Here are the top 10 most used Nikon cameras on Flickr:
Source: Flickr, via NikonRumors
The post The top 10 most used Nikon cameras on Flickr appeared first on Photo Rumors.
Here is a recap of the latest Fujifilm X‑Pro 4 camera rumors (the Fujifilm X-Pro3 was officially discontinued in 2023):
The post The latest Fujifilm X‑Pro 4 camera rumors appeared first on Photo Rumors.
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The Sony World Photography Awards has announced the 10 category winners and 120 shortlisted photographers of its 2026 Open Competition. The contest, which is in its 19th year, aims to recognize the best single images taken in the past year. The 2026 edition received over 430,000 images from more than 200 countries and territories. The entries showcase a diverse range of imagery, including dramatic landscapes, humorous portraits and more.
The Open Photographer of the Year will be announced at the awards ceremony in London on April 16. The winner will receive a $5000 cash prize along with Sony imaging equipment. A selection of winning and shortlisted images will be on display as part of the Sony World Photography Awards exhibition at Somerset House from April 17 to May 4, 2026.
You can see all of the shortlisted images at the World Photography Organization website.
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Photographer: Markus Naarttijärvi
Image name: Industrial Layers
Description: Taken on a dark night, this view of the paper mill in Obbola, Sweden, reveals layers of shadows, concrete, clouds and sky.
Technical details: Fujifilm GFX100s II | GF110mm F2 LM WR | F2.8 | 1/18 sec | ISO 3200
Copyright: Markus Naarttijärvi, Sweden, Winner, Open Competition, Architecture, Sony World Photography Awards 2026
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Photographer: Siavosh Ejlali
Image name: Lost Hope
Description: In this image the photographer describes how the black plastic covering most of the woman’s face is a sign of ‘dark thoughts and the imposition of beliefs’, while the red balloon falling to the ground could be ‘her lost hope’. The background evokes Iranian urban society, which has been the setting for the recent demonstrations involving Iranian women, noting that 'the red clothes and lips are the bloody price that women have paid.’
Copyright: Siavosh Ejlali, Iran, Islamic Republic Of, Winner, Open Competition, Creative, Sony World Photography Awards 2026
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Photographer: J Fritz Rumpf
Image name: Shapes and Patterns of the Desert
Description: An early morning glow brings out the rich pastel colours of the Sossusvlei dunes in Namibia. The contrast of the green and delicate peach colours almost overwhelms the senses; the patterns and textures emerging from the shadows give the landscape a distinctive, painterly look.
Technical details: Nikon Z8 | Nikkor Z 180-600mm F5.6-6.3 VR | F13 | 1/400 sec | ISO 200
Copyright: J Fritz Rumpf, United States, Winner, Open Competition, Landscape, Sony World Photography Awards 2026
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Photographer: Vanta Coda III
Image name: Charlotte and Dolly
Description: Charlotte lies with her cow Dolly, keeping cool in the cow barn between events at the 100th State Fair of West Virginia in Lewisburg. Outside, the temperature is upwards of 32°C.
Technical details: Canon EOS R3 | RF 24-70mm F2.8 L IS USM | F2.8 | 1/320 sec | ISO 500
Copyright: Vanta Coda III, United States, Winner, Open Competition, Lifestyle, Sony World Photography Awards 2026
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Photographer: Franklin Littlefield
Image name: Sailboat
Description: A punk show in Providence, Rhode Island, featuring the band Sailboat.
Technical details: Fujifilm X-S20 | XF 16mm F2.8 R WR | F2.8 | 1/2 sec | ISO 200
Copyright: Franklin Littlefield, United States, Winner, Open Competition, Motion, Sony World Photography Awards 2026
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Photographer: Klaus Hellmich
Image name: Arctic Fox in Blizzard
Description: A blue arctic fox in a blizzard, photographed on the Varanger Peninsula, Norway.
Technical details: Nikon Z8 | Nikkor Z 400mm F2.8 TC VR S | F2.8 | 1/50 sec | ISO 1000
Copyright: Klaus Hellmich, Germany, Winner, Open Competition, Natural World & Wildlife, Sony World Photography Awards 2026
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Photographer: Robby Ogilvie
Image name: Colour Divides
Description: Taken in the Bo-Kaap neighbourhood of Cape Town, South Africa, this image centres on a parked car set against a sharply divided colourful facade. The composition balances geometry and saturation; everyday architecture becomes graphic and deliberate, reflecting how colour and place shape urban identity.
Copyright: Robby Ogilvie, United Kingdom, Winner, Open Competition, Object, Sony World Photography Awards 2026
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Photographer: Elle Leontiev
Image name: The Barefoot Volcanologist
Description: On the ash plains of Mount Yasur, on the island of Tanna, Vanuatu, Phillip, an internationally recognised, self-taught volcanologist, stands barefoot atop a volcanic rock bomb. Wearing a lava-protection suit gifted to him by some visiting researchers, the volcano smoulders behind him, sending a plume of gas and sulphur into the sky. Phillip grew up beneath the active volcano, and this portrait captures him in his element.
Technical details: Sony a7 III | FE 24mm F1.4 GM | F16 | 1/250 sec | ISO 320
Copyright: Elle Leontiev, Australia, Winner, Open Competition, Portraiture, Sony World Photography Awards 2026
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Photographer: Giulia Pissagroia
Image name: Between the Lines
Description: A family marvels at the view from Ørnevegen (Eagle Road), Norway, in this candid shot.
Technical details: Sony a7 IV | FE 24-105mm F4 G OSS | F22 | 1/200 sec | ISO 1250
Copyright: Giulia Pissagroia, Italy, Winner, Open Competition, Street Photography, Sony World Photography Awards 2026
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Photographer: Megumi Murakami
Image name: Untitled
Description: The Abare Festival has been passed down for 350 years in Japan's Noto region. This image captures the festival’s finale, as men leap into the river amidst fiercely burning torches that send sparks flying everywhere. They rampage wildly, believing the more they rage, the more the deity rejoices.
Copyright: Megumi Murakami, Japan, Winner, Open Competition, Travel, Sony World Photography Awards 2026
Here is what else is new:
The Pentax 17 camera is on Time’s Best Inventions list for 2025
Ricoh released firmware update version 1.11 for the GR IV camera
New Tilta NP-W126S Forest Green and Ash Green Battery Accessories
Here are the latest Nikon news and rumors:
Deal of the day: the Nikon FTZ II adapter is currently 35% off in the UK
The new Viltrox AF 50mm f/1.4 Pro full-frame lens for Nikon Z-mount is now available for pre-order
Meike is rumored to release more new lenses for Nikon F-mount
The post What else is new? appeared first on Photo Rumors.
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DPReview has been selected as a Global Partner for CP+. |
Each year in February, the camera industry gathers in Yokohama, Japan, for CP+ Expo, the industry's official trade show sponsored by the Camera & Imaging Products Association (CIPA). What's more, DPReview has been selected as one of the founding Global Partners for CIPA's CP+ partnership program, bringing you exclusive news, insights, and hands-on access to the event.
CP+2026 runs from February 26th to March 1st. We've created a dedicated CP+ show page to help you track all the news from CP+ in one place. This is where you'll find our latest updates – including content that may not appear on our homepage – ranging from breaking news and hands-on impressions to behind-the-scenes looks at the event and more.
Let us know if there's anything specific you want us to watch for, and we'll keep our eye out!
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| Photo: Mitchell Clark |
Earlier this year, Nikon announced the Nikkor 24-105mm F4-7.1, a new, budget full-frame zoom lens designed to be kitted with its entry-level full-frame offering, the Z5II. We've put in some time with it to see how it performs.
As a note, while we've spent some time with the lens on a Z5II, our sample gallery was produced using the higher-resolution Z8; it's probably not a pairing you'll see often out in the wild, but we want to show the lens's image quality in as much detail as possible.
Speaking of, I'll admit that I had certain expectations coming into shooting with this lens. If you've ever used an inexpensive lens with a wide focal range and a relatively slow, variable aperture, you're probably aware that it's not a formula for great image quality. Despite that, I found the 24-105mm to be decently sharp for most of the frame, even wide open. Vignetting was also quite a bit better than I'd have guessed; it's there at F4, and doesn't fully go away until F8, but even wide open it's not too noticeable unless you're specifically taking comparison shots.
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In good light, the 24-105mm F4-7.1 produces impressive image quality for its price throughout its focal range. Nikon Z8 | Nikkor 24-105 F4-7.1 | 45mm | F5.6 | 1/50 sec | ISO 90 |
Nikon used a stepper motor to power this lens' autofocus, which is what we'd expect for this price range. It performs well; the lens is quick to focus, even when you're going from close up to near infinity. While it's not lightning fast, it'll get the job done for most types of shooting.
The 24-105mm extends quite a way out when you're zooming in, but despite this, its center of gravity doesn't change that much. It's a small thing, but it's nice not having to adjust your grip as you change focal lengths. I also didn't find that the lens forced me to hold it in a way that made me accidentally activate the customizable control ring.
It's not all sunshine, though. Even with modern cameras with stabilized sensors and decent high ISO performance, F7.1 is still quite slow. You don't get down to it until you're almost entirely zoomed in – even at 85mm, the lens can still maintain F6.3 – but it will limit what you can do with it. You won't want to shoot fast-moving subjects unless they're in bright sunlight, and while its longer focal lengths are theoretically decent for portraiture, you may not be able to get as much subject separation as you'd want.
Still, if you prefer the wide-end, it's worth noting that the maximum aperture stays relatively fast for a while. At 35mm it's F4.2, and it stays at or under F5.6 until around 62mm.
While these kinds of lenses are rarely the most exciting, Nikon has built a decent selection of kit zooms for its Z mount cameras. Retailing for $550 on its own and adding $350 to the retail price of the Z5II, this is the company's least expensive full-frame offering in that category by a fair margin. The 24-200mm F4-6.3 VR retails for $400 more, and adds an additional $450 onto the price of the Z5II. And while that lens is well-regarded, has stabilization and is faster at its long(er) end, it's also a fair bit heavier and a bit larger, though the size gap between them isn't as big as you might think given its extra reach.
While the 24-105mm isn't the kind of lens that most photographers will keep around forever, it seems like it offers a decent place to start for those who aren't sure yet where their photography journey will take them.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Additional information on the upcoming Tamron 35-100mm f/2.8 DI III VXD lens (Z/E):
software for individual settingsAdditional information on the upcoming Tamron 35-100mm f/2.8 DI III VXD lens for Nikon Z-mount
Additional information on the Otus ML 35mm f/1.4 lens for E/Z/RF mount (see also the current Zeiss 1.4/35 and 1.4/50 lenses):
Additional information on the upcoming Otus ML 35mm f/1.4 lens for Nikon Z-mount
The post Additional information on the upcoming Otus ML 35mm f/1.4 and Tamron 35-100mm f/2.8 DI III VXD lenses appeared first on Photo Rumors.
The new TTartisan AF 35mm f/1.8 II orange “Pop-Limited” edition lens for E/X mount is now available at:
Additional information on the TTArtisan 35mm f/1.8 II lens can be found here:
Just announced: TTArtisan AF 35mm f/1.8 II Orange “Pop-Limited” edition lens (E/X)
TTartisan already had an orange 27mm f/2.8 lens in 2024:
The new TTartisan 27mm f/2.8 yellow/orange limited edition lens is now available
Here is an updated list of photo gear promo codes you can use during this holiday shopping season
Via FujiAddict
The post Now available: TTArtisan AF 35mm f/1.8 II orange “Pop-Limited” edition lens (E/X) appeared first on Photo Rumors.
I received the following (unconfirmed) Canon EOS R3 Mark II camera rumors (replacement for the current EOS R3 model):
The Canon EOS R3 Mark II has already made its mark at the Winter Olympics. It is not a high-resolution variant of the EOS R1, but rather an entirely new and more experimental product. It features an industry-first dual native-resolution back-illuminated stacked CMOS image sensor that supports switching between 54-megapixel and 24-megapixel native resolutions. The 24-megapixel, 90 fps, and 54-megapixel, 40 fps continuous shooting modes are extremely convenient. EOS R3 Mark II employs a unique Enhanced Sensitivity Bayer array:
R R G
G G B
G G B
In 24-megapixel native resolution, adjacent pixels of the same colour are merged:
R-Binned Green
G-Binned B-Binned
The binned green pixel dominates the SNR of the decoded image. It achieves approx. 80% increase in sensitivity compared to the single green pixel found in the EOS R3. Combined with triple native ISO, EOS R3 Mark II delivers the industry’s finest high-sensitivity performance among full-frame cameras.
The Quad Pixel CMOS AF system employs four photodiodes per pixel, facilitating dual cross-type autofocus across all 54 megapixels. This innovative feature enables phase detection across four distinct directions: horizontal, vertical, diagonal, and opposite diagonal.
RAW video recording in-camera up to 9K at 60fps and 6K at 120fps, with full-pixel autofocus capability.
Canon was recently rumored to have registered a new high-end EOS camera:
The post Canon EOS R3 Mark II camera rumors? appeared first on Photo Rumors.
Related posts:
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Mastering your autofocus settings lets you capture almost anything. Nikkor Z 70-200mm F2.8 @ 77mm | F2.8 | 1/1250 | ISO 110 Photo: Richard Butler |
If you've recently picked up your first camera and find yourself frequently getting out of focus images, it may be a sign that you need to tweak your focus settings. While autofocus seems like it should be simple and straightforward, camera manufacturers offer a long list of settings to adjust autofocus performance for different situations. All of those options can be incredibly confusing, especially if you’re new to photography. In this guide, we'll break down the most basic focus terms and settings to help you identify which are best for you and the subjects you photograph most often.
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| Some cameras have a physical control for autofocus mode, but most will handle it through their on-screen menus. |
The first autofocus setting to consider is your camera's autofocus mode, which changes how the camera behaves once it starts focusing. Most cameras offer Continuous Autofocus (often referred to as AF-C or AI Servo on Canon) and Single Autofocus (AF-S on many brands, and One Shot on Canon). Many cameras also offer Automatic or Hybrid Autofocus (often called AF-A or AI Focus on Canon).
AF-S focuses once, and then locks focus at that distance as long as you keep the button half-pressed. It's an ideal option when your subject is still, such as landscapes or product photography. This mode lets you focus and recompose if needed, knowing the focus won't change until you lift your finger.
AF-C keeps updating focus as long as you hold the button, hence the continuous in the name. It adjusts in real time to moving subjects. As a result, you'll want to choose AF-C for any moving subjects, such as sports, wildlife, street photography, candid portraiture and more, as the camera will attempt to maintain sharp focus even as the subject changes position. Additionally, most modern cameras are very good at handling AF-C, so is the option we'd suggest most people stick to.
Lastly, Hybrid/auto AF lets the camera decide if AF-C or AF-S is best for a given situation. It's meant for times when you're not sure if things will stay stationary or start moving. It doesn't always do a great job of deciding when to switch, though, and leaving it set to this may limit other autofocus features you can use on certain cameras.
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| Cameras give you multiple options regarding where in the frame it focuses. |
The next consideration is the focus area setting. Focus areas indicate where the camera should focus within the frame. Each manufacturer provides slightly different options, but broadly speaking, these options vary from the camera detecting what it thinks should be in focus across the entire frame to ones that let you choose a precise spot.
The first option that many cameras offer is a Wide focus area. Many brands use some variation of Wide in the name, while others may call it something similar to Auto-area. This setting hands over control to the camera so it can select where to focus automatically across the frame. It's a convenient option for casual use, but it doesn't give you any input into what the camera will focus on. Because of this, you may end up disappointed by the results, especially if your subject isn't obvious or is partially blocked by something in the foreground.
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| Many cameras feature preset zone sizes, alongside customizable ones. |
Zone, sometimes called Group area, gives you a step more control than wide/auto. It uses a group or block of AF points that you can move to different areas of the frame. The camera then decides where within that block it should prioritize focus. Like with wide/auto, it favors the closest subject or detected faces, making it good for group shots or sports where you know the player's general position.
The expanded point option starts from a chosen point, just like single-point AF, but adds a small cluster of surrounding points if the subject drifts off your main selection. It's an ideal everyday choice for moving subjects such as kids and pets, because it balances control with some camera assistance. It goes by many names depending on your brand, including Expand AF (Canon), Dynamic-area AF (Nikon), Expand Flexible Spot (Sony), Zone (Fujifilm), 1-Area+ (Panasonic) or Group Target (OM System).
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| Canon calls its single-point focus area "1-point AF." |
Single‑point is the most precise option and gives you the most control, but it’s best for still or slow-moving subjects. It lets you pick one focus point and place it exactly where you want sharpness, such as an eye in a portrait. Each brand has its own name for this, but most are something similar to Single-point AF or 1-point AF. Sony, however, calls it Flexible Spot. Some brands will also provide size options for that spot to give you more flexibility.
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| Some cameras only give you one size of tracking box, while others let you choose from a few options. |
Most modern cameras now offer some form of tracking AF. In this mode, you set your focus point on a subject, and the camera then moves the active point(s) around the frame to keep that subject in focus as you recompose or as the subject moves. It's an ideal option for erratic motion, such as sports, birds, pets or kids, especially when you combine it with continuous or auto AF and subject detection.
Each camera manufacturer handles tracking areas slightly differently, but there are generally three methods. Some brands allow you to choose any AF area mode and simply toggle tracking on or off. Others create tracking-specific duplicates of each area mode, though only when in AF-C. Lastly, some simply have one Tracking AF area mode (which Nikon calls 3D Tracking).
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| Canon's subject selection screen. |
While tracking is a focus area setting, modern cameras also offer additional subject detection and tracking controls in separate menus. These settings are typically layered on top of whatever focus area you choose, meaning you can use your chosen method for selecting a subject while knowing the camera will better track a subject if it's one it recognizes.
Depending on your camera, you may have access to various subject types, including human, animal, birds and vehicles. With these modes, the camera will search for that specific subject and prioritize it if it's near your AF point. Additionally, most recent mirrorless cameras support some level of face/eye detection, which means the camera attempts to find faces or eyes within your chosen focus area and prioritizes them.
With each of these, your camera still primarily targets your AF point. That means that if something like a face shows up in the frame that isn't near your AF point, your camera won't suddenly ignore where you've specified it should focus. As a result, you can generally leave subject detection modes on without worrying that your camera will go rogue trying find faces or trains.
The above items are a general overview of basic autofocus terms. It's important to keep in mind, though, that each brand has its own naming conventions as well as quirks associated with all of the different features. In a later article, we'll provide a more in-depth look at brand-specific quirks so you can confidently set your autofocus for more consistently focused images.
Rescue Soft and Noisy Images in Real-World Workflows with Aiarty Image Enhancer (Holiday Special Offer)
Every professional archive has them: those “near-miss” frames where the composition is perfect, but the technical execution hits a wall. Perhaps it was a handheld shot that suffered from slight motion blur , or a low-light wedding scene where high-ISO grain began to erode the fine micro-textures of the bride’s lace. Traditionally, these compromises were accepted as the physical limits of our equipment.
My recent testing of Aiarty Image Enhancer, however, has made me reconsider what truly qualifies as a “discarded” file. Instead of the aggressive, “waxy” smoothing often associated with conventional noise reduction, this software applies a more nuanced, data-driven approach – reconstructing detail rather than simply blurring it away.
What makes this particularly relevant in a professional workflow is how effectively it extends the practical reach of existing lenses and sensors. I found it especially useful in situations where getting closer to the subject wasn’t possible and a heavy crop was unavoidable. In many cases, crops in the 50% or 70% range would normally strip away fine-frequency details, but here the AI-generated data helps reserve depth and structure. The result feels less like digital interpolation and more like I’m shooting with a higher-resolution sensor, allowing me to refine my composition after the fact without sacrificing the “raw-like” depth of the shot.
At the time of writing, Aiarty Image Enhancer is available as part of a limited-time Buy 1 Get 2 Free promotion, offering 36% off the lifetime license along with two additional image and video processing tools at no extra cost.
With a full lifetime license, you’ll enjoy:
Aiarty Image Enhancer: A Must-Have Tool for Photographers
For photographers, a perfect shot is about preserving the soul of a moment in every pixel. Whether it’s the micro-textures of a landscape or the delicate tones of a portrait, image integrity is non-negotiable. Aiarty Image Enhancer is engineered to bridge the gap between raw capture and professional vision, offering an AI-driven toolset that respects the optics of your gear while pushing technical boundaries.
Unlike basic sharpening tools, Aiarty performs a deep-tissue analysis of your files. It intelligently reconstructs lost data – neutralizing high-ISO sensor noise, smoothing tonal gradations in sunsets, and restoring clarity to soft frames. By supporting high-fidelity RAW workflows, it ensures your high-end sensors perform at their absolute peak, delivering results that traditional interpolation simply cannot match.
For pros, Aiarty Image Enhancer is a force multiplier that slashes hours of tedious cleanup, allowing you to focus on creativity. For enthusiasts, it provides an intuitive path to gallery-quality results without the steep learning curve. From refining a single masterpiece to batch-processing an entire event, Aiarty ensures every export meets the highest standards of professional excellence.
Why Aiarty Image Enhancer is a Game-Changer for Photographers
Clean High-ISO Grain While Preserving Sensor-Level Micro-Textures
In low-light environments – be it a dimly lit wedding venue or a moonless landscape – high ISO settings often introduce aggressive luminance and chroma noise. Unlike traditional noise reduction that “smears” details into a waxy mess, Aiarty Image Enhancer utilizes the Smooth-diffuse model. It intelligently distinguishes between noise artifacts and actual image data, neutralizing grain while reconstructing the micro-textures of skin pores, fabric fibers, and architectural surfaces. The result is a clean, “film-like” finish that looks natural even at 100% zoom.
Restore “Tack-Sharp” Precision to Soft Focus and Shaken Frames
Even the best AF systems can miss by a hair, and hand-held shooting at slow shutter speeds often results in “soft” images. Aiarty’s Deblur engine analyzes the pixel-spread caused by motion or lens diffraction. By utilizing deep convolutional neural networks, it “tightens” the blurry edges and re-aligns the visual information. For wildlife or sports photographers, this means the difference between a discarded frame and a sharp, portfolio-ready masterpiece.
Ultra-High-Res Upsampling for Gallery-Scale Fine Art Prints
Photographers often need to crop heavily to achieve the perfect composition, which can leave the final image with insufficient resolution for printing. Aiarty’s Upscale feature allows for up to 800% (8X) enlargement, reaching resolutions up to 32K. This isn’t just simple interpolation; the AI generates new, high-frequency details to fill the gaps, ensuring that even a 12MP legacy file can be transformed into a high-density print suitable for gallery exhibitions or billboard-scale commercial use.
Enhance Dynamic Range and Color Fidelity for a True-to-Life Render
The Enhance Color feature acts as a sophisticated digital restorer. It addresses common digital pitfalls like color banding in gradients (such as sunsets) and loss of shadow detail. By analyzing the dynamic range of the scene, it smoothes out tonal transitions and restores the natural saturation that can be lost during heavy exposure recovery. It brings a “raw-like” depth to compressed images, making the final output feel more vibrant and lifelike.
(New) AI Eraser: Professional Cleanup Without the Manual Labor
The AI Eraser is an essential tool for perfecting composition after the shutter has clicked. Whether it’s a stray tourist in a landscape or a distracting power line cutting through a street scene, the AI doesn’t just “blur” the area. It interprets the surrounding lighting, perspective, and texture to intelligently reconstruct the background. For the meticulous photographer, this provides a professional-grade cleanup that preserves the continuity of the shot without the tedious manual labor of the Clone Stamp tool.
High-Volume Batch Processing and Secure Local Workflow
Efficiency is the backbone of a successful photography business. Aiarty allows you to import hundreds of images and apply consistent enhancement parameters across the entire set via Batch Processing. Crucially, all AI computations happen locally on your machine. Your unreleased work is never uploaded to a server, ensuring total copyright privacy and a workflow that remains functional even in remote locations without an internet connection.
Lightning-Fast Performance via Full GPU Optimization
Time spent watching a progress bar is time away from the lens. Aiarty Image Enhancer is meticulously optimized for NVIDIA, AMD, and Intel GPUs. By leveraging hardware acceleration, it handles high-resolution RAW exports and massive upscaling tasks in seconds rather than minutes. This speed ensures that AI enhancement becomes a seamless, non-disruptive part of your standard post-processing routine.
Availability and Pricing
If you are interested in adding Aiarty Image Enhancer to your workflow, a limited-time promotion is currently available, offering up to 36% on the lifetime license. The license provides unlimited access to all features, including free lifetime upgrades and technical support – with no recurring subscription fees.
The lifetime license allows installation on up to three Windows or Mac computers, making it suitable for multi-device setups. In addition, the current promotion includes two bonus tools at no extra cost, effectively a “buy one, get two free” offer.
Final Verdict: Is Aiarty Image Enhancer Worth It?
In an era where AI tools are becoming commonplace, Aiarty Image Enhancer distinguishes itself by staying true to photographic integrity. Rather than inventing detail, it focuses on recovering the image quality that real-world shooting conditions or hardware limitations can sometimes compromise.
For professional photographers, it works as a reliable “insurance policy” for soft or under-resolved shots, and a capable engine for preparing images for large-format output. For enthusiasts, it offers a straightforward way to elevate images to a clean, polished look—without spending hours inside complex editing workflows.
If your archive includes photos you’ve always wished were sharper, cleaner, or better suited for large prints, Aiarty Image Enhancer is well worth considering.
The post Rescue soft and noisy images in real-world workflows with Aiarty Image Enhancer (holiday special offer included) appeared first on Photo Rumors.
Related posts:
Here is what’s new on Kickstarter:
CamCast – turn your camera into a smart, connected system.
Shargeek 300 – the next-gen power beast.
The post What’s new on Kickstarter? appeared first on Photo Rumors.
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I photographed this pup during an event called "Barktoberfest," where people dressed their pets for Halloween and brought them to work. He was fascinated by my camera, and followed me around peering into the lens, just begging me to take his photo. Some dogs just love being in front of the camera. Photo: Dale Baskin |
Our February Editors' photo challenge theme is "Canine Capers."
Photos can be submitted between Sunday, February 15, and Saturday, February 21 (GMT). The challenge is open to photos captured at any time.
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
Visit the challenge page to submit your photo
I received the following Sony FX3 II camera rumors (see the current FX3 models):
Sony registered a new WW847606 camera overseas (Sony a7R VI?)
The post Sony FX3 II camera rumors? appeared first on Photo Rumors.
Songraw will release new 50mm & 85mm f/1.2 full-frame autofocus lenses for Nikon Z and Sony E mount (previously reported here). The new lens series is marketed as “light” and “affordable” in China, featuring significant weight reduction, numerous optimizations, and a titanium gray lens body.
In the US, Songraw lenses are sold at Amazon.
Here is the teaser video:
The post Songraw to release new 50mm & 85mm f/1.2 full-frame autofocus lenses for Nikon Z and Sony E mount appeared first on Photo Rumors.
Zeiss will announce a new Otus ML 35mm f/1.4 Apo Distagon lens for Nikon Z, Sony E, and Canon RF mounts on February 23rd or 24th for the CP+ show in Japan. This will be the third Zeiss Otus mirrorless lens after the 1.4/35 and 1.4/50.
Additional pictures:
Cosina to display new lens prototypes at the 2026 CP+ show in Japan
Via NikonRumors
The post First leaked pictures of the upcoming Zeiss Otus ML 35mm f/1.4 lens (Z/E/RF) appeared first on Photo Rumors.
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A gigantic fin whale gently breaking the water's surface. What do you feel about the top-down shooting angle in this image? How does it compare to other top-down shots you've seen? (Disko Bay, Greenland) DJI Mavic 3 Classic | ISO 100 | 1/400 sec | F4 |
Aerial photography has always offered a unique perspective, and recent technological advances have made this genre of photography more accessible than ever. But what are the implications for the wildlife we're trying to capture?
In this article, I'd like to share my thoughts about wildlife photography from the air, namely, using a manned aircraft (helicopter or light plane) or a drone. Photographing animals from the air is a somewhat controversial subject, both in terms of how the images look and the moral implications.
"A photographer shouldn't shoot wildlife from the air if doing so causes any serious distress or harm to the animals."
Let's address the second controversy first, since people tend to have strong feelings about it.
A photographer shouldn't shoot wildlife from the air if doing so causes any serious distress or harm to the animals. This means, for example, that if a bear is hunting, disturbing it with a buzzing drone and ruining the chase – and potentially depriving it of its prey – is wrong and shouldn't be done.
However, this does not mean that all aerial wildlife photography is wrong. Some animals simply aren't bothered by aircraft at a distance, so if photography is done responsibly and the animal's well-being is taken into account, there's no problem with shooting it from the air.
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A family of walruses having a sleepover on a flat iceberg in Svalbard. These lazy blobs couldn't care less about my drone hovering above them. To make sure of that, my guide was monitoring their responses at all times using binoculars. (Magdalenefjord, Svalbard) DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/500 sec | F6.3 |
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Shooting from far away allowed me to show the shapes a flock of flamingos creates in flight. I was so far away that there's no way they would have been disturbed. (Sandwich Harbor, Namibia) Canon EOS 5D Mark IV | Canon EF 70-300mm F4-5.6 IS II USM | ISO 400 | 1/1000 sec | F8 |
Now that we have this out of the way, let's talk about the actual photography. Aerial wildlife photography is awesome. Aircraft can fly to places the photographer can't reach by other means. It can offer a different perspective, for better or worse, and generally opens up options, which is what we want, assuming we are interested in creating original, interesting art.
That's the good part, but there is a bad part. Using an aircraft means that we almost surely cannot shoot the animal at eye level. This is detrimental in the sense that the photographer is very limited in the kind of connection they can create between the viewer and the subject.
"Wildlife photography is all about bringing the beauty of animals to life and immersing viewers in their habitats."
Wildlife photography is all about bringing the beauty of animals to life and immersing viewers in their habitats. Shooting from the air limits how close you can get and the shooting angle, which is a very serious disadvantage.
The way to overcome this disadvantage is to create a connection to the wildlife by other means. Namely, use the aircraft to create an interesting composition that shows the animal in its natural habitat in a visually appealing way.
Take, for example, the image below. This is a good example of an animal-in-landscape type of shot, which means a landscape image with a wildlife element. Here, the compositional 'punch' comes from the shapes of the broken sea ice. The pair of walruses is just the cherry on top – the element that breaks the pattern and injects interest into the flat, somewhat repetitive landscape.
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A pair of walruses chilling on sea ice. While the wildlife is the main subject, the broader context of the animals in their habitat and the way I composed the landscape are what make this image work. To achieve this composition, I had to use a drone. (Yoldiabukta, Svalbard) DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/240 sec | F6.3 |
I have a bit of a problem with top-down aerial photography, but there are instances where it just works.
Last summer, I shot lunge-feeding fin whales during my Greenland photo workshop, and the drone proved to be the perfect tool for this. Not only did it allow me to get a good view of the whale, free of reflections and close enough to show detail, but since the whales often swim turned to their sides, the drone allowed me to capture the full view of the animals' bodies and behaviors.
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Fin whales lunge-feeding in Disko Bay, Greenland. The whales feed by driving krill to the surface, then taking huge gulps and filtering the tiny crustaceans with their baleen. (Disko Bay, Greenland) DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/400 sec | F3.2 |
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Since the whale is on its side, this high angle was actually perfect to show all the desired detail. See the tiny krill? Am I the only one who thought of Shai Hulud (the sand worm from Dune)? (Disko Bay, Greenland DJI Mavic 3 Classic | 24mm F2.8 | ISO 100 | 1/400 sec | F4 |
The fact that the whales feed turned to the side is exactly why I could shoot top-down (more or less) and still get the interesting parts of my subjects to show in the images.
Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.
If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, China, Colombia, Vietnam, Madagascar and more.
Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.
This week, we published our review of the Fujifilm X-T30 III, the company's entry-level, SLR-shaped camera with a now venerable 26MP APS-C sensor. It's shown up in enough of the company's cameras that there are few surprises left when it comes to the image quality, but we still like to share some of the images we take with a camera during the review process.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
The Tamron booth at the 2026 CP+ show in Japan
The previously rumored Tamron 35-100mm f/2.8 DI III VXD lens for Nikon Z and Sony E mount leaked online:
The new lens will be priced similarly to the Tamron 16-30mm f/2.8 Di III VXD G2 lens: $900 for the Sony version and $930 for the Nikon version. Shipping will start in late March or early April.
Update – here are two additional pictures of the new lens:
First leaked picture of the upcoming Tamron 35-100mm f/2.8 DI III VXD lens for Nikon Z-mount
Via NikonRumors
The post The rumored Tamron 35-100mm f/2.8 DI III VXD lens (Z/E) leaked online appeared first on Photo Rumors.
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| Image: VSCO |
If you've long been a fan of the film look on your digital photos, there's a good chance you're familiar with the VSCO Film desktop presets. They were quite popular at one time, but VSCO discontinued them in early 2019, much to the frustration of many photographers. Now, the company is bringing one of its preset packs back, albeit with some caveats.
The VSCO Film 02 presets are available for Adobe Lightroom and Adobe Camera Raw and feature looks inspired by real films from Kodak, Fuji and Ilford. They aim to translate each film's highlights, shadows, and grain into your digital files. The lineup includes Fujifilm Neopan 1600, Fujifilm Superia (100, 400, 800 and 1600), Ilford Delta 3200, Kodak Portra 160 (NC and VC) and Kodak Portra 400 (NC, VC and UC).
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| Film 02 includes multiple film looks. Image: VSCO |
Each preset offers the standard look along with variations to further customize the end result. VSCO clarifies that these do more than just change the strength of the preset. They range from a cleaner, more subtle version to stronger looks with dramatic hue shifts that mimic vintage film processes.
The presets come in standard and camera-specific profiles. VSCO says the standard profiles are designed to adapt across a wide range of cameras, while camera-specific profiles are available for popular models from Canon, Nikon, Sony, Fujifilm, Ricoh and Leica. They are designed to work with Raw files, so photographers can maintain full editing control, but the standard versions also work with JPEGs.
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| Each film preset offers additional variations for dialing in your preferred look. Image: VSCO |
For many photographers, the return of VSCO Film 02 presets is a welcome sight. Unfortunately, they’re only available for a limited time, and VSCO hasn’t specified how long. Another critical detail: they are only available for VSCO Pro members. If you want them, you'll need a paid subscription, which costs $5 per month. Having a free trial of the Pro membership does not unlock the presets, though VSCO says you can reach out to the support team to get help expediting your upgrade if you would like access.
This release doesn't cover all the options VSCO previously offered, either. In the website's FAQ section, VSCO addresses whether more could be coming: "We know how much the original preset packs meant to photographers, and we’ve heard the requests. While we don’t have details to share yet, we’re actively exploring what comes next. If and when more preset packs return, VSCO Pro members will be the first to know."
You can find more details about the presets and how to install and use them on the VSCO website.
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