2025 DPG Masters Underwater Imaging Competition

DivePhotoGuide (DPG) has announced the winners of its Masters Underwater Imaging Competition 2025. The contest consists of nine image categories, including wide angle, macro, over-under, compact and more, along with one video category. It also awards one overall winner, with this year's honor going to Yuka Takahashi for her stunning image of two humpback whales swimming side by side in Mo'orea.

The DPG Masters Underwater Imaging Competition may be smaller than some photo competitions, but it still showcases stunning imagery. This year's edition received more than 2000 entries from underwater photographers and videographers around the world. A panel of six judges – Nicolas Remy, Jennifer Hayes, Álvaro Herrero (Mekan), Jill Heinerth, Aaron Wong, and Kate Jonker – selected the winners and runners-up, awarding a total of $85,000 in prizes. The contest also donates 15% of proceeds to marine conservation efforts.

You can see all of the winning images and learn more about the contest at the DPG website.

Overall Winner, Wide Angle - Gold

Photographer: Yuka Takahashi

Country: Japan

Title: Synchronized Humpback Whales

Shooting location: Mo’orea, French Polynesia

Equipment and settings: Sony a7R Mark IV, Sony FE 16–35mm F2.8, SeaFrogs housing (F4.5, 1/500s, ISO 320)

Photographer's comment: A pair of humpback whales swims in synchronicity off the French Polynesian island of Mo’orea. Every year, migrating humpback whales from the Southern Hemisphere journey to Mo’orea to use its warm waters as a nursery and resting ground. These two humpbacks are always seen together, and I was fortunate to capture this rare moment in which they mirrored each other’s position and movement almost perfectly. Living close to nature has taught me lessons no textbook ever could, including the realization that each animal has a unique personality. To me, this photograph reflects the strong bond between the two whales while also revealing their playful and curious nature. One of the most special moments I have experienced, this encounter truly made me feel a deep connection with wildlife.

Copyright © Yuka Takahashi | UnderwaterCompetition.com

Wide Angle - Silver

Photographer: Evgenii Ivkov

Country: Russia

Title: Through the Looking Glass

Shooting location: Lakey Peak, Sumbawa, Indonesia

Equipment and settings: Canon EOS 5D Mark IV, Canon EF 8–14mm F4 Fisheye, Liquid Eye housing (F10, 1/2000s, ISO 1000)

Photographer's comment: There was a good weather forecast on this particular day of our surf trip to Sumbawa, and I knew I had a great opportunity to try and get some underwater shots with a surfer in a tube, as the water clarity and conditions were perfect. The hardest part was constantly being in the breaking zone of fairly large and powerful waves. You need to understand and read the ocean well to do that. A small mistake can be very costly if you’re in the wrong place. The swell that day was great. The waves were double overhead, and the surfers put on a show. I spent almost two hours in the water and made numerous attempts before I got a really good series. The best waves were taken by local surfers, and one of the Indonesian surfers is in the photo.

Copyright © Evgenii Ivkov | UnderwaterCompetition.com

Macro - Gold

Photographer: Sunbong Jung

Country: South Korea

Title: House Cleaning

Shooting location: Anilao, Batangas, Philippines

Equipment and settings: Canon EOS R5, Canon RF 100mm F2.8 Macro, Seacam housing, Retra strobes (F2.8, 160s, ISO 400)

Photographer's comment: A bluestriped fangblenny repeatedly scoops up sand from its burrow with its mouth and spits it out. At first glance, the behavior appears random, almost playful, but closer observation reveals a precise and purposeful routine. The fish follows a systematic three-step excavation process, carefully clearing its home grain by grain. This image captures the final and most dramatic stage—the moment the fangblenny launches itself upward from the burrow at roughly a 45-degree angle, forcefully ejecting the remaining sand as far away as possible. The brief burst of motion, frozen in time, highlights both the intelligence and determination hidden within this tiny reef dweller.

Copyright © Sunbong Jung | UnderwaterCompetition.com

Macro - Silver

Photographer: Wojtek Męczyński

Country: Poland

Title: Pregnant Denise

Shooting location: Lembeh, Indonesia

Equipment and settings: OM System OM-1 Mark II, Olympus M.Zuiko 90mm F3.5 Macro, Nauticam housing, Inon Z-240 strobes, Backscatter MW-4300 video light (F18, F160s, ISO 200)

Photographer's comment: Prior to this dive, our guides had mentioned that there was a possibility of encountering a Denise’s pygmy seahorse, but after entering the water, there wasn’t much to see and I remember thinking our chances were slim. Yet, when we reached this small, pristine fan coral, I was amazed—and overjoyed—to find this tiny, pregnant pygmy living there. I took just three or four shots, trying not to disturb the animal too much. It seemed to pose proudly among the branches of the fan.

Copyright © Wojtek Męczyński | UnderwaterCompetition.com

Traditional - Gold

Photographer: Chris Gug

Country: USA

Title: King of the Hill

Shooting location: Tulamben, Bali, Indonesia

Equipment and settings: Nikon Z8, Nikon Z 105mm F2.8 Macro, Nauticam housing, Backscatter HF-1 strobes (F25, 1/25s, ISO 320)

Photographer's comment: On the way back up a deep, sandy muck slope, at 25 feet, I saw my 30th tube anemone of the dive, and I habitually—obsessively—inspect each and every one for symbionts. The prize I was looking for wasn’t just present but perched in the perfect spot, looking like the ruler of its domain. Before beginning to shoot, I knew I wanted a blue background rather than black, so I slowed the shutter speed. Since I had to be quite far back for this composition with my 105mm macro lens, I moved my strobes all the way forward to try to minimize backscatter. Then the challenge was getting a crisp shot at 1/25s (since I’m an ISO noise snob) as the anemone swayed back and forth in the current. So, much to the chagrin of my housing’s already-gritty O-rings, I braced the housing in the sand as a poor excuse for a tripod. I checked this anemone each time I repeated this site over the next few weeks, and the crab was never there again, so I’m glad I dedicated all the time I could when the chance presented itself.

Copyright © Chris Gug | UnderwaterCompetition.com

Traditional - Silver

Photographer: Galice Hoarau

Country: Norway

Title: Shaw’s Sea Snake

Shooting location: Anda, Bohol, Philippines

Equipment and settings: Sony a7R Mark IV, Sony FE 90mm F2.8 Macro, Nauticam housing, Nauticam EMWL-1 with 160° Objective Lens, Retra Flash Pro Max strobes (F16, 1/160s, ISO 640)

Photographer's comment: Encountering this sea snake (Hydrophis sp.) during a dive off Anda in the Philippines, I noticed some rather unusual behavior. First, the snake was rubbing itself on the sand in a vertical U-shape, then it was literally tying itself in knots. I could see pieces of skin hanging at the tail—it was shedding! Although sea snakes are known to exhibit such behavior to help slough off their old skin, it has rarely been captured in a photo—so I knew I had captured something special.

Copyright © Galice Hoarau | UnderwaterCompetition.com

Unrestricted - Gold

Photographer: Karyll Gonzalez

Country: USA

Title: Even Eyes Deserve a Spa Day

Shooting location: Lembeh Strait, Indonesia

Equipment and settings: Nikon D7200, Nikon AF-S 60mm F2.8 Macro, Nauticam housing, Sea&Sea YS-D2 strobes, 10Bar macro snoot (F11, 1/250s, ISO 200)

Photographer's comment: This composite image was created during a multi-week trip to Lembeh, Indonesia. Our dive guide found a black sand patch with multiple snake eels, but this was the only one that had cleaner shrimp associated with it. With the dive guide assisting by holding my snoot, the shrimp moved along the snake eel and I managed to capture this shot with the crustacean over its eye. The sun ball that forms the background was shot later on the trip.

Copyright © Karyll Gonzalez | UnderwaterCompetition.com

Unrestricted - Silver

Photographer: Fan Ping

Country: China

Title: Skull at Green Cave Sink

Shooting location: Meizhou, Guangdong, China

Equipment and settings: Sony a7S Mark III, Sony FE 28–60mm F4–5.6, Nauticam housing, Nauticam WACP-1, DivePro G18 video light (F5, 1/400, ISO 16000)

Photographer's comment: The skull in this photo was the first human remains we saw after descending into Green Cave Sink (绿窟潭), which is thought to have once served as a site for ritual executions. It was resting quietly on a rock ledge, just 15 feet below the surface. Over time, minerals in the water had begun to coat its surface, leaving behind distinct signs of calcification—like a silent rust left by the passing of centuries. In that moment, I didn’t feel fear, or even fascination. What I felt was heavier: This wasn’t a movie prop, or a prank planted by some thrill-seeking explorer. It was real. Someone once lived here. And now, they remained here.

Copyright © Fan Ping | UnderwaterCompetition.com

Over-Under - Gold

Photographer: Anton Sorokin

Country: USA

Title: Sierran Gold

Shooting location: Sierra Nevada mountains, CA, USA

Equipment and settings: Nikon D810, Nikon AF-S 8–15mm F3.5–4.5 Fisheye, Nauticam, Seacam strobes (F16, 1/60s, ISO 400)

Photographer's comment: In the spring, in California’s Sierra Nevada mountains, streams fed by snowmelt flow cold and clear. Remarkably resistant to the cold temperatures, Sierra newts (Taricha sierrae) take to the water to breed, spending weeks in the stream. During this time, they will find a mate and lay their eggs on the underside of boulders underwater in deeper pools. From above the water’s surface, a newt appears as a golden-orange shimmer on the bottom of the fast-flowing stream; one has to wonder how often during California’s gold rush prospectors mistook the amphibians for precious metals!

Copyright © Anton Sorokin | UnderwaterCompetition.com

Over-Under - Silver

Photographer: Suliman Alatiqi

Country: Kuwait

Title: Marine-Adapted from Head to Toe

Shooting location: Midriff Islands, Mexico

Equipment and settings: Nikon D850, Nikon AF-S 8–15mm F3.5–4.5 Fisheye, Nauticam housing (F10, 1/125s, ISO 100)

Photographer's comment: This split shot, captured with a close-focus wide-angle technique, aims to emphasize the key features of the brown booby (Sula leucogaster), a sleek, agile seabird perfectly adapted to the open ocean. The brown booby is commonly encountered resting on the water’s surface, its water-repellent feathers preventing it from becoming too heavy for takeoff and also helping insulate its body to maintain heat. Webbed feet allow it to efficiently paddle through the water while diving for food and give it the ability to launch itself from the water’s surface. Meanwhile, the dagger-like shape of its beak helps keep it streamlined when diving to minimize drag, while the sharp tip aids in piercing its slippery prey, such as fish and squid. Finally, its forward-positioned eyes provide binocular overlap, which aids in depth perception when judging plunge-dives.

Copyright © Suliman Alatiqi | UnderwaterCompetition.com

Conservation - Gold

Photographer: James Ferrara

Country: USA

Title: Survivor

Shooting location: Sri Lanka

Equipment and settings: Sony a7R Mark V, Sigma 15mm F1.4 Fisheye, Nauticam housing (F11, 1/800s, ISO 320)

Photographer's comment: While on an expedition in Sri Lanka, we encountered an olive ridley turtle ensnared in ghost fishing nets, drifting amid the active gear of a nearby fishing boat. After speaking with the fishermen and receiving their permission, my wife and I, along with our boat captain, entered the water to help free the animal. As we worked, we discovered the turtle was already missing a front flipper, likely the result of a previous entanglement. Carefully cutting away the ropes, we released its trapped back flipper and watched as it swam free—now relying on only two flippers on one side of its body. The turtle disappeared into the blue, its ultimate fate remaining unknown. What stayed with me was its resilience and undeniable will to survive. I hope this image resonates with the wider public, serving as a quiet but powerful reminder of the lasting impact human activities have on these remarkable marine creatures.

Copyright © James Ferrara | UnderwaterCompetition.com

Conservation - Silver

Photographer: Daniel Taylor

Country: Mexico

Title: Entangled Fates

Shooting location: Baja California Sur, Mexico

Equipment and settings: Canon EOS R, Canon RF 15–35mm F2.8, Nauticam housing (F10, 1/500s, ISO 800)

Photographer's comment: On August 2nd, 2025—less than 48 hours after Baja California’s annual three-month shark fishing ban was lifted—I was exploring the ocean with friends when something caught my eye through binoculars in the distance. At first, it looked like drifting trash. But as we approached, two small fin tips barely breaking the surface beside an empty plastic soda bottle revealed the truth: This male silky shark had mistaken a meal for survival, and lost.

Here, shark fishing often exists within complex and sometimes illegal networks, where intervening can place one’s own life at risk. Before getting closer, we scanned the horizon for nearby boats that might have set the line. Knowing what I would find, our captain stood watch as I entered the water. In that moment, our paths were bound by the same line, but with very different outcomes. The shark’s fate was sealed; mine was a choice. Unable to free it without putting myself in danger, I used the only tool I could safely employ: my camera. I hope the images I took will help to give a voice to those entangled in a system they cannot escape or fight against.

Copyright © Daniel Taylor | UnderwaterCompetition.com

Cold Water - Gold

Photographer: Francesco Visintin

Country: Italy

Title: Blue Crayfish

Shooting location: Tuscany, Italy

Equipment and settings: Nikon Z8, Nikon AF-S 8–15mm F3.5–4.5 Fisheye, Isotta housing, Isotta RED64 strobes (F16, 1/25s, ISO 800)

Photographer's comment: This freshwater crayfish (Austropotamobius pallipes italicus) displays an extraordinary blue coloration caused by a rare genetic mutation. While the species is normally camouflaged in hazel or olive tones to blend with the riverbed, a disrupted bond between carotenoid pigments and specific proteins reveals this striking blue hue, an exceptionally uncommon phenomenon in nature. Beyond its unusual appearance, this species is a sensitive indicator of ecosystem health, surviving only in pristine freshwater environments with stable temperatures, high oxygen levels, and minimal human disturbance. Today, its populations are in severe decline due to habitat fragmentation and degradation, the spread of pathogenic agents such as crayfish plague, and increasing pressure from invasive alien predators, including raccoons.

Copyright © Francesco Visintin | UnderwaterCompetition.com

Cold Water - Silver

Photographer: James Ferrara

Country: USA

Title: Killer Light

Shooting location: Norway

Equipment and settings: Sony a7R Mark V, Sigma 15mm F1.4 Fisheye, Nauticam housing (F4, 1/250s, ISO 800)

Photographer's comment: I set out to photograph orcas in the frigid fjords of Norway, where conditions can be unpredictable and often unforgiving. During my time there, however, the weather was nothing short of extraordinary. On this particular day, the sun shone brightly beneath a clear blue sky—an uncommon gift for this time of year. A pod of roughly 10 orcas was actively feeding on herring when one individual broke away from the group and moved toward the light. I followed at a distance as the orca swam calmly into the sunlit water, then suddenly turned and headed directly toward me. At the last possible moment, it veered aside, offering a perfectly framed, full-body view illuminated by cascading rays. Opportunities for a composition like this are rare, requiring timing, trust, and a great deal of luck. I feel incredibly fortunate to have witnessed—and captured—this fleeting, unforgettable moment in the wild.

Copyright © James Ferrara | UnderwaterCompetition.com

Compact - Gold

Photographer: Manuel Wüthrich

Country: Switzerland

Title: Tree of Life

Shooting location: Cenote Dos Pisos, Mexico

Equipment and settings: Sony RX100 Mark VII, Nauticam housing, Nauticam WWL-C, three X-Adventurer M8000 video lights (F2.8, 1/50s, ISO 1600)

Photographer's comment: In Mexico’s Cenote Dos Pisos, earth, water, and time merge into a single, breathing organism. Roots break through the ceiling of the cave and reach deep into the water. Light filters through the earth, bathing the scene in a mysterious glow. Millennia have shaped these formations, and yet everything feels alive. When I dove there, it was the silence that struck me. It was as if nature whispered its story—of rain seeping through limestone, of roots searching for life, and of light offering hope. It was a moment that reminded me how deeply everything is connected.

Copyright © Manuel Wüthrich | UnderwaterCompetition.com

Compact - Silver

Photographer: Johan Letang

Country: France

Title: In Meditation

Shooting location: Tahiti, French Polynesia

Equipment and settings: Canon G7X Mark III, Nauticam housing (F2.2, 1/1600s, ISO 800)

Photographer's comment: This is my favorite snorkeling spot in Tahiti, a place I return to again and again, never expecting the same encounter twice. That day, the ocean offered me this turtle, which was unusually calm and serene. When she rose to the surface, she didn’t simply take a breath and drift back down to rest on the reef. She stayed there, suspended between the marine world and the air above. Floating effortlessly, she slowly changed her position, adjusting her body as if searching for perfect alignment with her surroundings. Watching her, I had the strange and powerful feeling of being in the presence an animal in meditation. It reminded me why I keep coming back. You can enter the same water dozens of times, yet every immersion is a rediscovery of the marine world and its inhabitants, always offering something new to those willing to pause and observe.

Copyright © Johan Letang | UnderwaterCompetition.com

Portfolio - Gold

Photographer: Tom Shlesinger

Country: Israel

Title: Oceans of Life: Coral’s Annual Miracle

Shooting location: Gulf of Aqaba, Red Sea, Eilat, Israel

Equipment and settings: Sony a1, Sony FE 12–24mm F2.8, Nauticam housing, Retra Flash Pro Max strobes (F16, 1/60s, ISO 400)

Photographer's comment: In a breathtaking spectacle, thousands of corals spanning vast reef expanses release their reproductive material simultaneously—a fleeting moment that unfolds within minutes, once a year. A vibrant, upside-down snowstorm ensues as billions of colorful eggs and sperm disperse through the currents, converging to create new life. This photographic project, part of an ongoing scientific journey, chronicles the unique reproductive phenomena of corals, shedding light on the intricacies of their underwater world and the challenges they face in an ever-changing environment.

Copyright © Tom Shlesinger | UnderwaterCompetition.com

Portfolio - Silver

Photographer: Frank Aron

Country: Germany

Title: Orange, Black and Green: The Colors of Diving in Flooded Slate Mines

Shooting location: Nuttlar, Germany

Equipment and settings: Sony a7C, Sony FE 28mm F2, Nauticam housing, Nauticam WWL-1, Bigblue VL65000P and other video lights (F8, 1/30s, ISO 2500)

Photographer's comment: Orange rusty remains create a pleasing contrast to the greenish/black walls of the flooded slate mines in northern Germany. My goal in this portfolio is to show this color contrast by using powerful video lights. The orange main subjects are in the foreground of the image, near the camera, so that the color is not absorbed by the water. The greenish/black slate walls form the background, thereby underlining the orange color, which sometimes appears golden. The beams of light and shadows create a certain depth in the image while the illuminated diver provides an important sense of scale.

Copyright © Frank Aron | UnderwaterCompetition.com

The previously reported Brightin Star MF 50mm f/1.05 lens for Z/E/RF/L mount is now officially announced and available for order at Amazon, Ali Express, and Brightin Star website with an introductory price discount:

• Introductory price: $269.99 (valid January 16 – January 26)
• Regular price: $299.99
• 7-group, 10-element optical design with 2 high-refractive index elements
• Signature aperture ring design
• Excellent center sharpness
• Sample photos can be found here

Additional information:

Additional information on the two new/upcoming Brightin Star lenses

Updated list of latest/upcoming/rumored Chinese lenses

The post Brightin Star MF 50mm f/1.05 lens for Z/E/RF/L officially announced appeared first on Photo Rumors.

Would you buy the new Ricoh GR IV Monochrome camera for $2,200 (B&H Photo | WEX Photo | Foto Erhardt)? Vote in the poll below:

Please enable JavaScript to view the poll powered by Disqus.

Update: I made a typo – “Now” should be “Not”.

Additional coverage of the Ricoh GR IV Monochrome camera can be found here:

Ricoh officially released the GR IV Monochrome camera

Ricoh GR IV Monochrome vs. Leica Q3 Monochrom

Comparing the Ricoh GR IV vs. GR IV HDF vs. GR IV Monochrome cameras

Ricoh GR IV Monochrome camera development announced

Via PentaxRumors

The post Poll: would you buy the new Ricoh GR IV Monochrome camera for $2,200? appeared first on Photo Rumors.

Cosina announced a new Voigtlander Portrait Heliar 75mm f/1.8 lens for Nikon Z and Canon RF mount (the lens already exists for Sony E-mount):

• Bokeh control ring (Spherical Aberration Control Ring)
• Communication with the camera body via electronic contacts
• All-metal lens
• 6 Optical Elements in 3 Groups
• 9-blade iris diaphragm

Pre-orders will open soon at: B&H | Erhardt | WEX.

Additional information can be found here and here:

New Voigtlander Portrait Heliar 75mm f/1.8 lens with bokeh control ring for Nikon Z-mount announced

New Voigtlander PORTRAIT HELIAR 75mm f/1.8 lens with various bokeh effects announced

Via NikonRumors

The post New Voigtlander Portrait Heliar 75mm f/1.8 lens with bokeh control ring for Nikon Z and Canon RF mount announced appeared first on Photo Rumors.

This is the first leaked picture of the upcoming Viltrox lens for L-mount:

The first two Viltrox lenses for L-mount are rumored to be:

• Viltrox AF 16mm f/1.8 for L-mount
• Viltrox AF 28mm f/4.5 for L-mount

Viltrox joined the L-Mount Alliance in September, 2025:

Today Viltrox became the 10th member of the L-Mount Alliance

What’s coming next from Viltrox (updated)

Updated list of latest/upcoming/rumored Chinese lenses

The post First leaked picture of the upcoming Viltrox lens for L-mount appeared first on Photo Rumors.

2026 World Sports Photography Awards

The winners of the 2026 World Sports Photography Awards have been announced, highlighting impeccable timing, dramatic lighting and memorable moments. The contest showcases work from sports photographers across 24 categories, spanning more than 50 sports, including American Football, Baseball, Football, Formula 1, and more. In addition to Gold, Silver, Bronze and Special Merit awards in each category, the jury selects a Gold, Silver and Bronze Grand Prix award for the three top images.

This year's edition drew a record number of submissions. 23,130 images were submitted by 4120 photographers from 123 countries. "The images recognised this year showcase photographers at their creative best, pushing boundaries, seeing differently and capturing sport in ways we’ve not experienced before," said Richard Shepherd, Product Marketing Senior Manager, Imaging at Canon Europe.

You can see all of the winning images and learn more about the contest at the World Sports Photography Awards website.

Grand Prix - Gold

Photographer: Edgar Su

Image Title: Carlos' Shadow Hits A Ball

Award(s): Grand Prix - Gold, Tennis - Gold

Description: Tennis - Australian Open - Melbourne Park, Melbourne, Australia - January 19, 2025 Spain's Carlos Alcaraz in action during his fourth round match against Britain's Jack Draper

Grand Prix - Silver

Photographer: Beatriz Ryder da Costa

Image Title: The Underworld

Award(s): Grand Prix - Silver, Aquatic - Gold

Description: We were deep in the Solomon Islands, on an island where we were the first white people anyone had ever seen, and yes, we were worried about saltwater crocs. I snapped the photo not knowing if it had worked, and when I saw it had, the stoke exploded. The waves were not great but that didn't matter, it was that raw, chaotic moment of adventure and disbelief that made it unforgettable.

Grand Prix - Bronze

Photographer: Richard Heathcote

Image Title: India v England layers

Award(s): Grand Prix - Bronze, Cricket - Gold

Description: Not provided

American Football - Silver

Photographer: Kyle Zedaker

Image Title: POV

Award(s): American Football - Silver

Description: The Tampa Bay Buccaneers take the field during team introductions prior to a regular season game. Shot on a rig with an authentic facemask attached, this photo is intended to simulate a players point of view, giving the viewer a true behind the scenes feel at what it's like to be an NFL player.

Aquatic - Silver

Photographer: Petr Slavik

Image Title: Razor

Award(s): Aquatic - Silver

Description: ICF and U23 Wildwater Canoeing World Championships Solkan 2025

Athletics - Gold

Photographer: Kenjiro Matsuo

Image Title: Tokyo Rocket

Award(s): Athletics - Gold

Description: Not provided

Baseball - Gold

Photographer: Steph Chambers

Image Title: Bubble

Award(s): Baseball - Gold

Description: Eugenio Suárez #28 of the Seattle Mariners takes batting practice prior to game five of the American League Division Series against the Detroit Tigers at T-Mobile Park on October 10, 2025 in Seattle, Washington.

Basketball - Gold

Photographer: Bob Donnan

Image Title: Breakaway for the Lead

Award(s): Basketball - Gold

Description: Florida guard Alijah Martin gives the Gators the lead for good on a breakaway score in the semifinals of the NCAA tournament.

Boxing - Gold

Photographer: Alexis Goudeau

Image Title: Uppercut

Award(s): Boxing - Gold

Description: Not provided

Cricket - Silver

Photographer: Santanu Banik

Image Title: Pant’s audacious pull electrifies the SCG

Award(s): Cricket - Silver

Description: Rishabh Pant of India unleashes one of his trademark, 360-degree pull shots during day two of the fifth NRMA Insurance Test of the Border–Gavaskar Trophy between Australia and India at the Sydney Cricket Ground. Known for his fearless, unconventional stroke-play, Pant once again chooses attack over caution at a time when his team needs inspiration. Having soaked up pressure and tight bowling, he responds by taking on the short ball and swinging through the line with complete abandon. The full house at the SCG is treated to the kind of audacious batting that has become his calling card. This frame freezes that moment of risk and imagination, with Pant’s body contorted and the bat carving an improbable arc across the sky.

Cycling - Special Merit

Photographer: Ashley & Jered Gruber

Image Title: Pauline Ferrand-Prévot Wins the Tour de France

Award(s): Cycling - Special Merit

Description: Pauline Ferrand-Prévot collapses after winning the Tour de France Femmes avec Zwift.

Equestrian - Gold

Photographer: Morgan Treacy

Image Title: Equine Reflection

Award(s): Equestrian - Gold

Description: Runners and riders reflected in the sand on the beach in Laytown, Ireland's only horse racing event run on a beach under the Rules of Racing.

Football - Gold

Photographer: Luis Amaral

Image Title: Black & White Passion

Award(s): Football - Gold

Description: Emotion that bursts in the moment and finds itself in someone else — the kind of feeling football turns into its own language, especially in the father-and-child bond.

Formula 1 - Bronze

Photographer: Florent Gooden

Image Title: Eau Rouge F1 Train

Award(s): Formula 1 - Bronze

Description: All the F1 cars racing on lap 1 at the famous Eau Rouge & Raidillon corners during the 2025 Belgian Grand Prix

Golf - Silver

Photographer: K.C. Alfred

Image Title: Fore

Award(s): Golf - Silver

Description: Scottie Scheffler chips on the 8th hole of Torrey Pines south during the second round of the Genesis Invitational as a large promotional golf ball is displayed.

Gymnastics - Silver

Photographer: Arnab Sarkar

Image Title: Poise in motion

Award(s): Gymnastics - Silver

Description: In the midst of a flawless leap, she holds the ball gently, her form a symphony of strength and poise. The composition is striking – her hands holding the ball, as if she's holding her head in hand, even as she defies gravity. This fleeting moment, frozen in time, is the essence of artistic gymnastics. This image is taken in skygrace event.

Ice Hockey - Gold

Photographer: Sophia Sandurskaya

Image Title: Last Line of Defense

Award(s): Ice Hockey - Gold

Description: "Moscow, Russian Federation, Megasport Stadium. Kontinental Hockey League. "Spartak" (Moscow) vs "Shanghai Dragons" (Shanghai). Players of "Shanghai Dragons" (in white) and "Spartak" (in red) during the match."

Martial Arts - Gold

Photographer: Tom Jenkins

Image Title: Unusual sumo attack

Award(s): Martial Arts - Gold

Description: Tobizaru sticks a finger up the nose of Takayasu as they fight during the final day of the five day Grand Sumo Tournament at the Royal Albert Hall on October 19th 2025 in London, England.

Motor Sports - Special Merit

Photographer: Yana Stancheva

Image Title: Through the rocks

Award(s): Motor Sports - Special Merit

Description: A tricky crossing of a rocky mountain pass during Dakar Rally 2025

Other - Gold

Photographer: Anna Zinovieva

Image Title: Bout

Award(s): Other - Gold

Description: Not provided

Racket Sports - Gold

Photographer: Abelardo Mendes Jr

Image Title: Kim Nayeong - WTT Foz do Iguaçu

Award(s): Racket Sports - Gold

Description: Kim Nayeong (South Korea) - Table Tennis - WTT Star Contender Foz do Iguaçu (Brazil), 01 August 2025

Rugby - Gold

Photographer: Andrew Dowling

Image Title: New Zealand Haka

Award(s): Rugby - Gold

Description: The Haka at the principality stadium in cardiff

Swimming & Diving - Gold

Photographer: Carel du Plessis

Image Title: Catching a breath

Award(s): Swimming & Diving - Gold

Description: Image taken at the XTERRA World Championship in Molveno, Italy. Photo features Henry Bramwell-Reeks, a Triathlete from the United Kingdom. This was taken during the swim leg of the full-distance triathlon on September 27th 2025

Tennis - Silver

Photographer: Joel Marklund

Image Title: All Light on Djokovic

Award(s): Tennis - Silver

Description: Novak Djokovic of Serbia during his match against Flavio Cobolli of Italy in the quarterfinals of men's singles on centre court during day ten of Wimbledon on July 9, 2025 in London, England.

Urban & Extreme - Gold

Photographer: Martin Bissig

Image Title: Klickflippin' India

Award(s): Urban & Extreme - Gold

Description: An athlete finds an improbable line, launching across the void of an ancient Jaipur stepwell.

Venues & Views - Gold

Photographer: Andrew Hancock

Image Title: Championship View

Award(s): Venues & Views - Gold

Description: A circular fisheye lens from above shows the scene as confetti falls from the circular video board atop Mercedes-Benz Stadium as the Ohio State Buckeyes rush the field to celebrate winning the 2025 College Football Playoff National Championship over the Notre Dame Fighting Irish.

Winter Sports - Silver

Photographer: Claudia Greco

Image Title: FIS Freestyle World Championships - Women's Aerials in St Moritz

Award(s): Winter Sports - Silver

Description: Freestyle Skiing - FIS Freestyle World Championships - Women's Aerials - St Moritz, Switzerland - March 30, 2025 Australia's Danielle Scott during the warm up before the event REUTERS/Claudia Greco

Photo: Mitchell Clark

We've taken a look at how the Sony a7 V performs when it comes to stills, now it's time to turn our attention to video. The company's latest hybrid is once again in front of our studio scene, and we aim to see how the 4K footage it delivers stacks up compared to its predecessor and competitors.

The a7 V's 4K/24 video is oversampled from 7K capture by default, with no option (or real need) to drop down to a subsampled or line-skipped mode. Thankfully, the footage from that mode has good levels of detail and is competitive with the oversampled modes from cameras like the Canon EOS R6 III and Panasonic S1II. However, both those cameras have higher-resolution recording options (7K for Canon, 6K for Panasonic) that allow you to capture a good deal more detail, something the a7 V lacks, but that could be helpful when you're shooting subjects with very fine detail, or want some room to crop in post.

Moving up to 4K/60, the story is slightly more complicated, as the a7 V has an "Angle of View Priority" mode that you have to turn on if you want to get full-width recording at higher framerates; leaving it off will incur a 1.17x crop. While Sony says that enabling the mode turns off noise reduction, we didn't see a major difference at base ISO. With Angle of View Priority on, the a7 V's 4K/60 footage is a touch more detailed than that from the Canon or Panasonic.

The a7 V requires a 1.52x crop to record 4K/120, thus using less of its sensor (and changing the framing more) than the S1II with its 1.24x crop, and the EOS R6 III with its subsampled but full-width 4K/120 recording. As with 4K/60, with Angle of View Priority off, there's a further crop, adding up to 1.79x.

All that said, the a7 V's 4K/120 footage is substantially more detailed than the EOS R6 III's, and is competitive with the S1II's. We also don't see an observable reduction in detail going from the 4K/24 APS-C mode to the 4K/120 mode.

The 'missing' pieces

There's been a lot of discussion about the features the a7 V is 'missing,' compared with its rivals. But it's worth considering whether these are relevant to you or are just people point-scoring about brands.

Whereas Panasonic and Canon allow open-gate shooting, capturing the whole sensor output, the Sony only shoots in 16:9, UHD 4K. If your workflow requires higher resolution capture, the use of anamorphic lenses or you're trying to compose for both vertical and horizontal delivery, simultaneously (which is an aesthetic challenge, even when it's technologically possible), then those other cameras will be a better choice.

Likewise, if your shooting benefits sufficiently from the increased workflow complexity and storage challenges of shooting raw video (the advantages of which are much less pronounced than in stills shooting), then this isn't the camera for you. But a great many people find that shooting high quality 4K footage is more than sufficient for their needs, and the a7 V appears competitive in this regard.

The Ricoh GR IV Monochrome camera is now officially released:

• Pre-orders: B&H Photo | WEX Photo | Foto Erhardt
• Ricoh GR IV vs. GR IV HDF vs. GR IV Monochrome comparison
• Comparing the new Ricoh GR IV Monochrome camera with the Leica Q3 Monochrom
• Detailed specifications
• Additional information
• Development announcement
• Camera accessories
• Related videos:

The post The Ricoh GR IV Monochrome camera is now officially released appeared first on Photo Rumors.

Here is what else is new:

What to expect from Nikon in 2026

How to change the Nikon Z9 battery in space

7Artisans is teasing a new lens for Leica M-mount *UPDATED*

The new Leica Noctilux M 35mm f/1.2 lens is rumored to be announced on January 29th

GR World app v1.2.0 released with support for the GR IV HDF camera

Nikon rebates are ending soon

Nikon introduced a new voucher (Gutschein) offer in Germany

Canon Patent Application P2026004077: RF 35mm f/1.2, 40mm f/1.5, and 30mm f/1.2 Found

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

The new Ricoh GR IV Monochrome camera is now available for pre-order (additional information):

• B&H Photo
• WEX Photo
• Foto Erhardt

The Ricoh GR IV Monochrome camera is now officially released

Ricoh GR IV Monochrome camera development announced

The latest Ricoh GR IV camera accessories

Comparing the new Ricoh GR IV Monochrome camera with the Leica Q3 Monochrom

Via PentaxRumors

The post The new Ricoh GR IV Monochrome camera is now available for pre-order appeared first on Photo Rumors.

The previously reported Brightin Star MF 50mm f/1.05 full-frame manual focus lens will be officially announced on January 16th. Here are the details (check the Brightin Star website for updates):

• For Z/E/RF/L mount
• 7-group, 10-element optical design with 2 high-refractive index elements
• Technical specifications:

Additional information on the two new/upcoming Brightin Star lenses

The post The new Brightin Star MF 50mm f/1.05 lens will be announced on January 16th appeared first on Photo Rumors.

Ricoh has released a monochrome version of its GR IV enthusiast compact camera. The GR IV Monochrome features the same 26MP BSI CMOS sensor and 28mm equiv F2.8 lens as the color version, but is black-and-white only.

Key specifications

• 26MP BSI CMOS sensor with no color filter array
• On-sensor phase detection
• ISO 160-409,600
• In-lens shutter allows flash sync to 1/4000th sec
• E-shutter allows use of F2.8 at up to 1/16,000 sec
• Built-in red filter, giving punchier blues.
• 53GB of internal memory
• 250 shot-per-charge battery rating
• UHS-I Micro SD memory card slot

The GR IV Monochrome will sell for a recommended price of $2199. This is a 46% premium over the list price of the standard GR IV, suggesting Ricoh feels that the mono version will have a smaller audience to foot the development costs. The MSRP in the UK is £1599, which is only a 33% mark-up over the standard version's original list price.

---

Index

• What is it
• Body and handling
• Initial impressions
• Specifications
• Press release

What is it?

As the name implies, the Ricoh GR IV Monochrome is a black-and-white only variant of the GR IV.

You get all the usual benefits and costs of a mono-only sensor: a higher base ISO, because less light is being lost to a color filter array (a 2/3 of a stop increase, in this instance), and much sharper detail, as there's no demosaicing taking place.

You also get better noise performance at any given ISO: again because there's no color filter sapping any light, but with that advantage disappearing if the color version can use its lower base ISO.

However, with only a single color channel, there's a lot less flexibility to the Raw files: once the image appears to be clipped, there's no way to approximate highlight data from unclipped channels.

The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture even in good light

To prevent overexposure when shooting at F2.8, the GR IV Monochrome lets you switch from its in-lens shutter to an e-shutter. The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture, even in good light, despite the camera not having an built-in ND filter. As with the regular GR IV, the mechanical shutter has an upper limit of 1/2500 sec at F2.8: you need to stop down to F5.6 to achieve the 1/4000 sec maximum.

Interestingly, Ricoh says the GR IV Monochrome's autofocus is the same as that on the GR IV, which means it has on-sensor phase detection. This would mean that, unlike the Leica Q3 Monochrom, it has to do some degree of interpolation during processing, to hide any impact of those phase-detection pixels. We've not seen any negative impact from this in our preliminary shooting, even when trying to induce flare to highlight any issues.

The company also says that the sensor is not the same one used in the K-3 III, though it wasn't specific about how the two differ.

Red Filter

Other than the lack of color filter array, the other difference is that the GR IV Monochrome has a slot-in red filter, rather than the neutral density filter in the color version. This selectively lowers the impact of blue and green light on the sensor, which gives more dramatic skies and higher contrast, generally.

The filter in the GR IV Monochrome reduces the overall light to the camera by around 3 stops, for a neutral subject (it's around a 4 stop cut for blues, 3.5 for greens and closer to a single stop for reds).

---

Body and handling

As you might expect, the GR IV Monochrome looks and handles exactly like the regular GR IV: it's a tiny camera for one with such a big sensor and yet it manages to put a lot of control at your fingertips without seeming too cramped.

The finish of the camera is also a little different, with a less textured matte black finish. The shutter button is also black and the GR logo on the front is a very dark grey, rather than white. The green LED ring around the power button is also white, to keep with the monochrome theme. Sadly, Ricoh has not borrowed the beautiful 'Monochrome' typography from its Pentax K-3 III Monochrome DSLR.

The control logic is well worked through, as you'd expect for the eighth generation of a design (prior to 2013's GR, with its APS-C sensor, were four iterations of GR Digital, which used a much smaller Type 1/1.7 sensor in a very similar body).

Despite its size, the GR IV's magnesium alloy body makes it feel very solid, without being overly weighty. And, unlike almost all modern cameras, it will sensibly fit in a pocket.

Ricoh says the GR IV's lens was specifically designed to reduce the risk of dust ingress, but that they had to make the choice between the small form factor that a retractable lens makes possible and complete weather sealing, so there are no promises around the level of sealing.

Initial impressions

Ricoh was kind enough to lend us a pre-production GR IV Monochrome, to let us get a feel for the handling, but we were asked not to make measurements or publish images from it, as it's not necessarily representative of final production performance.

But, even in the limited time we've spent with the camera, its appeal shines through: it forces on you that same way of looking at light and shade that Leica's monochrome cameras bring. And I maintain that using a camera that can only capture black and white is a completely different experience to using a normal camera in mono mode. Knowing that you can't switch, no matter how appealing the colors are in your scene means you solely focus on light, shadow and contrast.

The inclusion of a built-in, switchable red filter is a brilliant idea, letting you add that punch to your images at the touch of a button, without having to add a filter ring adapter or carry filters round with you. I'm sure there'll be people who would have preferred a different color, but red seems like a sensible option since they had to choose one. And the option to engage electronic shutter, so that you can still shoot wide-open in bright conditions feels like a reasonable work-around.

Even more so than the standard GR IV, the Monochrome version is going to be a niche proposition. Some people will immediately know they want one, while I suspect a great many people will be baffled at the idea that a regular GR IV in mono mode wouldn't be similar enough. And cheaper.

The price of adopting a decidedly niche camera is that there are fewer people to share the development costs with. The Ricoh is just over a quarter of the price of the other dedicated mono compact on the market – though the Leica Q3 mono has a sensor more than twice the size and a maximum aperture that's over a stop brighter, so can capture more than four times as much light – but there's still something inherently counter-intuitive about having to spend more, for less.

The previously reported 7Artisans M 75mm f/1.25 Mark II lens for Leica M-mount is now officially announced and available for order:

• 7Artisans online store (worldwide shipping available)
• B&H Photo (coming soon)

Additional information can be found here:

New 7Artisans M 75mm f/1.25 Mark II lens for Leica M-mount officially announced

Updated list of latest/upcoming/rumored Chinese lenses

Via LeicaRumors

The post New 7Artisans M 75mm f/1.25 Mark II lens announced appeared first on Photo Rumors.

All photographers inevitably deal with creative droughts or periods when they feel their skills have plateaued. At the end of last year, I wrote about part of why (and how) that's manifested for me over the past few years. For me, one common tool I fall back on to combat such feelings is tackling a specific project or goal related to photography, which I just wrote about as well.

I've completed multiple 365s (a photo a day for a year) and 52-week projects (one photo each week for a year). Most recently, I've accidentally stumbled into a project with a friend that involves alternating who picks a theme each week, and then each creating a photo around that theme. We don't have a set end date, so it could be less than a year or more than a year, but so far, we're about 12 weeks in.

Those are the projects that have helped me, but there are countless other iterations and other types of projects. No matter what, though, the main goal is to force yourself to pick up your camera either to try to generate some creativity or learn new skills.

With that in mind, I'm curious to hear from you all:

What projects are you undertaking to move your photography forward?

Some of you shared a glimpse into your projects in the comments on my recent article, but we'd love to see more. Maybe it's a project you're working on now, or maybe it's something you've done in the past. It could be a week-long project, or maybe a multi-year undertaking.

No matter what, we're curious what projects have helped, or are helping you bring back inspiration or forward momentum to your photography. Even better, share some of the images you've taken for such projects! Your responses and images may even be featured in next week's front-page update.

The new Fujifilm Instax Mini Evo cinema hybrid instant camera, which was announced in Japan last week, is not available for purchase in the US at B&H Photo:

Additional information:

Fujifilm announces a new Instax Mini Evo cinema camera that also shoots video in Japan

The post The new Fujifilm Instax Mini Evo cinema camera, which also shoots video, is now available for purchase in the US appeared first on Photo Rumors.

Image: Fujifilm

Last week, Fujifilm Japan launched a surprising and rather controversial new offering in its Instax lineup, the Instax Mini Evo Cinema. The company has now announced the global release of the hybrid camera, providing more details about its features and capabilities.

The Instax Mini Evo Cinema offers a hybrid experience by combining the ability to take digital images, instant film photos, and record video. It is designed to produce retro-looking videos and photos, and the sensor appears to be a throwback as well. It's built around a shockingly small 5MP Type 1/5 (∼2.8 x 2.2mm) CMOS sensor, which is smaller than even the most budget-focused smartphones. It features a 28mm equiv. lens with F2.0 aperture.

The sensor may be far from impressive, but the Instax Mini Evo Cinema includes plenty of features for those wanting a more playful camera experience. The "Gen Dial," which was referred to as the "Eras Dial" in the Fujifilm Japan press release last week, allows users to apply effects from 10 different eras, including grainy, pale tones for the 1930s, vibrant colors for the 1980s and "sharp, rich imagery of the 2020s."

A lever on the side, intended to evoke a film winding lever, triggers a print. Image: Fujifilm

Users can fine-tune the look of each preset with a dial on the lens, which adjusts color, contrast, and noise in 10 variations per era. There's also a Frame Switch, which allows users to add a frame based on each era to images or video clips.

There's a zoom lever that allows for digital zoom during video recording, though Fujifilm doesn't specify the exact capabilities of that feature. A switch on the side of the camera allows you to change between photo ("Still") and video ("Cine") modes. Videos in most modes are limited to a disappointing 800 x 600px resolution, with only the 2020 mode allowing a 1440 x 1080 capture.

Video clips max out at 15 seconds, but you can combine clips to create videos up to 30 seconds long in the Instax Mini Evo smartphone app. If you choose to print a still image from a video, it features a QR code that, when scanned, allows for playback. Fujifilm specifies that clips are only stored for 24 months, though, so you'll want to be sure to download them before that.

Image: Fujifilm

The camera uses a microSDXC card for storage, and images and videos can also be stored in the Instax Mini Evo app. It features a 1.54-inch LCD and an integrated light that can be used as a flash or a continuous light source. It supports remote shooting with the app and offers a self-timer as well. The camera uses Instax Mini instant film.

The price may be as much of a shock as the sensor size: $410. And you'll also have to buy instant film on top of that, too. Fujifilm says it will be available for purchase at the beginning of February.

After a successful Kickstarter campaign, the world’s first Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses (E/Z/L) are now available for purchase

• US: B&H Photo
• Worldwide: Sirui store

Additional details on the new lenses can be found here and on the official Sirui website:

Now on Kickstarter: the world’s first Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses for E/Z/L

The post Now available for purchase: the world’s first Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses (E/Z/L) appeared first on Photo Rumors.

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

• Viltrox 55mm f/1.8 EVO (E/Z)
• Viltrox 35mm f/1.8 EVO (E/Z)
• Viltrox AF 50mm f/1.4 Pro lens for Nikon Z-mount
• Viltrox AF 16mm f/1.8 for L-mount
• Viltrox AF 28mm f/4.5 for L-mount
• Viltrox 50mm f/1.2 LAB
• Viltrox 85mm f/1.2 LAB
• Viltrox tilt-shift lens
• Viltrox lenses for Canon RF mount
• Viltrox AF 35-50mm f/1.4 zoom lens (or similar)
• New Viltrox Chip series pancake lenses
• Viltrox Nexus PL to E Pro cinema adapter with full AF capabilities coming to Kickstarter on January 15 (will provide autofocus to manual focus lenses – will turn PL cinema lenses into Sony E-mount with autofocus)

• New 7Artisans lens or Leica M-mount (new 75mm f/1.25)
• 7Artisans 40mm f/2.5 (coming in January-February)

• Laowa FF 45mm f/2.8 ultra macro full-frame 1-5X APO
• Laowa FF 17.5mm f/1.7 ultra macro full-frame 5-10X APO
• Laowa FF 14-60mm T3.6 stereo zoom lens

• SG-Image AF 35mm f/2.2 full-frame pancake lens (E/Z/L)

• Brightin Star MF 50mm f/1.05 full-frame manual focus lens (mid-January)
• Brightin Star MF 60mm f/2.8 APS-C manual focus macro lens (late January

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

• New DK-Optic Impastolite 50mm f/1.5 lens for Leica M-mount.

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

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

• New Yongnuo YN23mm f/1.4R APS-C lens.

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

• New Yongnuo 50mm f/1.8 Z DF full-frame autofocus lens for Nikon Z mount.

• A new Lee Works 28mm/2.8 lens for Leica M-mount is coming soon (minimum focusing distance of less than 0.4m).

Here is an updated list of photo gear promo codes you can use during this holiday shopping season

The post Updated list of latest/upcoming/rumored Chinese lenses appeared first on Photo Rumors.

Image: Draper

Eric Fossum, the inventor of the modern CMOS image sensor and a longtime friend of DPReview, was recently awarded the 2026 Charles Stark Draper Prize for Engineering. The award, which is granted every two years by the National Academy of Engineering (NAE), is one of the most prestigious honors for engineering achievement.

Fossum, a John H. Krehbiel Sr. Professor for Emerging Technologies at Dartmouth, also serves as vice provost for entrepreneurship and technology transfer. The NAE recognizes him "for innovation, development, and commercialization of the complementary metal-oxide semiconductor active pixel image sensor," which remains central to the vast array of cameras we use today. "Eric Fossum is a pioneering semiconductor device physicist and engineer whose invention of the CMOS active pixel image sensor, or 'camera on a chip,' has transformed imaging across everyday life, industry, and scientific discovery," the NAE said in announcing the prize.

"Eric Fossum’s inventions have revolutionized digital imaging across industries"

This is far from the first award for Fossum. It's the latest in a list of well-deserved accolades, including the Queen Elizabeth Prize for Engineering, the National Medal for Technology and Innovation, awarded at a White House ceremony last year, a Technical Emmy Award, the NASA Exceptional Achievement Medal, induction into the US Space Foundation Technology Hall of Fame in 1999, Edwin H. Land Medal recipient and more. His inventions and research have had a revolutionary impact on imaging across many industries, including our own.

"We’re working on sensors that can count photons, one at a time"

An article on the Dartmouth website details the history of Fossum's development of the CMOS sensor, including how it originated as a project to create smaller, energy-efficient cameras for NASA spacecraft. It also discusses Fossum's recent invention, the quanta image sensor, which enables high-resolution imaging in extremely low-light conditions. "We’re working on sensors that can count photons, one at a time," he says."Imagine being able to take a photo in almost complete darkness or measuring extremely faint signals in biology. It’s like turning the lights on in a place that was previously invisible to us."

Fossum has been an active participant in the DPReview forums for many years and has consistently been very helpful to community members. We are honored to have him as part of our community, and wish him a hearty congratulations on his latest award.

Image: Apple

Apple has announced a new app bundle for creatives dubbed Apple Creator Studio. The subscription serves as somewhat of an alternative to Adobe's Creative Cloud, as it includes apps for photo, video and music editing, plus Apple's general productivity apps. Along with the bundle, Apple announced new features for the included apps, including Final Cut Pro, Pixelmator Pro and Logic Pro.

The Apple Creator Studio is a subscription-based bundle designed for video editors, designers, music producers and other creatives. It includes Final Cut Pro, Logic Pro and Pixelmator Pro on Mac and iPad; Motion, Compressor and MainStage on Mac; and Keynote, Pages, Numbers and Freeform for iPhone, iPad and Mac. All of these apps are combined into one subscription, eliminating the need to pay for each app separately.

Final Cut Pro and Logic Pro for Mac were, and still are, available as one-time purchases, but the iPad versions have always been subscription-based. The Creator Studio may not be much of a shift for some users, then. Additionally, while all of the apps are still available for purchase (or free, in the case of Keynote, Pages, Numbers and Freeform) separately, the Creator Studio bundle unlocks AI capabilities and other features not available in the standalone apps, such as premium content in Keynote, Pages, Numbers and Freeform.

Pixelmator Pro is now available on the iPad. Image: Apple

In Pixelmator Pro, Creator Studio subscribers will have access to a new Warp tool, allowing users to twist and share payers however they like. Apple says subscribers will also have access to a collection of Warp-powered product mockups. Additionally, Pixelmator Pro is now available for iPad for the first time (including outside of the subscription), offering a new touch- and Apple Pencil-optimized interface. Users can also switch between the iPad and Mac for a more flexible editing experience.

Apple added new search options in Final Cut, making it easier to find specific clips. Image: Apple

Final Cut Pro also gets multiple new features. Transcript Search and Visual Search make it easier for editors to find specific clips, either based on specific soundbites or by searching for an object or action. Beat Detection makes editing to the rhythm of a song easier, thanks to an AI model from Logic Pro. Montage Maker in Final Cut Pro for iPad utilizes AI to automatically analyze and edit a video, making it faster to start an edit or rough cut.

Creator Studio subscribers will also get full access to Motion, a tool for creating 2D and 3D effects. Plus, Apple has added the AI-powered Magnetic Mask tool to Motion, giving graphics creators AI-based masking and tracking without a green screen. The subscription also includes access to Compressor, which fully integrates with Final Cut Pro and Motion.

Logic Pro now offers a tool for turning recordings into chord progressions. Image: Apple

Logic Pro also comes with a host of new features, including a Synth Player in the AI Session Player lineup and Chord ID, which turns recordings into chord progressions. There's also a new Sound Library in Logic Pro, and its Quick Swipe Comping feature is now available on iPad. Finally, Keynote, Pages, Numbers and Freeform will remain free for all users, but Creator Studio subscribers will have access to new "intelligence features."

The Apple Creator Studio will be available on January 28 for $13 per month or $129 per year with a free one-month trial. College students and educators can subscribe for $3 per month or $30 per year.

For those looking for an Adobe alternative, those prices could be quite enticing. After all, Adobe's All Apps plan for individuals costs $70 per month. Adobe's discounted student and educator plan is $25 per month, which isn't much less than the annual cost of Apple's Creator Studio. Plus, you can still access one-time-purchase versions of these apps if you don't want to deal with yet another subscription, something that isn't an option with Adobe.