WANDRD launched two brand-new camera backpacks: PRVKE Zip and PRVKE Pocket. Both models are available in 21L & 31L and are available in Black & Wasatch Green:

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

Here are the details:

PRVKE Pocket

• The PRVKE Pocket is built around a simple idea: trusted materials, intentional design, and carry that just makes sense.
• Zip-top opening for fast, secure access
• Thoughtfully designed internal layout to keep gear organized
• Dedicated front organization pocket for everyday essentials — the items you reach for most, right where you need them
• It’s streamlined, functional, and designed for real-world use.
• Two Sizes, Two Colors: 21L or 31L, Black or Wasatch Green

PRVKE Zip

• The PRVKE Zip pairs a clean, zip-top opening with a purpose-driven interior that keeps your gear protected and organized – whether you’re carrying camera equipment, travel essentials, or everyday carry.
• Quick access when you need it
• Secure storage when you don’t
• The iconic PRVKE front pocket for a minimal, timeless look
• Smart internal organization with protective materials throughout
• Everything has a purpose — and it’s ready to perform from day one.
• Two Sizes, Two Colors: 21L or 31L, Black or Wasatch Green

The post WANDRD released new PRVKE camera backpacks appeared first on Photo Rumors.

Elsa's gear list for the Olympics includes four Canon R1 bodies with a wide selection of lenses and additional accessories. Image: Elsa Garrison

The Milan Cortina 2026 Winter Olympic Games have been underway for over a week now, and Getty Images photographer Elsa Garrison has been logging long hours on the ice to capture the action. We previously spoke with Elsa about her experiences as a sports photographer and the first woman staff photographer at Getty Images. Now she's sharing some behind-the-scenes looks at the gear she has on hand and how she's approaching photographing these Winter Games.

Elsa is currently in Milan to capture the ice events such as women's and men's ice hockey, all of the various figure skating competitions, speed skating and short track speed skating. "As a Minnesotan, I am most familiar with covering ice hockey," Elsa revealed. "It was one of the first sports I learned to cover when I began my sport photographic journey at age 15, so this sport feels like home to me." She also loves short track speed skating because it is so fast and chaotic.

"For the Opening Ceremony, I [was] one of two Getty Images photographers on the field of play to capture event-level images"

Elsa also had the opportunity to be at the Opening Ceremony, a first for her. "For the Opening Ceremony, I [was] one of two Getty Images photographers on the field of play to capture event-level images of athletes and performances," she said. "I have never worked an opening from the field of play before, and I am very excited for this opportunity to capture this aspect of the games."

As you likely expect (and can see in the image at the top of the article), the gear needed for such an event is extensive. Elsa's kit includes four Canon R1s, one R3, and nine lenses, such as the Canon RF 10-20mm F4 L IS STM, RF 24-70mm F2.8 L IS USM, RF 50mm F1.4 L VCM and RF 100-300mm F2.8 L IS USM. She also has a 1.4x teleconverter on hand for extra reach when needed, plus two battery chargers for the cameras (see a full list of her gear at the end of the article).

Elsa's setup also includes the ability to take images remotely. She uses a Magic Arm with a clamp and a mini tripod to hold the cameras, and two Pocket Wizard Remote Camera triggers with cables for triggering. She also needs to get images back to Getty Images quickly, so her kit also includes a larger router for the tech team.

Elsa made sure to pack clothes to keep her warm during the Winter Olympics. Image: Elsa Garrison

Beyond the camera gear, there are also considerations for the cold weather. However, that's not phasing Elsa. "I grew up in Northern Minnesota, and I am very familiar with cold weather," she explained. "The joke with Minnesotans and cold weather is that if we hear someone complain about the cold, we chime in with, 'Cold? This isn’t cold!' and then we bring up the blizzard of 1991 or some other arctic blast."

"The trick is to layer and also keep your spare camera batteries in a warm pocket"

While most of the events she has been covering are indoors, the Opening Ceremony was held outdoors, so she focused on appropriate winter gear for working outside for a long period. "The trick is to layer and also keep your spare camera batteries in a warm pocket," she said. "The cold drains the camera batteries quickly, so it takes a little bit of planning and extra equipment to get through a cold-weather assignment."

Although the 2026 Olympics are beginning to wind down, there's still plenty of excitement left. "There is so much to be excited about when covering an Olympic Games," she added. "Every day is a new adventure and I get to document these Olympians as they make sport history. Sure the days are long and grueling at times, but the competition and the performances are easy to get wrapped up in and you forget that you maybe haven’t slept much!"

Elsa's Milan Cortina 2026 gear list:

Cameras:

• 4 Canon EOS R1 camera bodies (two will be brought from the United States, and two will be borrowed from Canon in Milan)
• 1 Canon EOS R3 camera body

Lenses:

• RF 10-20mm F4 L IS STM
• RF 24-70mm F2.8 L IS USM
• RF 28-70mm F2 L USM
• RF 50mm F1.4 L VCM
• RF 70-200mm F2.8 L IS USM
• RF 85mm F1.2 L USM
• RF 135mm F1.8 L IS USM
• RF 100-300mm F2.8 L IS USM
• RF 400mm F2.8 L IS USM

Additional gear:

• 1.4x teleconverter
• 2 battery chargers for cameras
• 2 Pocket Wizard Remote Camera Triggers with cables
• 1 large router for our tech team
• 1 magic arm and super clamp for remote camera
• 1 mini tripod for a remote camera

Winter clothing:

• Getty Images team winter shell and lining jacket in black
• Black fleece base layer pant
• Black outer snow pants
• Black base layer shirt
• Black Sorel waterproof boots
• Over boot snow traction cleat/cramp on
• Wool socks of varying thicknesses
• Black Getty Images-branded hat, plain black hat, teal hat that I knitted for the occasion
• Various gloves and mittens (fingerless mitts, tight-fitting gloves and a pair of mitten/lone finger gloves that a friend of mine hand-knit for me – the left hand is a regular mitten, and the right hand has a one finger is for the shutter button on a camera, and the rest is a mitten shape. It is a design idea I am testing out. The hand holding the camera almost looks like a lobster claw!)

Kodak DCS army 1991-2001 Photo: Maoby

For last week's Question of the Week, the conversation shifted from camera disasters to something most are far more proud to display: the cameras you’ve chosen to keep. We noticed many of you stuck with the same brand or even era of camera, but many more had a surprisingly wide array of brands, lens types and some interesting nostalgic objects. Each collection felt less like a lineup of gear and more like a historic timeline of your unique photographic life.

Read on and view the wide array of cameras collected over the years by our readers.

Your impressive camera collections

Just one part of my collection. Photo: vigi

icexe: The Nikkormat FTn was my very first "real" camera, bought during my college days back in the late 80s-early 90s. This thing is bullet-proof, surviving being tossed around in my backpack on various road and camping trips, punk rock concerts in seedy little nightclubs, drinks being spilled on it, and mud being splattered all over it. One time, it was stolen from my apartment in a break-in, but I later found it on the ground behind the apartment; the thieves probably dropped it in their hurry to flee with my stereo and TV. I never once took it in for a CLA, yet as far as I can tell, it still works perfectly fine for a nearly 60-year-old camera.

xpatUSA2: For the pocket: Panasonic DMC-LX1. For Foveon shots: Sigma SD10 house-brick. For my shaky hands: Panasonic DC-G9 (IBS plus lens Power IS). For IR: Modified Panasonic DMC-G1. Apart from proprietary, a good few M42-mount lenses: Asahi Lens Co, Helios, Jena Zeiss.

Ken Sky: I've owned cameras since I was 8 and I'm 87. I'll only show the cameras in my office showcase. Right now, I alternate between a Sony A6000 and A7R4 with multiple lenses. Ironically, photos for this week's discussion were taken with my iPhone 17 Pro Max.

Not counting the broken ones… Photo: Krummj

ZorSy: My cameras are in full cases (even Ikonta has its leather holster with the strap). Everyone has a story behind them; they were not flea market finds and had been taking family photos for decades. Oh, and a drawer full of digital compacts, bridge cams like Fuji S602, S9500 and DSLRs, which are all counted as disposables.

Swerky: I finally decided to move entirely to APS-C when I acquired my trusty G1X Mark III and DXO with its great denoising engine. But I wasn’t able to sell those Voigtlander lenses, since a 20mm on a crop sensor wouldn’t be of much use as a 32mm. Since I was kinda reluctant to sell those because I liked their qualities, I bought and RP and adapted them to it. Then I finally added an R100 with which I used a very good EF-S 55-250 IS STM.

Michaelgc: I've had a lot of cameras over the years, but the only one I kept was this Nikon FTn. I was an Army combat photographer in Vietnam and took this one into Cambodia in the spring of 1970.

I was an Army combat photographer in Vietnam and took this one into Cambodia in 1970. Photo: Michaelgc

thielges: I have dozens of cameras, and the whole collection weighs over 50kg. I bought most of them at the San Jose and Capitol flea markets in California for rather low prices. The pre-WWII cameras are usually exquisite examples of mechanical design. Like Swiss clockwork. The post-WWII cameras gradually devolved into cheap plastic junk by the time they became obsolete at the dawn of the home video camera era.

sx-70: My GAS had originally started with my obsession for cheap film cameras I would see in opportunity shops (thrift shops), and then made its way into digital. By far my favourite of the film cameras I own is the Nikon S2. I have taken it out for some shooting recently, and if anything, it has pointed out many flaws in my photography, especially when it comes to how heavily reliant I can be on modern tech that makes life easy.

RaleighTiger99: I've acquired a few cameras. Some I once shot with, some were used to shoot photos/movies of me as a child, and some were given to me by friends. They all have a story, and most are in working order. They reside in different areas of my house, but the largest collection lives over the bar. I often ask folks if they can spot the only two digital cameras on display.

Can you find the only two digital cameras in this collection? Photo: RaleighTiger99

webcastedude: A Sony A7Cr and Fujifilm X-E5 comprise my camera collection – one full frame and one APS-C. Lenses, however, are my weakness. I have a collection of Helios (vintage Russian) lenses and others of similar age. Compared to new, modern lenses, vintage lenses are cheap, and they offer a wide variety of optical features. Go on, try one on eBay. They are like candy; you can't have just one.

RetCapt: In 1984, Nikon introduced their Nikonos 5. It seemed ideal for the often-hazardous environments in which I found myself. I am not a diver (that is where the great whites dwell, and I have seen what they can do to a human body). I bought the three above-water lenses, 28mm, 35mm and 80mm, and I was set. There are some eccentricities to using this camera, but nothing an experienced film photographer couldn't handle.

Alan Sh: My collection – all Fuji apart from a Canon 300 film camera. The photo collection in my forum post is 5 cameras, 21 lenses, 4 flashguns, plus a host of accessories and tripods. It doesn't include all my bags, most of which are up in the loft.

So many other stories we couldn't fit in this article are shared in the forums. Here is a photo gallery of most of the collections shared:

Thanks to everyone who took the time to write up an account of your camera collections.

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

Pit your camera collection against the many others in the community!

Image: Google

Google has announced the Pixel 10a, the latest entry in the tech giant's smartphone lineup. The last iteration of the entry-level phone marked a move away from the Pixel's iconic camera bar, and now Google is taking things a step further with a camera array that's completely flush with the rest of the phone's back. Aside from the redesign, the 10a will be very familiar, as it shares most specs and features with the previous generation.

The smoothed-out design will be a big benefit to those who don't like using a case. The phone will now sit flat on surfaces; gone are the days of rocking when you set it down. And it won't get caught when you take it in or out of your pockets.

Image: Google

While Google flattened the camera array, the phone's body didn't get any thicker than the 9a. There also hasn't been a camera downgrade. Like the previous model, the 10a features a 48MP main camera with a Type 1/2 (6.4 x 4.8 mm) sensor and a 13MP ultra wide camera with a Type 1/3.1 (5.0 x 3.7mm) sensor. When asked how they achieved this, Google simply said that the team has the best engineers and wouldn't provide any additional details.

The other changes in the latest budget offering are rather small. It gains some features found on the 10-series of phones, especially AI-related ones. That includes Auto Best Take, which uses Google AI to automatically merge group photos to get the best take for everyone, and Camera Coach, which uses Gemini models to help users with composition and framing. The 10a also now offers Satellite SOS, which aims to connect the phone to emergency services even if you're out of Wi-Fi or mobile network range.

The color options are similar to last year's 9a, though with slightly more vibrance in the blue (called Lavender) and red (Berry) models. Image: Google

The 10a promises a slight durability boost with a Corning Gorilla Glass 7i cover glass, and Google says the Actua display is 11% brighter than the 9a. Battery life in Extreme Battery Saver mode gets a bump from 100 to 120 hours, while normal mode remains at a promised 30 hours. Like the 9a, the Pixel 10a uses the Tensor G4 chipset, which Google says was kept to keep the phone's price down. It retains the IP68 rating as well.

The Pixel 10a is available starting March 5 for $500, the same price as the previous generation. It comes in Obsidian (black) and Fog (white), along with Lavender (blue) and Berry (red), which are slightly more vibrant variations of the 9a's colors.

Mandler opened their online store, where you can now buy the Mandler 35mm f/2 “Seven Elements” lens for Leica M-mount (previously reported here):

• Mandler 35mm f/2 “7 elements” (aluminum)
• Mandler 35mm f/2 “7 elements” (chrome-plated brass)

They also sell accessories for the new lens:

• “7 elements” premium accessory kit
• “7 elements” basic accessory kit

The Mandler 35mm f/2 lens for Leica M-mount is a replica and a complete reproduction of the optical formula of the original Leica Summicron 35mm f/2 seven-element lens. The name “Mandler” is a tribute to Walter Mandler, who designed many legendary Leica lenses.

Mandler is expected to launch another new lens in July. In the future, they are planning to release 3-4 new lenses per year.

Additional information can be found here:

You can now buy the new Mandler 35mm f/2 lens for M-mount – a complete reproduction of the optical formula of the original Leica Summicron 35mm f/2 7-element lens

Update: the Mandler 35mm f/2 “Seven Elements” lens for M-mount is sold out, LTM mount still available, next batch is coming in March

Additional pictures:

Via LeicaRumors

The post New Mandler online store: you can now buy the Mandler 35mm f/2 “Seven Elements” lens for Leica M-mount appeared first on Photo Rumors.

The new Ricoh GR IV Monochrome camera is now in stock at B&H Photo.

Additional information on the Ricoh GR IV Monochrome camera can be found here:

Announcement of the launch of multilingual support service for Ricoh 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

Poll: would you buy the new Ricoh GR IV Monochrome camera for $2,200?

Ricoh GR IV Monochrome camera FAQ

The post The new Ricoh GR IV Monochrome camera is now in stock appeared first on Photo Rumors.

Here are the top 10 most used Nikon cameras on Flickr:

1. Canon EOS R6 Mark II
2. Sony A7 III
3. Apple iPhone 16 Pro
4. Nikon Z6II
5. Samsung Galaxy S23 Ultra
6. Google Pixel 8 Pro
7. Fujifilm X-T5
8. Olympus E-M1 Mark II
9. OM System OM-1
10. Panasonic DC-G9

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):

• 40.2 MP X-Trans CMOS 5 HR sensor
• X-Processor 6
• AI-driven AF
• Tilting screen
• Internal ND filter
• Larger camera body
• Hyperfocal mode
• New and improved AF system
• Improved ergonomics (larger joystick?)
• Weather sealing
• NP-W235 battery
• New film simulations (new customizable top film simulation dial?)
• In-Body Image Stabilization (IBIS)
• Improved Hybrid Viewfinder, potentially with 5.76 million dot resolution
• 4K 60p and potentially 6.2K video capabilities
• Expected in late 2026 or potentially early 2027

The Fujifilm X-Pro3 camera is discontinued

Fujifilm X-Pro3 camera is being discontinued

The post The latest Fujifilm X‑Pro 4 camera rumors appeared first on Photo Rumors.

Sony World Photography Awards category winners

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.

Architecture

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

Creative

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

Landscape

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

Lifestyle

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

Motion

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

Natural World & Wildlife

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

Object

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

Portraiture

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

Street Photography

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

Travel

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:

Deal of the day: new Leica SL Type 601 camera for $2,968

Now available: modified Schneider-Kreuznach XENON-EMERALD 50mm f/2.2 limited edition lens for Leica M-mount

Rock n Roll introduces the Classic: new drum-tanned leather camera straps (chocolate, distressed red, black, distressed yellow)

Ricoh GR IV Monochrome camera FAQ

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

Sony a7V Firmware 1.01 Released

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

What to expect from Nikon in 2026 (updated)

Grips for Nikon ZR cameras

New Jaquet “Niko” cage for Nikon ZR cameras announced

Meike is rumored to release more new lenses for Nikon F-mount

The new Voigtlander APO-LANTHAR 28mm f/2 Aspherical lens for Nikon Z-mount is now available for pre-order

What to expect from Nikon in 2026 (updated)

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

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!

Visit our CP+2026 show page

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.

Jump to Sample Gallery

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.

The shooting experience

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.

Summary

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.

Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; 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):

• Fast standard zoom lens with a constant aperture of F/2.8 from 35–100 mm
• Particularly compact and lightweight design – ideal for travel and everyday life
• High image quality and harmonious bokeh for natural portraits
• Faster, more precise VXD autofocus for spontaneous and authentic shots
• Excellent close-up capabilities – ideal for indoor and detail shots
• Compatible with TAMRON Lens Utility software for individual settings
• High user comfort thanks to ergonomic design – Optimized housing surface – Smooth and precise operation of zoom and focus rings
• Protective functions through moisture-resistant construction and fluorine coating
• For Sony E & Nikon Z Mount.
• Release date: February 26, 2026.
• Priced like the Tamron 16-30mm f/2.8 Di III VXD G2 lens at $930
• Filter size: 67mm
• Length: 121.5mm
• Weight: 575 g,
• Shipping in late March or early April
• Additional leaked pictures

Additional 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:

• TTartisan store (in stock)
• Amazon (in stock)
• B&H Photo (coming soon)

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:

Canon is rumored to register a new high-end EOS camera

The latest Canon camera registrations

The post Canon EOS R3 Mark II camera rumors? appeared first on Photo Rumors.

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.

Focus modes

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).

Single AF

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.

Continuous AF

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.

Auto AF

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.

Focus area

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.

Wide / Auto

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.

Zone

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.

Expanded point

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).

Single-point

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.

Tracking areas

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).

Subject detection and tracking

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.

Each brand has its quirks

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:

• One-time purchase with no subscriptions or recurring fees
• Installation on up to 3 Windows or Mac computers
• Unlimited access to all features.
• Free lifetime updates and technical support.
• 30-day money-back guarantee

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.

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.

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):

• The Sony FX3 II has been delivered to select rental companies for testing. It inherits the FX3 body’s expandability and the FX2’s adjustable EVF. Visually, it resembles the FX2 with added color temperature sensors.
• The FX3 II supports in-body image stabilisation settings for anamorphic lenses. The image stabilization rating is the highest in the FX series at 8.5 stops, and FX3 II retains a fully mechanical shutter instead of adopting the FX2’s electronic front-curtain mechanical shutter, which resulting in a body slightly thicker than the FX2 and FX3.
• It uses a 33-megapixel partially stacked sensor and boosted by the BIONZ XR2 and enhanced active cooling system, with a UHD/DCI 4K at up to 60fps in full-frame / S35 mode, and UHD 4K 120fps in full-frame crop / S35 mode.
• It supports full-frame 1.1x crop UHD4K 120p recording like the FX3, but with 6.2K oversampling. Only when shooting full-frame 4K at 120fps does the FX3 II fully leverage the 3.5x readout speed capability of its 33-megapixel sensor in video modes.
• When paired with the XLR handle unit, the FX3 II supports 32-bit floating-point recording at 48kHz and incorporates an AGC circuit for extensive level control to prevent clipping. It supports up to 8 audio channels, facilitating multi-person recording and immersive sound capture.
• Additionally, the FX3 II supports outputting timecode signals externally as a master camera and enables wireless synchronisation of timecode between multiple FX3 II units via the 6GHz channel (unavailable in certain countries).

Sony registered a new WW847606 camera overseas (Sony a7R VI?)

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