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Sony a7R V | Tamron 35-100m F2.8 | 35mm | F8 | 1/100 sec | ISO 100 Photo: Mitchell Clark
Last month, Tamron announced the 35-100mm F2.8 Di III VXD, a full-frame zoom lens that focused on offering a fair amount of reach and a fast aperture while still being compact and lightweight. We've had the chance to shoot with it a bit to get a feel for what it's like to use and how it performs.
The first thing that stands out about this lens is the weight. If you're used to shooting with a 24-70mm F2.8, this lens is noticeably smaller and lighter than most full-frame options. That's not to say that the focal length ranges are particularly comparable – they're not, especially on the wide end – but it's a good frame of reference.
The lens is quite small and light, which would make it a good pairing for some of the more compact full-frame bodies. It also includes a customizable mode switch and function button.
Despite the light weight, the lens feels solidly built. To my hands, the materials and design of the zoom and focus rings actually feel a touch nicer than other recent Tamron lenses that I've tried. While most wouldn't consider a $900 to be cheap by any stretch, it feels more premium than its price tag might suggest.
Paired with an a7R V, the autofocus was very snappy, and it never felt like the lens was holding back the camera.
The lens extends a bit when zooming in, but not enough to throw off the balance or meaningfully change the center of gravity.
While this isn't a full review of its optical quality, I was pleased with how sharp the samples I got with this lens were, even when I was shooting wide-open. As we've seen with many recent F2.8 zooms, especially ones that focus on size, it has a fair amount of vignetting at F2.8 and even still some at F4, but it largely clears up by F5.6. I also find the out-of-focus rendering to be perfectly fine; it's not distracting, and the falloff is pleasant enough, though if you inspect the specular highlights in the bokeh, there is some cats-eye effect.
Toward the edges of the frame, you'll start to see some cat's-eye bokeh. (Note that the lights on the left edge of the frame aren't being distorted by the glass cups.) Sony a7R V | Tamron 35-100mm F2.8 | 100mm | F2.8 | 1/100 sec | ISO 500
In the past few years, we've seen companies playing focal length ranges, such as Sony's 20-70mm F4 and 24-50mm F2.8, so it's interesting to see someone experimenting in the other direction. However, we suspect many people who learned photography after the era of the 35-70mm might feel restricted by a lens that only barely dips its toe into the wide-angle range, especially if they were trying to use it as an all-around standard zoom.
However, I found I really enjoyed working with this zoom range, especially given the size and weight of the lens. I could easily see being happy with just it and a wide (or maybe even ultrawide) prime, though your mileage may definitely vary, especially if you're someone who often finds themselves wishing they could go wider than 24mm, rather than someone like me who often wishes they could reach past 70mm. In that respect, I prefer this to Tamron's own 28-75mm F2.8, as it feels like I get more for giving up something on the wide end (though obviously it's a greater sacrifice).
For most people, though, this lens might make more sense as a complement to, rather than a replacement for, a standard zoom, especially if their standard zoom is a variable-aperture kit option. It offers F2.8 and some of the most popular portrait focal lengths with more flexibility than a prime, and without the need to carry around a giant piece of glass like a 70-200mm.
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.
Sample gallery
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Thank you to LensRentals for loaning us a Sony a7R V to shoot this lens gallery, and to Tamron for loaning us the lens. All images were processed using our standard lens workflow in Capture One, with the manufacturer's distortion correction applied but no vignetting correction. Before correction, the images have some minor pincushion distortion, but we wouldn't consider the profile to be an essential part of the lens design if you prefer not to use it, or your preferred software does not support lens corrections.
Canon EOS 400D w/ EF70-200mm f/2.8L USM @ 200mm | F2.8 | 1/400 sec | ISO 400 Photo: Jagdeep Rajput
DPReview community member Jagdeep Rajput, known as J Rajput in the wider community, is our latest spotlight in this series about what's in your camera bag. This series explores the gear our community members bring along on their photography journeys and shares the stories behind how that equipment helps them capture memorable moments.
Culminating from more than three decades of wildlife photography, below is Jagdeep's amazing story and photos, along with the gear used to capture them.
Favorite camera and lens: Canon EOS R5 II paired with the EF 500mm F4 IS II – a powerful combination Jagdeep relies on for capturing distant wildlife and dramatic animal behavior in the field.
Typical photo scenes: Wildlife photography, especially large mammals and wetland birds in national parks and open natural habitats.
"I started photographing in the early 1980s, and over the years it has grown into a lifelong passion for observing and documenting wildlife."
Jagdeep is a wildlife photographer who enjoys working with small groups of like-minded friends. Most of his photography takes place in India’s national parks, where he spends a lot of time sitting still, patiently watching and waiting for the right behavior or interaction with animals to unfold.
Fight during courtship season
Canon EOS R5 w/ EF500mm f/4L IS II USM + 1.4x III | 700mm | F5.6 | 1/1250 sec | ISO 1250 Photo: Jagdeep Rajput
Lenses:RF 24–105mm F4 for versatility, RF 70–200mm F2.8 VCM for action and medium telephoto work, and a 100–400mm F5.6 for additional reach. For distant wildlife, Jagdeep relies on the EF 500mm F4 IS II, often paired with 1.4x and 2x teleconverters.
Support and accessories: A beanbag is an essential part of his kit, especially when shooting from vehicles in wildlife reserves. He also carries a close-focusing tube to allow tighter framing when subjects approach closer than expected.
Camera bags: Jagdeep prefers backpack-style camera bags, typically from Lowepro, Tamrac or Think Tank. For bird sanctuaries and longer walks, he uses a larger Tamrac backpack along with a tripod and gimbal head to support long lenses. When photographing from a vehicle, he relies on a beanbag for stability.
Other Essentials: A sun hat is always packed for field protection, and gloves come along during the cooler winter months.
Photo: Jagdeep Rajput
What other gear makes a difference?
"I like to keep my setup fairly simple in the field, but a few accessories are always important. A beanbag is something I rely on often, especially when photographing wildlife from a vehicle, as it provides quick and stable support for long lenses. I also carry a close-focusing tube, which allows me to get tighter shots when an animal or bird comes closer than expected.
Other than that, I usually pack a sun hat to deal with the intense sunlight during long hours, and gloves during the winter months when mornings in the field can be quite cold."
Mock Charge of an Asian Elephant
Canon EOS 5D Mark IV w/EF100-400mm f/4.5-5.6L IS II USM @ 117mm | F5 | 1/400 sec | ISO 500 Photo: Jagdeep Rajput
What has been one of your most amazing moments out in the field?
While India remains his primary shooting ground, Jagdeep also travels to Africa, photographing wildlife in places like the Masai Mara, Amboseli and Tsavo. One of his most memorable moments occurred at Keoladeo National Park in Bharatpur.
"Once, I went to Keoladeo National Park, Bharatpur, India, to photograph a nesting Sarus Crane. A Bluebull happened to venture close to Sarus's nest, the crane opened its huge wings and attacked the bull from behind. Since I liked to shoot animal behaviour, I pressed my continuous shutter, and the image I captured was unbelievable; it was 'Pegasus'."
A Territorial Call of Indian Sarus Crane
Canon EOS 5D Mark III w/ EF500mm f/4L IS USM| 500mm | F5.6 | 1/640 sec | ISO 160 Photo: Jagdeep Rajput
Jagdeep's advice for other photographers
"Good subjects are hard to find. If you come across one, don't give up easily. Go for a couple of exceptional frames rather than hundreds of good frames."
Discuss with Jagdeep his photography and gear in the forums.
If you’d like to share your photography setup, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!
Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.
Toshiyuki Tsumura, Executive Vice President and Director of Panasonic Imaging Solution Business Division. Photo: Abby Ferguson
Consumers' priorities have changed significantly in recent years, a Panasonic executive told us at this year’s CP+ show in Yokohama, Japan. Meeting those new priorities is part of the challenge, and Panasonic sees new energy not exclusively in full-frame flagships, but also in the small, portable cameras that smartphones never fully replaced.
At CP+ in Yokohama, Japan, we sat down with Toshiyuki Tsumura, Executive Vice President and Director of Panasonic's Imaging Solution Business Division, Takayuki Takabayashi from the Imaging Solution Business Division and Takashi Yamahara, head of the Global Marketing Division and Master of Project Design at Panasonic. In a wide‑ranging conversation, the team shared their candid thoughts on where the camera market is headed, how Lumix plans to serve a new generation of creatives and the role of AI in imaging.
The changing camera market and why compact cameras are booming again
Panasonic's LX100 II was a well‑liked enthusiast compact, but it dates back to 2018. Photo: Jeff Keller
"In general, the camera market is growing," says Tsumura. "For several years after COVID, the camera market shrank, but since then, it has been growing gradually every year. Last year it was up seven percent compared to the previous year." That's certainly good news for photographers, as a healthy camera industry means more support moving forward.
However, Tsumura is quick to point out that it's not the same market that peaked a decade ago, and consumers now have different priorities. "Previously, the driving force was high-end full-frame cameras. But recently, the value-zone cameras are driving the market, such as entry-level mirrorless cameras or compact cameras," Tsumura explains.
"The trend is shifting toward compact cameras," Tsumura goes on to say. "The reason is that a lot of people enjoy making and sharing photos and videos, and they want better image quality as much as possible. Many people feel that smartphones cannot fully satisfy their desire for good image quality."
"The trend is shifting toward compact cameras."
In Tsumura's view, compact cameras offer three distinct advantages over phones: better low-light performance, longer (and higher-quality) zoom, and options like genuine waterproofing. He points out that younger generations see images and videos constantly, and their analysis of those users found that they can distinguish the quality difference between smartphone images and those made with dedicated cameras.
For Panasonic, that shift could create a new kind of opportunity. Whether that means we should expect a new Lumix compact camera remains to be seen, but it is clear that Panasonic recognizes the shift in priorities and isn't ignoring it.
The future of Micro Four Thirds
The GH7 was Panasonic's last truly new Micro Four Thirds camera, though it was closer in size to full-frame hybrid cameras, rather than leaning into the compactness of the format. Photo Dale Baskin
Given the interest in smaller camera systems, we also asked the Panasonic team about Micro Four Thirds cameras. "Every year, we strengthen the Micro Four Thirds lineup, and we would like to continue this kind of development," Tsumura says.
The reason comes back to the same shift that's reshaping the broader market. Micro Four Thirds' core strengths are still compactness and low weight, and when you factor in lenses, the overall package can be significantly smaller than an equivalent full‑frame kit. That matters for the entry‑level and step‑up users Panasonic is increasingly targeting. "That's what entry users are requiring right now – portability and compactness so they can bring the camera everywhere," Tsumura explains. "So we are studying what kind of value we can propose to those users now and in the future with Micro Four Thirds."
"In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different"
At the same time, the company's expectations for the system have evolved. "In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different," Tsumura says. Panasonic now sees new customers who are more focused on the experience of using a camera and how it fits a specific purpose.
There's still room for more pro‑oriented full‑frame body
The S1H is the only S-series camera that hasn't seen an update. Photo: Dan Bracaglia
On the other end of the spectrum, the S1II is one of the most capable hybrid mirrorless cameras for video, but Panasonic thinks there's room to take it even further. While the original S1H remains the only first‑generation S‑series body without a direct successor, Tsumura avoids promising an exact S1H II. Instead, he frames the project more broadly: "Video production for the 'prosumers' is getting more and more important," Tsumura explains. "We are now investigating what kind of professional features we need to incorporate into new professional-type video cameras."
For what's next, the team is studying real applications, usage patterns and system requirements for higher‑end production, rather than just stacking on specs. As Tsumura puts it, they are looking beyond the current S1 II, "which already incorporates a lot of good video features, we are studying what we need to improve and what we need to add. That's what we're working on now," he says.
AI and computational imaging as core pillars
Computational photography has been a focus for Panasonic for some time, and AI is now an additional area of consideration. Inside Panasonic, AI isn't treated as a side project but as a central pillar of future camera development. "We put a high priority on computational imaging," Tsumura says. "This is very important for us. In order to evolve this area, we utilize AI technology."
"We can't say which companies, but we are talking with many partners and getting advanced technologies from them."
Panasonic isn't tackling AI integration alone, though. "To incorporate concrete AI technologies, we are now contacting lots of AI technology partner companies," Tsumura tells us. "We can't say which companies, but we are talking with many partners and getting advanced technologies from them. We then select and incorporate these technologies into specific features."
Twenty‑five years of Lumix
Finally, this year marks the 25th anniversary of Lumix, though internally, it seems Panasonic frames the milestone less as a victory lap and more as an obligation. "We were almost the last player to enter this camera market, so we feel we have a duty to continue this journey because of the customers who have supported us," says Yamahara. "The 25th anniversary is a kind of milestone, but we also need to continue beyond it."
In a nod to the anniversary, we ask Tsumura which single product he sees as the most important in Lumix history. Without any hesitation, he responds: "the G1, one of the first mirrorless cameras. That product created the mirrorless market and changed camera culture."
This article is based on an interview by Dale Baskin and Abby Ferguson at CP+ 2026. It has been edited for clarity and flow.
Some of the Camera Intelligence team, all holding Cairas. Left: Vik Kumar, COO. Middle: Vishal Kumar, CEO. Right: Liam Donovan, CTO. Photo: Mitchell Clark
"I think a lot of people mistake our product as a gadget," says Vishal Kumar, CEO of Camera Intelligence, the company behind the Caira, a Micro Four Thirds camera that attaches to the back of an iPhone. "That's the wrong way to think about it," he says. "We're building the full technology stack, we believe, for the future of cameras."
While the company is currently wrapping up its Kickstarter campaign for the Caira, it has much bigger ambitions than selling an accessory that makes your phone a better camera, or even than selling dedicated cameras. Ultimately, it says, it's trying to change how cameras are made, and trying to convince the established camera companies that its tech is the way to photography's next step forward.
What is Caira?
The Caira has a Micro Four Thirds mount and an 11MP sensor. It doesn't work standalone – it requires an iPhone and has a corresponding app. Product photos: Mitchell Clark
While Camera Intelligence's ambitions clearly go beyond its first product, it's worth looking at where they're taking root. If you didn't catch the announcement in October, the Caira mounts to the back of an iPhone using MagSafe and connects to it via Wi-Fi. From there, you get your image preview and can control it using an on-screen interface or via voice.
Its big trick, though, is that it's not just a lens mount and an 11MP Four Thirds quad-Bayer sensor from Sony Semiconductor (think Panasonic GH5S). It also has a Snapdragon processor, which it uses to power its AI autofocus and to make decisions about white balance and exposure. It also handles the processing for the camera's computational multi-shot modes.
"At the moment, it's mainly designed for denoising," says Liam Donovan, Camera Intelligence's CTO. "It's optimized for reducing noise in low light and giving you more dynamic range." He explains that the algorithm, which the company is still working on but is shipping on production cameras, takes up to 17 shots: eight before you press the shutter, one when you press the shutter, and eight after. "There's an algorithm that runs on all of those shots to align them all. It moves the frames about so that they match the central frame, and then blends them together. And one of the hardest bits of the algorithm is making sure that there are no artifacts."
This Photo from the Caira was created by stacking eight frames together. Click here to see the original in HDR.
Caira | OM System 20mm F1.4 | F2.8 | 1/710s | ISO 951
While the multi-shot capabilities are currently implemented as a separate low-light mode, the company is working on expanding what it can do with them. "We're working very hard on making it do super resolution, where you can actually increase the resolution of the images that it produces quite significantly," Donovan says. "Low-light mode is kind of a stepping stone on the way to that, because super resolution is much more difficult than denoising on its own."
The intensity of those algorithms is part of why the camera needs its own processor, despite being attached to a very powerful phone. "It takes quite a lot of time to transfer Raw photos off the camera, and it has to be the full Raws that go into the stacking algorithm," says Donovan. "So that all happens on the camera, and it's enabled by the fact that we have a very powerful smartphone-style processor from Qualcomm in the camera itself, which is pretty novel." He says it's much more powerful than the processors you'd typically find in more traditional cameras.
Influencing
While Camera Intelligence has obviously put a lot of work into the Caira and its predecessor, the Alice Camera, it has its eyes on a bigger prize: convincing other camera companies that this architecture is the way forward. "We're not just in Yokohama for CP+," says Kumar, who spoke to us at the Camera Intelligence booth, where the company is showing off Caira to attendees at the show.
"We're having deeper conversations with some of the camera brands to see if that resonates"
"We have more than a couple of meetings. We believe that the way in which we have gone about building our camera is more akin to how cameras in the future should be built. Because we use the image sensors from traditional mirrorless cameras, but we're using the processor from a smartphone. And that smartphone processor unlocks a whole bunch of things," he says. "So we're having deeper conversations with some of the camera brands to see if that resonates."
It's not just the features like AI-powered voice control, focusing, or exposure, he suggests. The company also wants to be able to implement other AI features, such as large language or image generation models; the current Caira app lets you edit images using Google's Nano Banana model, but it currently has to run in the cloud, rather than locally, and requires a subscription.
It's not all AI, though. "I think it's the full stack," Kumar says. "It's everything from the decisions we made on the electronics, the operating system layer that we've built, which is called Camera Intelligence OS, the image signal processing pipeline that we've built, which is entirely software-based, and can be updated over the air. And then it's also the user interface with the app and the large language model. It's that entire stack that we think is interesting."
In that respect, the Caira is almost a means to an end. "That's the product that we sell at the moment to prove that architecture and infrastructure can actually be robust. And we need to ship these units because it allows us to stress-test the architecture and the units. And it allows us to do those software and hardware improvements. But it's more to it than just a camera that attaches to your phone."
In that vein, Kumar tells us that the Caira is on schedule to start shipping to the 611 people who backed it on Kickstarter last year by the end of March. He also says they triple-tested a batch of 25 from the production line in their office in London to make sure they were ready to go. We have our hands on a pre-production model and have been doing some testing with it, so keep your eyes peeled for further coverage.
Tied to Apple
To start, Kumar says the Caira's target audience is smartphone shooters who want better image quality. "Smartphones, for better or for worse, have automated large parts of the three A's and everything else for almost a decade. And we always tell our users, 'You need to learn basic photographic theory because it will help you take better photos, take better videos, et cetera.' But we're approaching it from the point of view of: 'OK, how can we automate a lot of this complexity so that the UX matches up with the UX that our target customer base is familiar with?' Not something that's like a minefield for them to navigate."
The app lets you get at a level of manual control, letting you manually set aperture, shutter speed, and ISO (though there's currently no affordance for exposure compensation). "We're starting from a point of view of: 'let's automate as much as possible and then give you control,' rather than 'let's give you full control and then automate after.' Because our customers don't really want that."
There's also a hardware benefit; instead of having to build everything themselves at great expense, Camera Intelligence gets to benefit from the phone's display and connectivity. "I think the main reason was just a lack of resources," says Kumar. "So we were building the electronics. We're building the OS layer. We're building the Image Signal Processor. We're also building the actual physical body. So we thought, okay, why don't we just use the iPhone as the interface, as the screen?"
Donovon also points out that the displays on iPhones, which are up to 6.9" and can reach up to 3000 nits of brightness, far outclass those found on traditional camera models. That brightness, along with readily available software libraries, allowed them to easily add gain-map HDR to the camera, with results you can see as soon as you've taken the picture. The feature is similar to what we've seen with the Hasselblad X2D II; while the Sigma BF also pulls a similar trick with its files, you can't actually appreciate the effect with the screen built into the camera.
Kumar notes that Apple has put a lot of resources into ecosystem features like the App Store, APIs and AirDrop. "So it made sense for us to attach to the phone for our V1 and V2."
For us, our entire product relies on the UX being good.
Of course, that implies that there's a chance the company will try to produce a fully-featured standalone camera in the future, but Kumar says it'd take more than just money to make it happen. "I think we can only promise bringing a product like that to fruition when we have more resources. Not just in terms of money in the bank, but team and the right skill sets. Because if you get that wrong... We've seen a few camera brands release Android-based cameras with standalone screens in the last five years. And they didn't quite execute the concept as well as it could have been done, but those camera companies can absorb that because for them it's just experimenting. For us, our entire product relies on the UX being good."
This article is based on an interview by Mitchell Clark at CP+ 2026. It has been edited for clarity and flow.
Toshiyuki Tsumura, Executive Vice President and Director of Panasonic Imaging Solution Business Division. Photo: Abby Ferguson
Consumers' priorities have changed significantly in recent years, a Panasonic executive told us at this year’s CP+ show in Yokohama, Japan. Meeting those new priorities is part of the challenge, and Panasonic sees new energy not exclusively in full-frame flagships, but also in the small, portable cameras that smartphones never fully replaced.
At CP+ in Yokohama, Japan, we sat down with Toshiyuki Tsumura, Executive Vice President and Director of Panasonic's Imaging Solution Business Division, Takayuki Takabayashi from the Imaging Solution Business Division and Takashi Yamahara, head of the Global Marketing Division and Master of Project Design at Panasonic. In a wide‑ranging conversation, the team shared their candid thoughts on where the camera market is headed, how Lumix plans to serve a new generation of creatives and the role of AI in imaging.
The changing camera market and why compact cameras are booming again
Panasonic's LX100 II was a well‑liked enthusiast compact, but it dates back to 2018. Photo: Jeff Keller
"In general, the camera market is growing," says Tsumura. "For several years after COVID, the camera market shrank, but since then, it has been growing gradually every year. Last year it was up seven percent compared to the previous year." That's certainly good news for photographers, as a healthy camera industry means more support moving forward.
However, Tsumura is quick to point out that it's not the same market that peaked a decade ago, and consumers now have different priorities. "Previously, the driving force was high-end full-frame cameras. But recently, the value-zone cameras are driving the market, such as entry-level mirrorless cameras or compact cameras," Tsumura explains.
"The trend is shifting toward compact cameras," Tsumura goes on to say. "The reason is that a lot of people enjoy making and sharing photos and videos, and they want better image quality as much as possible. Many people feel that smartphones cannot fully satisfy their desire for good image quality."
"The trend is shifting toward compact cameras."
In Tsumura's view, compact cameras offer three distinct advantages over phones: better low-light performance, longer (and higher-quality) zoom, and options like genuine waterproofing. He points out that younger generations see images and videos constantly, and their analysis of those users found that they can distinguish the quality difference between smartphone images and those made with dedicated cameras.
For Panasonic, that shift could create a new kind of opportunity. Whether that means we should expect a new Lumix compact camera remains to be seen, but it is clear that Panasonic recognizes the shift in priorities and isn't ignoring it.
The future of Micro Four Thirds
The GH7 was Panasonic's last truly new Micro Four Thirds camera, though it was closer in size to full-frame hybrid cameras, rather than leaning into the compactness of the format. Photo Dale Baskin
Given the interest in smaller camera systems, we also asked the Panasonic team about Micro Four Thirds cameras. "Every year, we strengthen the Micro Four Thirds lineup, and we would like to continue this kind of development," Tsumura says.
The reason comes back to the same shift that's reshaping the broader market. Micro Four Thirds' core strengths are still compactness and low weight, and when you factor in lenses, the overall package can be significantly smaller than an equivalent full‑frame kit. That matters for the entry‑level and step‑up users Panasonic is increasingly targeting. "That's what entry users are requiring right now – portability and compactness so they can bring the camera everywhere," Tsumura explains. "So we are studying what kind of value we can propose to those users now and in the future with Micro Four Thirds."
"In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different"
At the same time, the company's expectations for the system have evolved. "In the past, the 'battlefield' of cameras was resolution and sensor size. Now it's a little bit different," Tsumura says. Panasonic now sees new customers who are more focused on the experience of using a camera and how it fits a specific purpose.
There's still room for more pro‑oriented full‑frame body
The S1H is the only S-series camera that hasn't seen an update. Photo: Dan Bracaglia
On the other end of the spectrum, the S1II is one of the most capable hybrid mirrorless cameras for video, but Panasonic thinks there's room to take it even further. While the original S1H remains the only first‑generation S‑series body without a direct successor, Tsumura avoids promising an exact S1H II. Instead, he frames the project more broadly: "Video production for the 'prosumers' is getting more and more important," Tsumura explains. "We are now investigating what kind of professional features we need to incorporate into new professional-type video cameras."
For what's next, the team is studying real applications, usage patterns and system requirements for higher‑end production, rather than just stacking on specs. As Tsumura puts it, they are looking beyond the current S1 II, "which already incorporates a lot of good video features, we are studying what we need to improve and what we need to add. That's what we're working on now," he says.
AI and computational imaging as core pillars
Computational photography has been a focus for Panasonic for some time, and AI is now an additional area of consideration. Inside Panasonic, AI isn't treated as a side project but as a central pillar of future camera development. "We put a high priority on computational imaging," Tsumura says. "This is very important for us. In order to evolve this area, we utilize AI technology."
"We can't say which companies, but we are talking with many partners and getting advanced technologies from them."
Panasonic isn't tackling AI integration alone, though. "To incorporate concrete AI technologies, we are now contacting lots of AI technology partner companies," Tsumura tells us. "We can't say which companies, but we are talking with many partners and getting advanced technologies from them. We then select and incorporate these technologies into specific features."
Twenty‑five years of Lumix
Finally, this year marks the 25th anniversary of Lumix, though internally, it seems Panasonic frames the milestone less as a victory lap and more as an obligation. "We were almost the last player to enter this camera market, so we feel we have a duty to continue this journey because of the customers who have supported us," says Yamahara. "The 25th anniversary is a kind of milestone, but we also need to continue beyond it."
In a nod to the anniversary, we ask Tsumura which single product he sees as the most important in Lumix history. Without any hesitation, he responds: "the G1, one of the first mirrorless cameras. That product created the mirrorless market and changed camera culture."
Parc de la tete d'or centaurs – The Centauress and a Faun (Lyon, France).
Sony Cyber-shot DSC-RX10M3 @ 40mm (equiv) | F7.1 | 1/320 sec | ISO 100 Photo: Saint 112
For last week's Question of the week, we asked DPReview readers what 'image quality' meant to them. We knew that talking about the subject was going to lead to a wide range of results, but we were still impressed by how image quality is both emotionally perceived and scientifically analyzed in the same breadth. In describing their own meanings of image quality, we also got an important glimpse into why photographers do what they do.
Early on in our conversation, LakeSuperior 1 summarized it in a great way:
"I think there are two types of image quality. The technical type (sharpness, contrast, noise, etc.), and then there is the story within the photo. Some of the most famous photos ever taken didn't have good technical quality, but the image and story told made the whole photo great. I'm happy with either depending on the shot."
And Leonp put it nicely when talking about the point of a photo at the end of the day:
"For me, the summary of what image quality means is that the viewer sees what the photographer wanted to show."
Many of our readers felt there are two aspects to image quality. Keep reading to see which camp was chosen most, and why.
The Technicals
Nikon Z50 Photo: Howard V
jhwalker: I like my photographs to be an exact capture of what I see; i.e., accurate colors, clean and crisp details, balanced shadows and highlights, etc. The biggest concern I have is accurate colors. I'm so sick of hypersaturated greens and blown-out or too orange reds.
Impulses: Color rendition is the only thing on camera bodies that seems up for debate. As much as some swear you can't reproduce certain manufacturer combinations, with enough work (and a RAW file), I think you can. Don't quote me on it, though.
Klaus dk: I'm more in the camp for IQ, meaning measurables like resolution, sharpness, color, dynamic range, noise, bokeh, (lack of) geometric distortion, etc. This is different from the qualities that impact us and make us say, "This is a good photograph" when we see what the photographer wants us to see. Sometimes we can also recognize how they used the tools at their disposal, and learn from it. My personal opinion is that if genius should suddenly strike when I'm shooting, I'd hate to have gear fail me on what would have been the shot of a lifetime, but instead it was ruined with mediocre or even bad IQ.
The Feeling
Photo: Martinhb
AJF1934: For me, image quality means an image that I want to do something with. Perhaps that's by sharing it, printing it for display or putting it in an album. It has little to do with technical attributes and much more to do with the context, content and composition.
Satyaa: When it comes to color photos, the color accuracy, within a reasonable margin, fits the bill. I don't need to measure colors with charts. A white lily should look white, and a crow should look black. If the colors of a tiger (not a white one), a lion, a golden retriever, etc., look reasonably life-like, I am happy. I believe small differences are due to white balance algorithms (or the color filters used) by brand or model. They can simply be adjusted in post-processing.
Krummj: The longer I photograph, the more I'm interested in the story, composition and general impact of the photo, and the less I care about what we call "image quality". I also care about the memory. When I go through old files, I'm way more concerned about why the photo is interesting and what is in it than I am about its actual image quality.
Gloomy1: For me, a quality image is one where the image conveys what I was feeling at the time of capturing it. It is all about emotional impact. The technical aspects only come in if they are so poor that they get in the way of “enjoying” the image.
The Mix
Photo: Bruce Trailer Hiker
Schrammel: Generally, I’m more than satisfied with what modern cameras and lenses can deliver in terms of image quality. Sometimes, though, I take photos simply to capture spontaneous moments. In those situations, I’m often not really happy with the image quality – not because it’s too poor, but because it’s too good. Photos often don’t quite work because they feel too perfect: too neutral, clean and sharp. This includes too little noise and colors that are too accurate.
As much as I appreciate the technical image quality of modern cameras, I sometimes feel that something has been lost along the way – something you might call character, or maybe even soul.
gpwitteveen: Like so much else in life, the answer depends on your frame of reference. Image quality can have quantifiable gradations for the purpose of reviews or benchmarking, but for client work, it could be something else entirely, perhaps based on satisfying that audience of one.
Like so much else in life, the answer depends on your frame of reference.
For example, something crisp versus something with a "lo-fi" look, say. For color, there is the degree of immersiveness produced in a combination of viewing size, viewing (ambient) lighting, and the image elements themselves to lead the viewer in the frame and into the frozen moment. Meanwhile, for black-and-white, there is an inherent abstraction that separates a viewer from the source. Once the viewer acclimates to monochrome emotional responses, then some immersiveness is possible as well; but always different to the color.
Things like resolution and light values similar to unaided human vision can be a good standard of comparison for any image. But to express something beyond human vision, there is more than lines per millimeter or dynamic range to consider.
Photo: Gloomy1
There were many other great responses shared in the forums. Thanks to everyone who took the time to explain what image quality means to you.
Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums. We can't wait to read and share your stories!
UPDATE MARCH 24: Panasonic has now officially released the TZ300. For more information, you can read our coverage here.
It seems like Panasonic may be working on a new compact camera: the TZ300. Reddit user Radeon26 posted a photo that appears to show the upcoming camera, alongside a specs card that says it has a 20MP Type-1 sensor, a 24-360mm equiv. F3.3-6.4 lens and a macro mode for taking pictures of subjects as close as 3cm (1.2") away.
The image came from a now-private video from a Polish creator, which we were able to watch before it was pulled. It appeared to show an official Panasonic event where the rest of the company's Lumix lineup, as well as other electronics, were being shown off.
While we weren't able to get more information from the video than what's visible in the screenshot, we can probably do some informed speculation, given that the camera's name and design imply that it's a follow-up to the Lumix DC-ZS200/TZ200 from 2018. That camera has the same sensor and lens specs, though is equipped with a microUSB port. It could be that, as with the Lumix DC-ZS99 from last year, the company is releasing a mild update of the camera to add USB-C.
One thing we wouldn't like to see repeated from the DC-ZS99 refresh is the loss of an EVF, though the video being taken down makes it hard to scrub through frame by frame for any hint of one on the TZ300. But, given the sticker next to the camera that says "Embargo Date 24 March 2026," it seems like we won't have to wait that long before there's an official announcement.
Panasonic Europe reports record Lumix full-frame market share for 2025:
Panasonic Europe Lumix total FF market share for 2025: 10%
Panasonic Europe Lumix total FF kit market share for 2025: 17%
Panasonic Lumix has achieved a record 10% market share in Europe’s full-frame camera market as of early 2026, according to data the company presented at a recent European event. This marks a significant rise from just 3% in 2020, highlighting strong growth in the segment driven by its video-focused hybrid cameras and the L-mount alliance. Notably, Panasonic’s share climbs to 17% when considering only full-frame cameras sold as kits (with lenses), up from 7% in 2020. Global or other regional figures remain limited in public reports, with overall camera market shares for Panasonic (including Micro Four Thirds) hovering around 3-4% in some 2024-2025 shipment data.
Viltrox has announced the Vintage Z2 TTL on-camera flash, the third entry in its series of retro-styled accessories. Unlike the Z1 and Z3, this one folds down when not in use, allowing it to be higher off the camera body, avoiding shadows, while not adding much height to your overall setup.
The Z2 is compact and only weighs 52g (1.8oz), despite its built-in battery, which is rechargeable via USB-C. The company says that the battery is good for 700 full-power shots per charge, and at its max setting, the flash puts out 10Ws. It has a guide number of 6, though Viltrox doesn't specify an ISO; we've reached out to Viltrox to ask for clarification.
The flash can fold down to keep a low profile. Image: Viltrox
Viltrox is making versions of the Z2 for Sony, Fujifilm, Nikon and Canon, with each version being compatible with its respective brand's TTL system. The flash also has a manual mode, controlled by two top-mounted buttons which let you choose from five power levels.
The flash won't be the best pick for rapid-fire shoots, with a recycle time of two seconds, but for those just looking to play around with adding light to their scene, it could be a good option.
The Z2 costs $36, and is available from the company's website.
At a recent Digital Imaging Industry Forum in China, Songdian confirmed that a new MFT camera and lens are under development:
Q: When will the earliest m43 camera be released?
A: It’s purely uncertain, so it’s hard to say.
Q: Will you make lenses?
A: I believe so!
Here are the details on the two new Songdian cameras:
Songdian VE228 camera: This camera features a 1-inch 50MP sensor, a 3.6-inch screen, a fixed f/1.8 lens, PDAF phase-detection autofocus, EIS+5-axis gyroscope image stabilization, a 3.6-inch 1024×608 resolution AMOLED touchscreen, and 4K 60fps video recording.
Songdian DC226 Pro camera: features an upgraded 1/1.4-inch 48MP CMOS sensor paired with an F/2.0 aperture fixed-focus lens.
Sony announced the expansion of its Camera Authenticity Solution, which now supports video in addition to still images (previously reported here). The update adds video compatibility to Camera Verify (beta) and the Image Verification Pre-check SDK, helping news organizations and visual journalists verify the provenance and authenticity of captured content.
Highlights of the announcement:
Camera Verify (beta) now supports video – allowing newsrooms to validate both still images and video through a dedicated verification URL.
C2PA-compliant verification – confirms content was captured by a camera using secure digital signatures aligned with the C2PA standard.
Integrated workflow support – the Image Verification Pre-check SDK enables organizations to check for camera signatures directly within their own systems.
Supported cameras – includes Alpha 1 II, Alpha 1, Alpha 9 III, Alpha 7R V, Alpha 7S III, Alpha 7 IV, FX3, FX30, and PXW-Z300, with additional compatibility planned.
DxO released new versions of PhotoLab 9.6. DxO PhotoLab is an advanced RAW photo editor covering the full workflow – from demosaicing and noise reduction to local adjustment, optical corrections, color management, and print soft proofing.
Get 15% off DxO products with code RUMORS by purchasing from this link
New DxO PhotoLab 9.6 delivers remarkable image quality with DeepPRIME XD3, expanded control over AI Masks, and unprecedented DNG compression
The latest update extends DeepPRIME XD3 — now for both Bayer and X-Trans sensors — adds diffusion to its acclaimed AI Masks, and introduces High-Fidelity Compression to create DNG files up to four times smaller.
Paris (France): DxO, the imaging science pioneer and developer of the world’s most advanced RAW photo editing software, today announces the release of DxO PhotoLab 9.6, a major update focused on pushing image quality and workflow efficiency even further. Version 9.6 brings three headline innovations: the arrival of DeepPRIME XD3 for Bayer sensors, enhanced creative control with diffusion for AI Masks, and High-Fidelity Compression for DNG export — dramatically reducing file sizes without compromising RAW
quality.
“PhotoLab 9.6 is all about removing limits,” said Jean-Marc Alexia, VP of Product Strategy at DxO. “Whether it’s extracting more detail from the most demanding RAW files, refining selections with greater subtlety, or dramatically reducing storage requirements, this update gives photographers new levels of freedom — without sacrificing image quality.”
DeepPRIME XD3 for all sensors
Previously exclusive to X-Trans cameras, DeepPRIME XD3 now extends its groundbreaking denoising and demosaicing technology to Bayer sensor cameras, marking a major leap forward in RAW image quality.
An evolution of DxO’s renowned DeepPRIME technology, DeepPRIME XD3 is designed specifically for the most demanding files captured under challenging conditions. It produces cleaner, sharper images than ever before, extracting phenomenal detail while maintaining natural textures and accurate color reproduction. From high-ISO night scenes to finely detailed landscapes, DeepPRIME XD3 establishes a new benchmark for what’s possible in RAW conversion.
Paired with DxO’s exclusive DxO Modules, which deliver the most precise camera and lens corrections on the market, DeepPRIME XD3 offers the ultimate image quality pipeline. For photographers shooting at exceptionally high ISO values, it represents the current market leader in noise reduction, detail extraction, and color fidelity.
AI Masks gain diffusion for smoother, more natural selections
DxO PhotoLab’s acclaimed AI Masks — already celebrated for their speed, accuracy, and flexibility — become even more powerful in version 9.6 with the addition of diffusion controls. This new option allows photographers to soften mask edges and smoothly feather selections, making transitions more natural and adjustments more refined. Whether working on portraits, landscapes, or complex scenes with subtle tonal changes, diffusion provides greater creative control while preserving the intuitive workflow that has made AI Masks a standout feature of DxO PhotoLab.
High-Fidelity Compression: RAW-quality DNGs up to four times smaller
DxO PhotoLab 9.6 also introduces High-Fidelity Compression for DNG export, delivering RAW-quality files that can be up to four times smaller than standard uncompressed DNGs. This breakthrough technology means photographers no longer have to choose between image quality and storage efficiency. DxO outputs Linear DNG files, meaning images are fully demosaiced while retaining full dynamic range and editing flexibility. Intelligent compression now dramatically reduces file sizes without affecting image quality. Large-scale processing, archiving, and long-term storage become faster, lighter, and more efficient — without compromising a professional RAW workflow.
Price and availability
DxO PhotoLab 9.6 is available today from the DxO website for macOS and Windows machines:
New license $239.99 / 239.99 € / £219.99
Upgrade from DxO PhotoLab 7 or 8 $119.99 / 119.99 € / £109.99
After GoPro recently unveiled a new GP3 custom imaging processor for their next-gen models, the company has also released new photos and video teasers demonstrating the capabilities of their upcoming camera:
GoPro reported significant financial losses for 2025, with full-year revenue dropping to $652 million (down about 19% from the prior year) and a GAAP net loss of $93 million (or $0.59 per share)—a big improvement over the previous year’s $432 million loss thanks to cost cuts. In Q4, revenue was roughly $202 million (flat year-over-year but missing expectations), with a GAAP net loss of $9.1 million and non-GAAP loss of $3 million. The company is optimistic about recovery through a new AI-enabled GP3 processor in upcoming cameras starting Q2 2026, while subscription revenue held steady at $106 million for the year.
Additional information on the GP3:
GoPro Unveils GP3: Next-Gen AI Imaging Processor Delivering 2X Power and Breakthrough Low-Light Performance
Today we announced the upcoming launch of GP3, our most powerful custom imaging processor to date. Exclusive to GoPro, GP3 is a 5-nanometer System-on-a-Chip (SoC) that delivers more than 2X the pixel processing power and superior AI-driven image quality and low-light performance over its predecessor, GP2. GP3’s power efficiency and thermal performance are expected to significantly outperform the competition, resulting in industry-leading runtimes in the most demanding environmental conditions. These advancements position GP3 to usher in a new era of professional-level image quality, low-light performance, resolution and frame rates for small form-factor camera markets, including action cameras, 360 cameras, vlogging cameras, and ultra-premium, compact cinema-grade cameras.
Accompanying images captured on GoPro’s next‑generation camera system powered by GP3 showcase the breakthrough image quality and low-light performance enabled by this new technology.
At the heart of GoPro’s innovative GP3 processor is a specialized AI Neural Processor Unit (NPU) that enables next-generation video pixel processing and market-leading low-light image performance. GP3 also features dedicated cores for scene recognition and subject detection, allowing GoPro cameras to understand their environment in real-time and adjust camera settings automatically. And with its 5-nanometer architecture and exceedingly efficient power-profile, GP3 is expected to enable market-leading resolutions and frame rates with runtimes and thermal performance that significantly outperform the competition.
“We expect our new, exclusive GP3 processor to lead in every performance area—image quality, resolution, frame rates, low-light performance and power and thermal efficiency,” said Pablo Lema, GoPro’s Senior Vice President of Product Management. “Launching in our new products in Q2, GP3 provides a scalable, proprietary foundation we can leverage to power GoPro cameras across existing and future product categories. Our markets demand the very best performance, and we believe this sets the stage for GP3 to serve as a growth catalyst for GoPro.”
“GP3’s bleeding-edge, cinema-grade performance will enable GoPro to enter the ultra-premium end of the imaging market this year, serving the needs of a new, higher-end market segment that can grow GoPro’s business and brand,” said Nicholas Woodman, GoPro’s founder and CEO. “We’re excited for GP3 to empower GoPro as both an innovator and disrupter as we look to grow our business through market-leading technology and performance.”
Rewindpix non-disposable digital “Film” camera (a retro screen-free digital camera with a large viewfinder, a winder, and infinite customizable filters): $272,325 pledged of $15,000 goal by 2,053 backers with 55 days to go.
Some of the Camera Intelligence team, all holding Cairas. Left: Vik Kumar, COO. Middle: Vishal Kumar, CEO. Right: Liam Donovan, CTO. Photo: Mitchell Clark
"I think a lot of people mistake our product as a gadget," says Vishal Kumar, CEO of Camera Intelligence, the company behind the Caira, a Micro Four Thirds camera that attaches to the back of an iPhone. "That's the wrong way to think about it," he says. "We're building the full technology stack, we believe, for the future of cameras."
While the company is currently wrapping up its Kickstarter campaign for the Caira, it has much bigger ambitions than selling an accessory that makes your phone a better camera, or even than selling dedicated cameras. Ultimately, it says, it's trying to change how cameras are made, and trying to convince the established camera companies that its tech is the way to photography's next step forward.
What is Caira?
The Caira has a Micro Four Thirds mount and an 11MP sensor. It doesn't work standalone – it requires an iPhone and has a corresponding app. Product photos: Mitchell Clark
While Camera Intelligence's ambitions clearly go beyond its first product, it's worth looking at where they're taking root. If you didn't catch the announcement in October, the Caira mounts to the back of an iPhone using MagSafe and connects to it via Wi-Fi. From there, you get your image preview and can control it using an on-screen interface or via voice.
Its big trick, though, is that it's not just a lens mount and an 11MP Four Thirds quad-Bayer sensor from Sony Semiconductor (think Panasonic GH5S). It also has a Snapdragon processor, which it uses to power its AI autofocus and to make decisions about white balance and exposure. It also handles the processing for the camera's computational multi-shot modes.
"At the moment, it's mainly designed for denoising," says Liam Donovan, Camera Intelligence's CTO. "It's optimized for reducing noise in low light and giving you more dynamic range." He explains that the algorithm, which the company is still working on but is shipping on production cameras, takes up to 17 shots: eight before you press the shutter, one when you press the shutter, and eight after. "There's an algorithm that runs on all of those shots to align them all. It moves the frames about so that they match the central frame, and then blends them together. And one of the hardest bits of the algorithm is making sure that there are no artifacts."
This Photo from the Caira was created by stacking eight frames together. Click here to see the original in HDR.
Caira | OM System 20mm F1.4 | F2.8 | 1/710s | ISO 951
While the multi-shot capabilities are currently implemented as a separate low-light mode, the company is working on expanding what it can do with them. "We're working very hard on making it do super resolution, where you can actually increase the resolution of the images that it produces quite significantly," Donovan says. "Low-light mode is kind of a stepping stone on the way to that, because super resolution is much more difficult than denoising on its own."
The intensity of those algorithms is part of why the camera needs its own processor, despite being attached to a very powerful phone. "It takes quite a lot of time to transfer Raw photos off the camera, and it has to be the full Raws that go into the stacking algorithm," says Donovan. "So that all happens on the camera, and it's enabled by the fact that we have a very powerful smartphone-style processor from Qualcomm in the camera itself, which is pretty novel." He says it's much more powerful than the processors you'd typically find in more traditional cameras.
Influencing
While Camera Intelligence has obviously put a lot of work into the Caira and its predecessor, the Alice Camera, it has its eyes on a bigger prize: convincing other camera companies that this architecture is the way forward. "We're not just in Yokohama for CP+," says Kumar, who spoke to us at the Camera Intelligence booth, where the company is showing off Caira to attendees at the show.
"We're having deeper conversations with some of the camera brands to see if that resonates"
"We have more than a couple of meetings. We believe that the way in which we have gone about building our camera is more akin to how cameras in the future should be built. Because we use the image sensors from traditional mirrorless cameras, but we're using the processor from a smartphone. And that smartphone processor unlocks a whole bunch of things," he says. "So we're having deeper conversations with some of the camera brands to see if that resonates."
It's not just the features like AI-powered voice control, focusing, or exposure, he suggests. The company also wants to be able to implement other AI features, such as large language or image generation models; the current Caira app lets you edit images using Google's Nano Banana model, but it currently has to run in the cloud, rather than locally, and requires a subscription.
It's not all AI, though. "I think it's the full stack," Kumar says. "It's everything from the decisions we made on the electronics, the operating system layer that we've built, which is called Camera Intelligence OS, the image signal processing pipeline that we've built, which is entirely software-based, and can be updated over the air. And then it's also the user interface with the app and the large language model. It's that entire stack that we think is interesting."
In that respect, the Caira is almost a means to an end. "That's the product that we sell at the moment to prove that architecture and infrastructure can actually be robust. And we need to ship these units because it allows us to stress-test the architecture and the units. And it allows us to do those software and hardware improvements. But it's more to it than just a camera that attaches to your phone."
In that vein, Kumar tells us that the Caira is on schedule to start shipping to the 611 people who backed it on Kickstarter last year by the end of March. He also says they triple-tested a batch of 25 from the production line in their office in London to make sure they were ready to go. We have our hands on a pre-production model and have been doing some testing with it, so keep your eyes peeled for further coverage.
Tied to Apple
To start, Kumar says the Caira's target audience is smartphone shooters who want better image quality. "Smartphones, for better or for worse, have automated large parts of the three A's and everything else for almost a decade. And we always tell our users, 'You need to learn basic photographic theory because it will help you take better photos, take better videos, et cetera.' But we're approaching it from the point of view of: 'OK, how can we automate a lot of this complexity so that the UX matches up with the UX that our target customer base is familiar with?' Not something that's like a minefield for them to navigate."
The app lets you get at a level of manual control, letting you manually set aperture, shutter speed, and ISO (though there's currently no affordance for exposure compensation). "We're starting from a point of view of: 'let's automate as much as possible and then give you control,' rather than 'let's give you full control and then automate after.' Because our customers don't really want that."
There's also a hardware benefit; instead of having to build everything themselves at great expense, Camera Intelligence gets to benefit from the phone's display and connectivity. "I think the main reason was just a lack of resources," says Kumar. "So we were building the electronics. We're building the OS layer. We're building the Image Signal Processor. We're also building the actual physical body. So we thought, okay, why don't we just use the iPhone as the interface, as the screen?"
Donovon also points out that the displays on iPhones, which are up to 6.9" and can reach up to 3000 nits of brightness, far outclass those found on traditional camera models. That brightness, along with readily available software libraries, allowed them to easily add gain-map HDR to the camera, with results you can see as soon as you've taken the picture. The feature is similar to what we've seen with the Hasselblad X2D II; while the Sigma BF also pulls a similar trick with its files, you can't actually appreciate the effect with the screen built into the camera.
Kumar notes that Apple has put a lot of resources into ecosystem features like the App Store, APIs and AirDrop. "So it made sense for us to attach to the phone for our V1 and V2."
For us, our entire product relies on the UX being good.
Of course, that implies that there's a chance the company will try to produce a fully-featured standalone camera in the future, but Kumar says it'd take more than just money to make it happen. "I think we can only promise bringing a product like that to fruition when we have more resources. Not just in terms of money in the bank, but team and the right skill sets. Because if you get that wrong... We've seen a few camera brands release Android-based cameras with standalone screens in the last five years. And they didn't quite execute the concept as well as it could have been done, but those camera companies can absorb that because for them it's just experimenting. For us, our entire product relies on the UX being good."
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Photo: Mitchell Clark
Nikon says it's discovered a "manufacturing issue" affecting a number of Z5II, Z6III and ZR models. It says the issue may cause the cameras to become inoperable.
A longer version of its statement blames the issue on the use of "parts that do not meet our quality standards."
The company says it's identified the serial number ranges subject to the issue and asked users to check whether their camera is affected. It says it will repair these cameras free of charge, including shipping costs.
The company has not disclosed the specifics of the potential fault, nor the number of cameras affected.
Interestingly, the statements in some regions exclude certain models, with no Z6III built for the European market being affected and only ZR models intended for Canada being impacted. This, and the many posts on this article and in the forums by users saying their cameras aren't in the affected range, suggests a relatively small production period used the faulty parts.
Nikon USA Technical Service Advisory:
We have confirmed a manufacturing issue with certain Z6III, Z5II and ZR cameras which may cause the camera to become inoperable. We have identified a range of serial numbers for the affected products, and Nikon will provide repairs free of charge regardless of the warranty period, including shipping.
We apologize for any inconvenience to our customers. For more information or to check to see if you have an affected product, please visit this link: nikonusa.com/service-advisories/z-tsa-3-2026
Fujifilm has announced the latest entry in its Instax lineup, the Instax Mini 13. The new model brings only subtle changes to the table: a redesigned body and the addition of a timer. Fujifilm also announced an update to its Instax Up smartphone app, and a new space-inspired instant film.
As we saw with the last few iterations, the Instax Mini 13 underwent a slight redesign. It still looks similar to the Instax Mini 12, though with some added vertical ridges for a more balloon-like look. Fujifilm also opted for a metallic silver logo on the front of the camera. There's also now a circular timer on the front of the camera, with the option to choose between 2 or 10 seconds. There's also now an indicator light around the front shutter button, presumably to let you know when the timer is about to run out.
Photo: Fujifilm
Functionally, the only change is the addition of dual timers. The camera still offers a close-up mode, auto exposure, automatic flash control and a selfie mirror. It also carries over the Parallax Correction feature introduced on the Mini 12, which aligns the viewfinder with the lens in close-up mode for easier framing. As with previous models, twisting the lens turns the camera on and off and changes to close-up mode.
In addition to the camera, Fujifilm updated its Instax Up app, which is a free smartphone app that allows users to scan and organize their Instax photos. The company says that the new version uses AI to improve scans. It promises better recognition of the image versus the background or any other nonessential content, producing more precise scans.
Lastly, there's also a new Instax Mini film on the block, dubbed Pastel Galaxy. As the name suggests, the film's frame features a pastel-colored galaxy design with scattered stars.
Fujifilm is sticking with pastel colors for its latest Instax Mini. The official color names for the are Dreamy Purple, Lagoon Green, Candy Pink, Frost Blue and Clay White. Photo: Fujifilm
The Instax Mini 13 will be available in late June 2026 for $94. It comes in pastel purple, blue, pink, green and white. The Pastel Galaxy film will also be available in late June 2026 for $18 per pack.
Joy and Creativity in the Palm of Your Hand: Fujifilm Introduces instax mini 13™ Instant Camera
Company also unveils updates to instax UP!™ smartphone app and introduces a new instax™ mini instant film variety
VALHALLA, N.Y., March 16, 2026 – FUJIFILM North America Corporation, Imaging Division, announced today the introduction of its instax mini 13™ instant camera (mini 13). Following in the footsteps of the popular instax mini 12™ instant camera launched in 2023, mini 13 brings a fun, playful new look and feel with its soft, sculpted shape and a metallic silver logo that accents the front of the camera.
New for mini 13 is the introduction of dual timers, with options for 2 or 10 seconds, giving the photographer the opportunity to be in the shot themselves with their subjects, or for easy hands-free selfies (with the help of the included wedge-shaped angle adjustment accessory). Mini 13’s main features also include Close-Up Mode, Selfie Mirror, and Auto Exposure adjustment capabilities, as well as the Parallax Correction feature, in which the camera’s viewfinder aligns with the lens when using Close-Up Mode, minimizing object shifts to produce a centered photo. Mini 13 also features automatic flash control, which optimizes image quality in bright or low light situations. The lens structure is designed to provide intuitive steps both for powering the camera on/off and for accessing the popular Close-Up Mode with a simple twist of the lens
"Our instax™ mini line of mini instant cameras, smartphone printers, and film represents not only an incredible value for our users, but in many cases, it’s a user’s first foray into analog photography," said Bing Liem, president, Imaging Division, FUJIFILM North America Corporation. "Mini 13 is a perfect fit because experimenting with instant photography – trying out new lighting, poses, or scenes (especially by using the new self-timer feature), are all fantastic ways to express oneself artistically and be a part of your art. We’re looking forward to seeing what our community creates with Mini 13!"
instax UP!™ Smartphone App Update Announced
Along with the introduction of mini 13, the free, downloadable instax™ UP! Smartphone app is debuting new and enhanced features. This app is designed for instax™ users to digitally scan, import, organize, and store their photos in one place, regardless of which instax™ instant film, camera or printer product they use. The updated version brings increased image scanning precision by integrating the use of AI. The overall learning capability of the app has been greatly enhanced so that it can recognize images versus backgrounds or other extraneous content, resulting in cleaner, more precise scans.
New Film Variety Introduced
Pastel Galaxy, the new instax™ mini instant film, will be introduced along with mini 13, featuring a fun cosmic theme complete with sparkly, glossy embellishments, and soothing colors to add a cool vibe to a user’s instax™ photos.
Colors, Pricing, and Availability
Fujifilm’s instax mini 13™ instant camera will be available in Dreamy Purple, Frost Blue, Candy Pink, Lagoon Green, and Clay White. It is expected to be available in or around late June 2026 at a Manufacturer’s Suggested Retail Price of $93.95 USD and $109.99 CAD. The instax™ mini Pastel Galaxy film will be available late June 2026 at a Manufacturer’s Suggested Retail Price of $17.99 USD and $14.99 CAD.
Connexion
