket for quick-grab essentials, a zipper-hidden water bottle pocket and magnetic shoulder strap keepers. There are also external straps to attach a tripod to the bottom of the bag. It fits up to a Smedium Camera Cube, two Smedium Packing Cubes or one Large Packing Cube when the bag isn't expanded.

The Travel Crossbody 3L Photo: Peak Design

Lastly, the smallest of the bunch is the Travel Crossbody 3L, which is meant for carrying essentials and small items. Peak Design says it builds on its Tech Pouch and features the company's origami-style interior pockets, an extra-wide clamshell opening, a hidden stash pocket with a magnetic closure and a discreet pocket for an AirTag. It can fit devices up to an iPhone 16 Pro Max or Samsung S, along with smaller tablets like the iPad Mini and Kindle. The XXS Ultralight Packing Cube also fits inside, and, like the other bags, it's weatherproof to protect your stuff.

As with many other Peak Design launches, the Travel Backpack 2-in-1, Travel Weekender 25L, Travel Backpack 20L, and Travel Crossbody 3L will first be sold through Kickstarter, beginning today. The bags will retail for $400, $200, $2000 and $100, respectively, but Kickstarter backers will get a $21 discount on the crossbody, $41 on the backpack and weekender, and $81 on the 2-in-1. The full launch is coming sometime at the end of May, though Peak Design hasn't provided a specific date.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

The iPhone 17e now has MagSafe, double the base storage and tougher glass. But its single camera and slow display remain unchanged. Image: Apple

Apple has announced the iPhone 17e, updating the lowest-end new model in its lineup. While it has several key updates, including a newer chip and double the base storage, Apple hasn't made any updates to the cameras, which were one of the original 16e's biggest weaknesses.

Like its predecessor, the 17e has a single 48MP Type 1/2.55 (23.5mm²) rear camera with a 26mm equiv. F1.6 lens, which also has a "2x" mode that crops in on the center quarter of the sensor. Apple has, however, updated its branding, now referring to it as a "Fusion camera system" rather than a "2-in-1 camera system."

The iPhone 17e's camera has no higher aspirations than to be "good enough." Image: Apple

The 12MP selfie camera has also been untouched; the 17e doesn't get the larger 18MP square model found on the standard iPhone 17, which lets you take horizontal and vertical crops no matter which orientation you're holding the phone at. The 17 also includes a 48MP, Type 1/2.55 (23.5mm²) ultra-wide camera, which offers the ever-popular "0.5x" mode, and its main camera uses a larger Type 1/1.56 (48mm²) sensor.

Related: Which iPhone is best for photography?

Also unchanged is the display. While the iPhone 17 prompted many "finally!"s by switching to a 120Hz model, the 17e's 6.1" OLED screen is still stuck at a 60Hz refresh rate (and still has a large notch taken out of the top to house the FaceID camera and sensors). It is, however, now protected by Apple's second-gen "Ceramic Shield" glass, which testing has shown to be quite a bit more scratch-resistant than the first-gen one found on the 16e. It can reach 1200 nits, which, while not as impressive as the brightness that some flagship phones are capable of, is still typically plenty for all but the harshest sunlight.

As for what else Apple has changed, the 17e's processor and cellular modem are a generation newer than its predecessor's, though Apple isn't making any strong claims about the A19's performance or efficiency compared to the A18; both "e" models are rated for up to 26 hours of video playback. However, the company does say the Apple-designed C1X modem is "up to 2x faster" than the C1 used by the 16e.

Lots of people complained when the 16e launched without MagSafe, and for good reason: it's wonderfully convenient, and there are a lot of accessories available for it now that it's been around for a few years. Image: Apple

Perhaps most importantly, though, is that Apple has upgraded the 16e's standard Qi wireless charging. The 17e now has the company's "MagSafe" tech. While some will appreciate that the guaranteed alignment means it can charge twice as fast (up to 15W vs. 7.5), most are likely to be more excited about gaining access to the wide accessory ecosystem surrounding it, making it easy to attach the phone to tripods, stands, and basically anything else. The 17e also has double the base storage as its predecessor, with the standard model coming with 256GB. It does, however, still max out at 512GB.

When the 16e launched last year, replacing the almost decade-old "SE" line, it was an open question as to whether we could expect Apple to update it every year, as it does with its main phones. With the SE, that wasn't the case; the company only made three models between 2016 and 2022. With this news, it appears we have an answer: yes, Apple will continue to add its latest chips and some new features to its more budget-oriented lineup.

Other budget competitors don't make you give up a high refresh-rate display or secondary camera

While the changes it's made to the 17e are important quality-of-life upgrades, I think the phone still sits in a somewhat uncomfortable place. The standard iPhone 17 has been lauded as one of the best all-around options available, and for many people, it'll be worth paying the $200 more to get its faster, larger screen and better camera system. Likewise, many other budget competitors like the Pixel 10a don't make you give up a high refresh-rate display or secondary camera option. However, if you really don't care about any of that and prefer your phones to be Apple-flavored, it's nice that you have the option to save some money and that you'll be getting a phone with fewer compromises than you would've before.

The phone has the same $599 starting MSRP as its predecessor, and is available in black, white and, now, "soft pink." It will be available for pre-order on March 4th and is set to launch on March 11th.

Image: Apple

With Apple's latest iPhone 17 series, the company's lineup has more options than before, from the iPhone Air to the iPhone 17 Pro Max (and we can't forget the budget iPhone 17e). While there are many things that set these phones apart, we're going to look at how the phones are for photography, and how they compare to each other.

How do Apple's new iPhones compare?

There are more subtle differences that we'll cover, but the biggest differences between cameras for the Air (left), iPhone 17 (middle) and iPhone 17 Pro (right) are obvious just from looking at them. Image: Apple

Comparing the cameras on the iPhone 17, iPhone Air, iPhone 17 Pro, and iPhone 17 Pro Max is relatively simple; for most people, the main differences will be in the number of cameras each phone has. The Air has a single wide-angle camera, and the same model is found on the iPhone 17, though paired with an ultra-wide camera. The 17 Pro adds an additional telephoto camera, providing the most range and flexibility.

There are several shared components between the phones. The 17 and Air's main cameras, for example, are the same, as are the wide-angle camera on the 17 and 17 Pro. And for photography, they have the same set of features, including the Camera Control button, customizable Photographic Styles that give you more control over how your photos look and a portrait mode with adjustable computer-generated bokeh.

The iPhone 17 Pro's main camera is much larger than the one on the standard 17 and Air

Despite the commonalities, there are still benefits to going Pro. Besides the addition of a 100mm equiv. telephoto camera, the main camera also uses a much larger Type 1/1.28 (71.5mm²) sensor, compared to the Type 1/1.56 (48mm²) sensor used on the standard 17 and Air.

The additional area means it will gather more light, so it won't have to dip into the long exposure low-light mode as often, and can provide better image quality and more real bokeh in ideal lighting conditions. The Pros' main cameras also have a slightly wider focal length at 24mm, rather than 26mm.

Finally, there's the Air, which only has a single 26mm wide-angle camera. Apple includes a "2x" mode that crops in on the 12MP in the center of the sensor to provide a bit of additional reach, but if you like to shoot subjects that are far away, or like the look that ultra-wide images provide, you may want to consider other options. However, if you only use the main camera, you're not giving anything up versus the standard 17.

What about the selfie camera?

Image: Apple

For this generation, Apple introduced a brand new selfie camera which, thankfully, is included on all of its new phones. The new design is larger (though it's not clear by how much), higher-resolution and square. While it doesn't seem like the phone uses the whole sensor at once, it allows you to switch between portrait and landscape selfies without having to physically rotate your phone.

Is the Pro Max better than the Pro?

For photography, no; the iPhone 17 Pro and Pro Max have the same camera setup. This hasn't always been the case; the iPhone 15 Pro Max's telephoto camera had further reach than the one on the smaller model. However, this time around, you don't have to give up any photography features to get the more pocketable phone (unless you truly feel you need the 2TB storage option that's only available on the Max).

If you're interested in the Pro line, be sure to check out our deep-dive article that covers all the changes to its cameras and video features compared to the previous generation.

iPhone 17 versus iPhone 17e

The iPhone 17 (left) has more than just an extra camera compared to the 17e (right). Image: Apple

If you look at Apple's spec sheet, it'd be easy to think that the budget-oriented iPhone 17e's single camera is the same one used by the standard iPhone 17; the company calls them both "48MP Fusion Main" cameras, after all. However, the one on the 17e is substantially smaller, coming in at 23.5mm² (which you might recognize as the same size used by the more expensive phones' secondary and tertiary cameras).

The smaller sensor again means that the phone will have to work harder to capture clear photos in low light, and that images from it taken in ideal lighting conditions won't be as good as ones from the newer phones. That's especially true given that it's only optically stabilized, rather than having additional sensor stabilization like the mainline iPhones.

A few other limitations compared to the 17s and Air: the 17e doesn't have the next-generation portrait mode that lets you adjust what the main focus of the image is and what's blurred out, nor does it have the more customizable Photographic Styles. It also lacks the Camera Control button and uses the old selfie camera, meaning you'll have to turn your phone to get landscape portraits.

What about the iPhone 16?

Last year's iPhone 16 has the same main camera as the new iPhone 17, but ultra-wide shooters beware... Image: Tucker Bowe

As usual, Apple has stopped selling the previous-generation Pro phones, but is still selling the standard iPhone 16 for around $100 less than its launch price. Its main camera will be the same as the standard 17's, but its ultra-wide camera is a smaller (23.5mm²) 12MP model versus the 48MP one used by the current-gen. Like the 16e, it uses the older selfie camera.

What else should I consider?

There's a lot of things to consider when you're buying a phone beyond its photographic capabilities. For example, the iPhone 17 Pro Max has a massive battery and a giant screen, both of which could be handy on days when you're taking a ton of photos. The Pro phones also have a litany of video features, such as the ability to record ProRes Raw and Log footage.

Meanwhile, the iPhone Air is substantially thinner than the other options, which could be nice if you prefer a phone that doesn't take up a ton of pocket space. And, of course, there are countless Android options with their own sets of strengths and weaknesses. But you should now at least understand how the cameras on Apple's current-generation phones stack up to one another.

For the past several days, our team has been reporting live from CP+ 2026, the camera industry's premier trade show and consumer expo in Yokohama, Japan.

Now that the event has wrapped up, we wanted to share what it's like to experience the show floor in person. From the latest camera gear to the colorful kitsch, this video takes you on a whirlwind tour of CP+ 2026 in just a little over two minutes.

Tokina has been very quiet recently, with only one new lens announcement in 2025. At the 2026 CP+ show in Japan, Tokina had a new lens on display labeled “One Lens Like No Other”. This is what we know:

• The new lens appears to be a wide-angle, fixed-focal-length, large-aperture lens, given the picture of the night sky in the background.
• The lens is currently under development – what was on display was a prototype/engineering release.
• No technical specifications or other details were provided.
• This lens is supposed to show the power of the next generation of Tokina lenses

Several Tokina lenses are currently on sale at B&H Photo.

The post Tokina is teasing a new lens: “Like No Other” appeared first on Photo Rumors.