Cameras performed well and increased earnings, primarily driven by the Ricoh GR series.
The segment overall reduced its operating loss through cost controls and robust camera sales, despite upfront investments in new businesses and a goodwill impairment in the drug discovery support business.
New Medium-Term Management Plan: Targeting 10+ new model launches per year by FY26
Net Sales: ¥11,305 million (-16.7% YoY): Significant decline driven primarily by weak OEM performance; other segments offset some impact at consolidated level.
Operating Income: ¥2,390 million (-37.2% YoY)
Operating Margin: 21.1% (-6.9 pts YoY): Profit hit by lower gross profit (sales decline + unfavorable product mix), plus higher material/utility costs, increased R&D, and personnel expenses.
Canon is actively reviving and expanding its PowerShot compact camera lineup in response to renewed market demand, particularly from younger users and social media creators. This shift is driven by easing smartphone dominance, with compacts seen as creative tools and fashion statements rather than just point-and-shoots. Here is a recap from Canon’s report:
Key Insights from Canon’s 2026 Integrated Report
Canon’s official 2026 report (covering 2025 performance) highlights that the camera market contraction due to smartphones has eased. New user segments, especially young people focused on video and social media photography, are driving growth. Compact digital cameras are expanding again as tools that offer capabilities beyond smartphones, with ownership viewed as a cultural/fashion statement among younger generations.
The PowerShot V1 (a 2025 video-focused model) is highlighted as a key example of this direction, positioned alongside existing models like the PowerShot G7 X Mark III, SX740 HS, and IXY 650.
Canon increased compact camera production in 2025 and plans further expansion. The Imaging Group saw strong sales growth (up 12.5% to over 1 trillion yen), with compacts contributing alongside entry-level mirrorless cameras.
Broader strategy: Strengthen products across categories (including compacts) with a focus on video, while maintaining leadership in interchangeable-lens cameras.
This aligns with executives noting that current compact buyers are often new customers (not traditional Canon users), so future models will introduce “new technologies or use cases.”
Up to three new Canon PowerShot models are rumored for 2026, including two high-end models and one more mass-market option. These are expected to launch around Q3–Q4 (potentially tied to holiday shopping).
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Sony a7R VI | Sigma 24-70mm F2.8 DG DN II | 70mm | F5.6 | 1/16 sec | ISO 100 Photo: Mitchell Clark
This week, Sony announced the a7R VI, the latest entry in its lineup of full-frame cameras focused on maximum resolution and image quality. We were able to spend some time shooting a variety of subjects with it: portraits, wildlife, landscapes (of course) and even some action to really test the speed and capability of its stacked sensor and AF algorithms.
So far, we've been quite impressed with the detail this camera captures, both in our samples and in our studio scene. But this sensor's resolution is only part of the story, as Sony also says it sets a benchmark for dynamic range performance in its lineup. However, we'll have to wait until we can edit its Raw files before we can test and illustrate that, so keep an eye out for some Adobe Camera Raw conversions in this gallery once support becomes available.
Sample gallery
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We've reached the end of a week jam-packed with announcements from Canon, Sony, Panasonic and others. There's actually so much camera news that it'd be hard to cover it all in a single discussion, so in this video the DPReview crew is talking about the Sony a7R VI and FE 100-400mm F4.5 GM OSS, and the Canon EOS R6 V and its kit 20-50mm F4 L IS USM PZ lens.
For those who want to hear our thoughts on the Panasonic L10, stay tuned; we'll have an episode coming soon talking about our feelings on it, after we've had some time to form our impressions.
When you use DPReview links to buy products, the site may earn a commission.
Photo: Mitchell Clark
With its use of the latest AF algorithms and its ability to shoot at 30 frames per second, the new Sony a7R VI looks a lot like a higher-resolution, more affordable rival to the company's own a1 II, pro sports model.
However, having dug a little deeper and taken it pitchside to shoot some sports, that's not the reality at all.
On paper, both the a1 II and the a7R VI are high-resolution cameras with Stacked CMOS sensors that shoot at up to 30 frames per second. But, even though the a7R VI has a pretty deep buffer and accepts the same memory cards as the a1 II, out in the real world, the difference is pronounced.
In the real world, the difference is pronounced
Much of the difference comes from the fact that Stacked CMOS sensors aren't all the same. Sony's a1 and a9 series cameras' sensors have DRAM built into the back of their sensors to buffer the large amount of data that's coming off their chips. Meanwhile, from what we've heard, Nikon's sensors have the circuitry for dual readout streams: one for high quality image data and the other to minimize viewfinder latency.
The a7R VI's sensor's second layer is described as 'processing circuitry,' which we suspect includes its ability to merge the data from the low and high gain modes of its pixels, underpinning its higher DR. So, while the a7R VI's readout is quick, especially when compared with its predecessor's, it's not as rapid as the Nikon Z8, Canon EOS R5 II or the Sony a1 II.
The view from the sidelines
In practice you encounter the speed difference in a number of areas. With pre-capture mode engaged, in an attempt to compensate for our non-pro reaction times, we noticed the a7R VI developed a distinct lag or choppyness to its viewfinder refresh that isn't present in the a1 II.
Autofocus
We also noticed that the autofocus performance didn't quite seem as immediate or dependable as when we took the a1 II to a rugby game, as part of our review testing. It's still very good, but good for a high res camera, rather than giving the 'I have no doubt this is the best they can deliver' confidence that using a top-end, sports-focused camera can give.
In our briefing with Sony, we were told the a7R VI is able to conduct autofocus and autoexposure calculations at "up to 60 times per second," whereas the a1 II can conduct twice as many. The 60 vs 120fps distinction might account for some of the autofocus differences we experienced when really pushing the camera, but the phrase "up to" seems pertinent, too. Given the a7R VI takes 1/50th of a second to read out each frame in e-shutter mode, we suspect it can't maintain 60fps updates to the AF system in pre-capture mode, because it's trying to capture full-res images at the same time.
Rolling shutter
The a7R VI's rolling shutter is around five times faster than its predecessor but still about 5 times slower than the a1 II.
Sony a7R VI | FE 100-400mm F4.5 GM | F4.5 | 1/800 sec | ISO3200 Photo: Richard Butler
In addition, the significantly slower rolling shutter of the a7R VI, compared with the a1 II starts to make itself apparent in some of the actions shots we took. For most work, a sub 20ms (1/50 sec) readout speed is quick enough not to be a problem, but photographing a sport that can feature plenty of fast lateral motion means that panning the camera to follow the action can result in some recognizably warped images.
Hardware differences
Dig deeper into the a1 II's specs and you start to find other distinctions, such as the provision of an Ethernet port for rapid offload of images, which some pro sports applications require. Likewise the a7R VI lacks the a1 II's comfier grip and front-mounted custom button, which makes the Speed Boost function that both models share, much easier to use in conjunction with back-button focus.
The a7R VI doesn't have a C5 button on its front plate, as the a1 II (pictured) does. This is well placed for activating the Speed Boost function, when you're already using your index finger on the shutter and thumb back-button focusing.
Photo: Mitchell Clark
Then there are the a1 II's locking drive/burst mode and AF mode dials, which the a7R VI lacks, relagating those settings to the menus. Little differences that add up if you only have a couple of seconds to adjust your camera's setup. And they're the differences that professionals have requested and that explain why Sony charges unapologetically pro prices for the a1 II.
Overall, these performance difference added up to make clear why Sony doesn't list sports as one of the intended uses of the a7R VI. Instead its newfound speed is designed to expand from its studio and landscape hinterland, reinforce its credentials for weddings and events, and lend itself to some wildlife work. But Sony isn't omitting sports from the list just to protect a1 II sales.
Then again, it's no criticism of what isn't supposed to be a sports photography model that it can't match up to Sony's $7000 pro sports camera.
As the saying goes, money can't buy happiness. That logic tracks in photography, too: the latest gear does not make an excellent photographer. Or, in Alli Forsythe's case, it might not provide the creative drive to inspire work that truly excites you.
In our latest episode of ISO: Camera Upgrades on a Budget, produced in partnership with MPB, Forsythe decided that her kit, owing to her professional relationship with Nikon, was pretty much perfect. So rather than chasing the next upgrade in search of creative inspiration – a futile pursuit, she realized – she decided to inject a new challenge into her workflow instead.
Forsythe had always been captivated by the cinematic look anamorphic lenses create in videos, so she devised an experiment: what would it be like to shoot a series of still photos on anamorphic?
After poking around the DPReview archives, Forsythe identified a set of Sirui lenses before jumping to MPB to trade in some of her lesser-used glass and offset the cost of the anamorphics.
Check out the video above to see the results.
If you have gear collecting dust on a shelf or you're simply looking for something new-to-you, head over to MPB to upgrade your kit today.
JC Optics will release a new 400mm f/8 full-frame telephoto manual focus lens with adjustable focus damping, featuring a 3-element, 2-group optical design and a minimum focusing distance of 100cm, and designed for E/Z/F/RF/EF/EF-M/X/MFT mounts (all-metal mount).
Just a month after releasing the Osmo Pocket 4, DJI is teasing another version of its new compact gimbal camera. Details on the Osmo Pocket 4P are minimal, to say the least, but the company attended the Cannes Film Festival to unveil the new camera.
DJI says that showcasing the Osmo Pocket 4P at such a prestigious event for filmmaking "signals a bold evolution of the Pocket series from a creator tool into a cinematic imaging device capable of professional-grade storytelling." That implies there could be some notable upgrades, but DJI isn't revealing much at this point.
We do know that the Osmo Pocket 4P will offer 10-bit D-Log2, a new version of the company's Log curve. How it differs remains to be seen, but DJI says it will enable professional color grading. The new camera will also offer "improved zoom functionality," which is intriguing, since the Osmo Pocket 4 only offers digital zoom. The lone teaser image shows two cameras, perhaps suggesting a combination of digital zoom and a telephoto focal length.
DJI is also promising that the new version will offer more natural skin tones, "cinematic depth," and better low-light performance. That's all the company is revealing for now, though, and simply says that more details and pricing information will be available at a later date. We'll just have to wait and see what this new camera brings to the table, then.
Press release:
DJI Debuts Osmo Pocket 4P in Cannes, Ushering in a New Era of Handheld Cinematic Excellence
From industry pioneer to cinematic innovator, Osmo Pocket 4P defines where pocket cinema truly begins
May 14, 2026 – Cannes, France – DJI, the global leader in civilian drones and creative camera technology, today unveils the Osmo Pocket 4P at Cannes, marking a new milestone in DJI’s evolution of handheld cinematic imaging. Since pioneering the gimbal camera category in 2015 and introducing one of the world’s first pocket-sized gimbal cameras in 2018, DJI has continuously redefined how creators capture motion and tell stories. Today, with the Osmo Pocket 4P, DJI is spearheading a new era of cinematic excellence in handheld gimbal systems, where professional-grade filmmaking capabilities meet true pocket-sized portability.
By unveiling the Osmo Pocket 4P at one of the most prestigious stages in global filmmaking, DJI signals a bold evolution of the Pocket series from a creator tool into a cinematic imaging device capable of professional-grade storytelling.
Built upon DJI’s legacy in professional cinematography, including its industry-defining DJI Ronin and DJI Inspire platforms, the Osmo Pocket 4P represents the convergence of high-end film technology and extreme portability. Featuring a next-generation imaging system, the Osmo Pocket 4P delivers cinematic-level dynamic range for rich tonal depth alongside 10-bit D-Log2 color performance that enables professional color grading workflows. Combined with DJI’s advanced stabilization expertise, the device brings professional cinema capabilities into a truly pocket-sized form factor, empowering creators to capture stories with unprecedented flexibility.
In Cannes, the Osmo Pocket 4P is already being explored by filmmakers, documentary creators, and visual storytellers seeking agile, high-quality production tools. Its compact form, paired with cinematic imaging performance, positions it as a compelling companion for independent filmmakers and a powerful storytelling device for documentary work. The debut at Cannes reinforces the idea that cinematic storytelling is no longer confined to large-scale rigs, but can now exist in a device small enough to carry anywhere.
The Osmo Pocket 4P introduces significant advancements designed to address real-world creator needs. Its enhanced portrait capabilities deliver natural skin tones and cinematic depth, enabling more emotionally engaging storytelling across interviews, vlogs, and narrative content. Improved zoom functionality expands creative possibilities, allowing creators to capture distant subjects while maintaining image integrity. In low-light environments, advanced sensor technology and refined imaging algorithms ensure clear, detailed footage, making it possible to shoot confidently in challenging conditions from nighttime cityscapes to indoor scenes. These innovations position the Osmo Pocket 4P as a true consumer professional imaging device, bridging the gap between accessibility and cinematic quality.
Following the global success of its predecessor, the Osmo Pocket 4P builds on a growing movement in which compact cameras are reshaping how stories are created and shared. Its Cannes debut highlights its potential to influence the future of cinematic vlogging, inspire a new generation of mobile-first filmmakers, and lead global trends in portrait-driven visual storytelling. With seamless integration into DJI’s broader creative ecosystem, including audio and stabilization solutions, the Osmo Pocket 4P enables creators to build complete, professional workflows within an ultra-portable setup.
The Osmo Pocket 4P will be available through DJI’s official channels and authorized retail partners. Pricing and configurations will be announced at a later date.
DJI’s ecosystem now spans cinema cameras, cinema drones, professional stabilizers, gimbal cameras, and portable power solutions, reflecting the company’s commitment to delivering an integrated approach to modern film and content production. At the event, the DJI Power 1000 Mini, launched in April, and the DJI Power 2000 were also showcased as power solutions for the Osmo Pocket 4P, demonstrating how DJI’s broader product ecosystem can support creators with more flexible and reliable production workflows. Together, these solutions underscore DJI’s vision of building a complete and professional creative ecosystem for storytellers.
Thypoch enters the autofocus market with Voyager 24-50mm f/2.8 for Sony E-mount
The first full-frame autofocus zoom developed by a Chinese optical brand, in a constant f/2.8 internal-zoom design Thypoch Logo
Shenzhen, China, May 14th, 2026 – Thypoch proudly announces the Thypoch today announced the Voyager 24-50mm f/2.8, the first full-frame autofocus zoom developed by a Chinese optical brand and Thypoch’s first AF lens. Built for Sony E-mount mirrorless cameras, the Voyager uses an internal zoom mechanism that holds physical length fixed across the focal range, with a constant f/2.8 aperture from 24mm through 50mm.
Thypoch Voyager 24-50mm f/2.8 for Sony E-mount
Three Primes in One Lens
A photographer working with primes typically carries 24mm, 35mm, and 50mm. Those three focal lengths cover the working distances that define documentary, reportage, environmental portrait, street, and event photography. The 24mm captures a full scene when there isn’t room to step back. The 35mm sees roughly the way the eye sees, which is why it remains the working perspective of reportage and documentary photography. The 50mm isolates a subject without flattening the space around it.
The 24-50mm range was chosen as a balance of size, design, and price point. It covers the focal lengths working photographers reach for daily. The Voyager fits an internal zoom mechanism, holds f/2.8 across the range, and stays compact enough to live on the camera all day.
The Voyager is designed to deliver image quality comparable to a dedicated prime across the zoom range, whether the working perspective is the breadth of 24mm, the reportage view of 35mm, or the subject isolation of 50mm. The result is one lens that does the work of three primes, in the size and weight of one.
Fixed Length, Constant Aperture
A fixed-length zoom that holds f/2.8 across the range removes two of the most common interruptions in fast-paced shooting: rebalancing a gimbal between focal lengths, and recalculating exposure as the aperture shifts.
The Voyager’s internal zoom mechanism keeps the barrel length constant from 24mm to 50mm. The center of gravity stays in place during a take. The fixed barrel is also more mechanically stable in the hand than an extending zoom, which translates to a steadier grip during handheld work.
The f/2.8 maximum aperture is held throughout the zoom range. From dim interiors and twilight streets to backlit portraits, f/2.8 delivers the brightness and subject separation that working photographers need when light is scarce. Exposure stays consistent across focal lengths. The lens stays out of the way of the shot.
The fixed barrel also eliminates lens creep when the camera is stowed, and removes the extending external moving parts that complicate weather sealing on conventional zooms.
A First for Chinese Optical Engineering
The Voyager is the first full-frame autofocus zoom developed by a Chinese optical brand. Combining autofocus, full-frame image coverage, and zoom architecture in a single lens requires coordinated development across optical design, mechanical engineering, AF systems, and electronics.
The Voyager’s autofocus system is designed for fast and quiet operation. Thypoch built the AF unit to stay out of the way of the shot, with response speed intended to keep pace with documentary, street, and event shooting, and quiet operation suited to video work and sound-sensitive environments. The lens features native Sony E-mount autofocus, with support for eye AF, AF-C tracking, and in-camera and lens-side AF/MF switching. The lens has been tested with current-generation Sony Alpha bodies including the ZV-E1, A7C2, A7CR, A7IV, A7V, A7RIV, A7RV, A7SIII, A9III, and FX3.
Built for Bokeh
Rendering character is where Thypoch has built its reputation, and the Voyager carries that priority into autofocus. The optical design uses 16 elements in 13 groups, including 2 ASPH (aspherical) elements, 3 ED (extra-low dispersion) elements, and 3 HRI (high refractive index) elements. The formula is designed to control aberrations across the frame at all focal lengths.
The 10-blade rounded aperture holds its circular shape across most of the working aperture range, producing rounded out-of-focus highlights at mid apertures and sunstar rendering at smaller apertures.
Optical, Not Digital
The Voyager’s out-of-focus rendering is built into the glass, not added in software. Optical bokeh behaves naturally at the edges of the frame, around specular highlights, and in the transition zones that digital blur tends to flatten. The result is depth that holds up at full resolution and on close inspection.
The transition from sharp focus to background blur happens gradually, the way a lens with character renders rather than the way a lens that’s merely sharp does. Subjects sit forward in the frame with weight and presence, separated from the background without the harsh cutoff that flattens an image.
Sealed at Every Joint
Weather sealing is the difference between a lens that works in the conditions a photographer actually shoots in and a lens that has to be protected from them. The Voyager is built with sealed construction at the lens mount, focus ring, zoom ring, and front element. The internal zoom design contributes to sealing integrity by removing the extending external barrel that creates the most common point of moisture ingress on conventional zooms.
The lens is developed for dust and moisture resistance. Whether the shooting environment is coastal mist or a sudden urban downpour, the Voyager is built to keep working. Paired with Sony’s own weather-sealed Alpha bodies, the lens completes a sealed shooting system rather than introducing a weak point in it.
Cinema Zoom Heritage
The Voyager is Thypoch’s first autofocus lens. Its zoom architecture draws on the parent group’s experience in cinema zoom lens engineering, which includes constant-aperture and internal-zoom designs across multiple cine lens families. Cinema zooms are the discipline in which constant aperture and fixed barrel length were first solved as engineering problems. The Voyager applies that discipline to a stills-format AF lens.
Price and Availability Launch price: USD $619 / EUR €539 (May 14 to May 31, 2026)
MSRP: USD $649 / EUR €569
Standard package: lens body, front cap, rear cap, warranty card.
"Shot at the Huntington Beach surfing championships. I used an 800mm lens to get close to the action. Studying typical movements of the surfers helps with being ready to get the shot at the peak of the action."
Nikon Z9 | Nikkor Z 800mm f/6.3 VR S @ 800mm | F7.1 | 1/4000 sec | ISO 720 Photo: Alan Randle
Alan Randle, known as AJR Images in the forums, has been capturing striking images for decades, with a particular passion for fast-paced subjects. Originally from the UK and now based in Southern California, he has built a body of work that spans airshows, surfing, wildlife and more. Over the years, his photography has evolved from early film experiments to high-precision digital work with top-tier equipment, allowing him to get in close and capture subjects with remarkable clarity and detail.
If you are interested in air show photography, check out Alan's work below.
This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.
"I've been taking photographs since the early 1960's, but more seriously for the last 15 years. I moved to California from the UK in 2000, and am now lucky to have great subject matter and good light. I've been fortunate enough to acquire some of the best equipment and now like to get in close to my subjects with the use of long telephotos."
Favorite camera and lens: Alan primarily shoots with Nikon Z9 bodies. For airshows and wildlife, he relies on super-telephoto lenses like the 400 F2.8 TC, 600 F4 TC, and 800 f/6.3 to capture subjects up close with exceptional detail. For travel or more general photography, he uses a Z6III with a 24–120mm F4. Alan values this setup for its versatility and reliability, allowing him to adapt quickly to different environments.
I love the Nikon Z 400TC. A fabulous lens with the versatility of two focal lengths.
Support gear: Spare CFexpress cards and batteries, Gitzo and RRS tripods, monopods, and heads (rarely used; prefer handholding). Multi-tool and water bottles for long shoots.
Camera bags: Think Tank and Gura Gear roller bags, backpacks, and shoulder bags, chosen for durability and to accommodate large telephoto lenses.
Alan's camera bag
Photo: Alan Randle
What cameras does a professional aerospace engineer use most?
"I was a professional aerospace engineer for nearly 50 years, so I keep up my interest by attending airshows around Southern California. I’ve been fortunate to acquire some of the best super telephoto lenses over the last few years and have practiced honing my panning skills to the point where I can capture sharp images of aircraft with good prop blur. I look back at some of my older images, and certainly modern equipment has made it easier to get great images."
Have you changed up your gear since you got started?
"Oh yes. I started out with a Praktica camera and then an Olympus OM2 system, but got serious when I bought a Nikon F4S in the 1980's. I then moved from F to D to Z systems. Since investing in Nikon Z9s and Z lenses, my output has improved to no end."
"A nice, sharp close-up image of the Patriots display team with the smoke imparting a sense of action."
Nikon D4S | AF-S Nikkor 300mm f/2.8D IF-ED II @420mm (35mm equivalent) | F5.6 | 1/4000 sec | ISO 320 Photo: Alan Randle
Besides impressive aerospace photography, what else do you shoot?
"I also enjoy shooting zoo animals. I like to take portraits rather than the whole of the animal, again making good use of my telephoto lenses. Carrying big equipment around a zoo can be tiring. I’ve even been asked by staff if I want to check my 'luggage.'"
"Living close to the beach, I shoot championship surfing (people and dogs). You need to take care of your equipment in this environment of saltwater and sand. I’ve seen photographers so engrossed in the action that they miss a rogue wave that drowns their equipment. Electronics and salt water don’t mix!"
"In the past, I’ve shot motor sports, tennis, and cycling. Unfortunately, as sports become more commercialized, it’s getting harder and harder to get good images unless you are credentialed. Not only are you kept further away from the action, but there are often limits as to the equipment that can be taken into a venue."
"The Blue Angels show in near-perfect light, showing the aircraft at speed."
Nikon Z 9 | NIKKOR Z 400mm f/2.8 TC VR S @400mm (35mm equivalent) | F5.6 | 1/6400 sec | ISO 900 Photo: Alan Randle
When capturing that perfect shot, what techniques come to mind?
"I try to understand the type of subjects I'll be shooting, like typical aircraft maneuvers, animal behavior, the way that sports are played, and so I try to get 'ahead of the game.' Knowing how the subject will react at any moment keeps my fingers on the right controls. On that point, do learn how to use your equipment. Read the manuals and understand what all the controls do so that setting up becomes second nature."
Alan really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Alan, for being featured!
If you'd like to share your photography, 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.
"Shot at the Huntington Beach surfing championships. I used an 800mm lens to get close to the action. Studying typical movements of the surfers helps with being ready to get the shot at the peak of the action."
Nikon Z9 | Nikkor Z 800mm f/6.3 VR S @ 800mm | F7.1 | 1/4000 sec | ISO 720 Photo: Alan Randle
Alan Randle, known as AJR Images in the forums, has been capturing striking images for decades, with a particular passion for fast-paced subjects. Originally from the UK and now based in Southern California, he has built a body of work that spans airshows, surfing, wildlife and more. Over the years, his photography has evolved from early film experiments to high-precision digital work with top-tier equipment, allowing him to get in close and capture subjects with remarkable clarity and detail.
If you are interested in air show photography, check out Alan's work below.
This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.
"I've been taking photographs since the early 1960's, but more seriously for the last 15 years. I moved to California from the UK in 2000, and am now lucky to have great subject matter and good light. I've been fortunate enough to acquire some of the best equipment and now like to get in close to my subjects with the use of long telephotos."
Favorite camera and lens: Alan primarily shoots with Nikon Z9 bodies. For airshows and wildlife, he relies on super-telephoto lenses like the 400 F2.8 TC, 600 F4 TC, and 800 f/6.3 to capture subjects up close with exceptional detail. For travel or more general photography, he uses a Z6III with a 24–120mm F4. Alan values this setup for its versatility and reliability, allowing him to adapt quickly to different environments.
I love the Nikon Z 400TC. A fabulous lens with the versatility of two focal lengths.
Support gear: Spare CFexpress cards and batteries, Gitzo and RRS tripods, monopods, and heads (rarely used; prefer handholding). Multi-tool and water bottles for long shoots.
Camera bags: Think Tank and Gura Gear roller bags, backpacks, and shoulder bags, chosen for durability and to accommodate large telephoto lenses.
Alan's camera bag
Photo: Alan Randle
What cameras does a professional aerospace engineer use most?
"I was a professional aerospace engineer for nearly 50 years, so I keep up my interest by attending airshows around Southern California. I’ve been fortunate to acquire some of the best super telephoto lenses over the last few years and have practiced honing my panning skills to the point where I can capture sharp images of aircraft with good prop blur. I look back at some of my older images, and certainly modern equipment has made it easier to get great images."
Have you changed up your gear since you got started?
"Oh yes. I started out with a Praktica camera and then an Olympus OM2 system, but got serious when I bought a Nikon F4S in the 1980's. I then moved from F to D to Z systems. Since investing in Nikon Z9s and Z lenses, my output has improved to no end."
"A nice, sharp close-up image of the Patriots display team with the smoke imparting a sense of action."
Nikon D4S | AF-S Nikkor 300mm f/2.8D IF-ED II @420mm (35mm equivalent) | F5.6 | 1/4000 sec | ISO 320 Photo: Alan Randle
Besides impressive aerospace photography, what else do you shoot?
"I also enjoy shooting zoo animals. I like to take portraits rather than the whole of the animal, again making good use of my telephoto lenses. Carrying big equipment around a zoo can be tiring. I’ve even been asked by staff if I want to check my 'luggage.'"
"Living close to the beach, I shoot championship surfing (people and dogs). You need to take care of your equipment in this environment of saltwater and sand. I’ve seen photographers so engrossed in the action that they miss a rogue wave that drowns their equipment. Electronics and salt water don’t mix!"
"In the past, I’ve shot motor sports, tennis, and cycling. Unfortunately, as sports become more commercialized, it’s getting harder and harder to get good images unless you are credentialed. Not only are you kept further away from the action, but there are often limits as to the equipment that can be taken into a venue."
"The Blue Angels show in near-perfect light, showing the aircraft at speed."
Nikon Z 9 | NIKKOR Z 400mm f/2.8 TC VR S @400mm (35mm equivalent) | F5.6 | 1/6400 sec | ISO 900 Photo: Alan Randle
When capturing that perfect shot, what techniques come to mind?
"I try to understand the type of subjects I'll be shooting, like typical aircraft maneuvers, animal behavior, the way that sports are played, and so I try to get 'ahead of the game.' Knowing how the subject will react at any moment keeps my fingers on the right controls. On that point, do learn how to use your equipment. Read the manuals and understand what all the controls do so that setting up becomes second nature."
Alan really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Alan, for being featured!
If you'd like to share your photography, 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.
When you use DPReview links to buy products, the site may earn a commission.
Photos: Mitchell Clark
Last month, Thypoch announced that it was working on the Voyager 24-50mm F2.8 AF, the first full-frame autofocus zoom lens from a Chinese manufacturer. Now, the company has revealed the full details of it, including its price and full specifications.
The former is perhaps one of the most exciting aspects of this lens. When we interviewed Thypoch's Go-to-Market manager for this lens, we were told the company was aiming to price it similarly to a prime. It turns out that meant $649, pretty much half of what Sony charges for its 24-50mm F2.8.
Despite being a very similar offering, the lens isn't a clone of Sony's. The most noticeable difference is that Thypoch's is an internal zoom design, while Sony's extends. And while both lenses have 16 elements in 13 groups, the formulas are different: the Voyager has two aspheric lenses, three ED lenses and three HR elements, while the Sony uses one aspheric and two EDs. According to our interview, the company hasn't used any software distortion correction in its design, so it has to do everything optically, a limitation Sony doesn't have.
For a full-frame F2.8 zoom, the Thypoch is quite light.
Another difference between the two lenses is minimum focusing distance. Both are 0.3m (11.8") at the long end, but at the wide end Sony's can get as close as 0.18m (7.1"), while Thypoch's is still at 0.3m
The Voyager 24-50mm F2.8 has a 10-bladed aperture, and a clicked ring to control it, complete with an "A" setting that lets you control it using a command dial on your camera instead. It also features a customizable function button, and an AF/MF switch.
At 450g (15.9oz) and 92mm (3.6") long, it's fairly compact for a full-frame lens, making it relatively easy to carry around. We appreciate that, as we've found this kind of lens to be great for travel, given its size and ability to get wide shots to capture everything in front of you, without giving up the ability to get in a little closer. Thypoch also claims that it's sealed for dust and moisture resistance.
Optically speaking, we found the lens to be relatively sharp. While there's some vignetting, it's not more than we'd expect from other budget lenses with a focus on being compact. Where it fell down a bit was in flare resistance; Thypoch says the lens has its "Epoch" coating, but there were times where we found that bright lighting outside the frame would result in a washed out image, even when we were shooting with the included lens hood.
The flare from the window above the cat has substantially washed out this image.
Sony a7R V | Thypoch 24-50mm F2.8 | F2.8 | 1/50 | ISO 1000
Autofocus performance was mostly fine. We tested the lens with a Sony a7R V, and it was usually able to lock onto a subject and follow it, even if it was moving. Still, there were a few instances where it had to hunt in lighting conditions that we'd have expected an own-brand lens to handle without any issues. But given that this is the company's first autofocus lens, period, and that it doesn't have an official E-mount license, its performance was quite impressive.
While there's a lot to recommend the Thypoch 24-50mm F2.8 on its own, it’s also hard not to feel like this is the just start of something exciting. Obviously, third-party autofocus zoom lenses are nothing new; we’ve seen them from Sigma, Tamron, LK Samyang, and others. But it’s hard to ignore what happened with primes, where Chinese lens makers came in, started competing, leading to a flood of especially interesting, or affordable (or sometimes, both) lenses. That wave has also coincided with similarly exciting lens releases from the major manufacturers, too. If the same thing happens with zoom lenses, the next few years could be very interesting, and we may finally get some options that we haven’t had before.
The Thypoch Voyager 24-50mm F2.8 will available for Sony E-mount starting in June. The company says it's running a special launch promotion, selling the lens for $619.
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Sample gallery
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Thank you to Sony for the loan of an a7R V to capture this gallery. All images were processed using our standard lens workflow in Capture One, with no vignetting correction applied.
Press release:
Thypoch enters autofocus market with Voyager 24-50mm f/2.8 for Sony E-mount
The first full-frame autofocus zoom developed by a Chinese optical brand, in a constant f/2.8 internal-zoom design
Shenzhen, China, May 14, 2026. Thypoch today announced the Voyager 24-50mm f/2.8, the first full-frame autofocus zoom developed by a Chinese optical brand and Thypoch’s first AF lens. Built for Sony E-mount mirrorless cameras, the Voyager uses an internal zoom mechanism that holds physical length fixed across the focal range, with a constant f/2.8 aperture from 24mm through 50mm.
Three Primes in One Lens
A photographer working with primes typically carries 24mm, 35mm, and 50mm. Those three focal lengths cover the working distances that define documentary, reportage, environmental portrait, street, and event photography. The 24mm captures a full scene when there isn’t room to step back. The 35mm sees roughly the way the eye sees, which is why it remains the working perspective of reportage and documentary photography. The 50mm isolates a subject without flattening the space around it.
The 24-50mm range was chosen as a balance of size, design, and price point. It covers the focal lengths working photographers reach for daily. The Voyager fits an internal zoom mechanism, holds f/2.8 across the range, and stays compact enough to live on the camera all day.
The Voyager is designed to deliver image quality comparable to a dedicated prime across the zoom range, whether the working perspective is the breadth of 24mm, the reportage view of 35mm, or the subject isolation of 50mm. The result is one lens that does the work of three primes, in the size and weight of one.
Fixed Length, Constant Aperture
A fixed-length zoom that holds f/2.8 across the range removes two of the most common interruptions in fast-paced shooting: rebalancing a gimbal between focal lengths, and recalculating exposure as the aperture shifts.
The Voyager’s internal zoom mechanism keeps the barrel length constant from 24mm to 50mm. The center of gravity stays in place during a take. The fixed barrel is also more mechanically stable in the hand than an extending zoom, which translates to a steadier grip during handheld work.
The f/2.8 maximum aperture is held throughout the zoom range. From dim interiors and twilight streets to backlit portraits, f/2.8 delivers the brightness and subject separation that working photographers need when light is scarce. Exposure stays consistent across focal lengths. The lens stays out of the way of the shot.
The fixed barrel also eliminates lens creep when the camera is stowed, and removes the extending external moving parts that complicate weather sealing on conventional zooms.
A First for Chinese Optical Engineering
The Voyager is the first full-frame autofocus zoom developed by a Chinese optical brand. Combining autofocus, full-frame image coverage, and zoom architecture in a single lens requires coordinated development across optical design, mechanical engineering, AF systems, and electronics.
The Voyager’s autofocus system is designed for fast and quiet operation. Thypoch built the AF unit to stay out of the way of the shot, with response speed intended to keep pace with documentary, street, and event shooting, and quiet operation suited to video work and sound-sensitive environments. The lens features native Sony E-mount autofocus, with support for eye AF, AF-C tracking, and in-camera and lens-side AF/MF switching.
The lens has been tested with current-generation Sony Alpha bodies including the ZV-E1, A7C2, A7CR, A7IV, A7V, A7RIV, A7RV, A7SIII, A9III, and FX3.
Built for Bokeh
Rendering character is where Thypoch has built its reputation, and the Voyager carries that priority into autofocus. The optical design uses 16 elements in 13 groups, including 2 ASPH (aspherical) elements, 3 ED (extra-low dispersion) elements, and 3 HRI (high refractive index) elements. The formula is designed to control aberrations across the frame at all focal lengths.
The 10-blade rounded aperture holds its circular shape across most of the working aperture range, producing rounded out-of-focus highlights at mid apertures and sunstar rendering at smaller apertures.
Optical, Not Digital
The Voyager’s out-of-focus rendering is built into the glass, not added in software. Optical bokeh behaves naturally at the edges of the frame, around specular highlights, and in the transition zones that digital blur tends to flatten. The result is depth that holds up at full resolution and on close inspection.
The transition from sharp focus to background blur happens gradually, the way a lens with character renders rather than the way a lens that’s merely sharp does. Subjects sit forward in the frame with weight and presence, separated from the background without the harsh cutoff that flattens an image.
Sealed at Every Joint
Weather sealing is the difference between a lens that works in the conditions a photographer actually shoots in and a lens that has to be protected from them. The Voyager is built with sealed construction at the lens mount, focus ring, zoom ring, and front element. The internal zoom design contributes to sealing integrity by removing the extending external barrel that creates the most common point of moisture ingress on conventional zooms.
The lens is developed for dust and moisture resistance. Whether the shooting environment is coastal mist or a sudden urban downpour, the Voyager is built to keep working. Paired with Sony’s own weather-sealed Alpha bodies, the lens completes a sealed shooting system rather than introducing a weak point in it.
Cinema Zoom Heritage
The Voyager is Thypoch’s first autofocus lens. Its zoom architecture draws on the parent group’s experience in cinema zoom lens engineering, which includes constant-aperture and internal-zoom designs across multiple cine lens families. Cinema zooms are the discipline in which constant aperture and fixed barrel length were first solved as engineering problems. The Voyager applies that discipline to a stills-format AF lens.
Price and Availability
Launch price: USD $619 / EUR €539 (May 14 to May 31, 2026)
MSRP: USD $649 / EUR €569
The Thypoch Voyager 24-50mm f/2.8 is available in Sony E-mount.
Standard package: lens body, front cap, rear cap, warranty card.
Insta360 is leaning into the popularity of retro vibes with its latest release, the Go 3S Retro Bundle. The special edition bundle includes its tiny Go 3S action camera with a fresh design, along with a new Retro Viewfinder in place of the Action Pod it normally comes with, which mimics a more traditional action camera.
The focus of the new bundle is a more retro-looking replacement for the Action Pod. The standard 360 Go 3S can be docked in the Action Pod, which provides a touchscreen, charges the camera, and can also be used as a remote monitor. The new bundle, however, comes with the Retro Viewfinder, which is a much simpler accessory.
The new Retro Viewfinder features an optical waist-level viewfinder instead of a rear display.
Image: Insta360
Unlike the Action Pod, the Retro Viewfinder doesn't offer a touchscreen display, remote shooting functionality or charging capabilities. There are no buttons, and no battery whatsoever. It does, however, feature an optical waist-level viewfinder designed to mimic certain vintage film cameras. It also has a built-in selfie mirror for easier selfies.
To address the lack of extra battery that the Action Pod normally provides, the Retro Bundle comes with a separate battery pack. It doubles battery life, promising 76 minutes of run time. It can also charge while recording. Using the battery pack likely means that you can't have the camera slotted into the viewfinder, however.
The bundle also includes a "Custom Skin" that lets users tap their smartphone against it to instantly launch the Insta360 app, thanks to a built-in NFC tag. Since there's no display on the Retro Viewfinder, you'll need to use a phone to take the place of the Action Pod for reviewing photos and videos, editing clips or adjusting settings. The quick access via NFC should make it easier to do those things.
The Insta360 GO 3S Retro Bundle comes in Canvas White (left) and Classic Red (right).
Image: Insta360
In addition to hardware changes, Insta360 is also introducing three filters that mimic film. Negative Film features soft contrast and lower saturation, Positive Film offers punchier colors and contrast, and Sticker Filter functions like pre-exposed film with three pattern options and "film-like colors." These are exclusive to the Retro Bundle and won't be coming to the standard Go 3S.
There are also five new built-in film-inspired color profiles: NC, CC, GR-F, Mono and Vintage Vacation. These will be available for the standard GO 3S via the app interface.
Beyond the new look, the camera portion of the Go 3S remains unchanged from the original version. It retains its tiny size outside of its enclosure, weighing just 39g (1.4oz), and the built-in magnetic mounting system. The camera can capture 4K video, uses Insta360's FlowState Stabilization to smooth out footage, and features integrated storage.
Image: Insta360
The Retro Bundle is available as of today in white with colorful stripes and red. It comes in two storage capacities, 64GB and 128GB, priced at $250 and $270, respectively. That’s significantly cheaper than the $399 (64GB) and $429 (128GB) launch prices of the Go 3S. You can also buy the Retro Viewfinder on its own for $48 if you already own the Go 3S but want the retro look.
Press release:
Insta360 Launches the GO 3S Retro Bundle, Turning the Tiny POV Camera Into a Film-Inspired Street Camera
Insta360 today announced the Insta360 GO 3S Retro Bundle, a special edition that brings the nostalgic charm of film photography to its tiny POV camera. The new bundle introduces a Retro Viewfinder, film-inspired filters, and accessories designed to recreate the tactile experience of classic cameras, while keeping the portability and hands-free shooting that define GO 3S.
Built around the 39g standalone camera, the Retro Bundle combines 4K video, hands-free POV capture, and Insta360's leading FlowState Stabilization with a playful, retro-inspired shooting style. Designed for creators who enjoy documenting everyday life, street photography enthusiasts, and those drawn to the aesthetic of classic cameras, the GO 3S Retro Bundle offers a new way to capture spontaneous moments.
A retro-inspired shooting experience.
The Retro Bundle introduces several accessories that recreate the tactile feel of classic cameras while keeping GO 3S's signature portability.
Retro Viewfinder
At the center of the bundle is the Retro Viewfinder, which pairs with the standalone GO 3S camera to create a handheld shooting experience inspired by vintage film cameras. The optical waist-level viewfinder allows users to roughly frame shots without looking at a screen, encouraging a slower, more intentional approach to photography.
The viewfinder also includes a built-in selfie mirror for quick handheld self-portraits.
Battery Pack
The included Battery Pack extends recording time to up to 76 minutes and supports charging while recording, allowing creators to shoot longer sessions without interruption.
NFC Custom Skin
The NFC Custom Skin enables instant access to the Insta360 app. By tapping a smartphone against it, users can instantly open the Insta360 app to preview footage, edit clips or adjust settings.
Strap and Magnet Pendant
The bundle also includes a strap for easy everyday carry, allowing users to wear the camera like a necklace or attach it to bags and accessories. The popular Magnet Pendant, a signature GO 3S accessory, is also included for hands-free POV shooting by magnetically mounting the camera to clothing.
Film-inspired filters and new creative tools.
To complement the retro hardware design, the GO 3S Retro Bundle introduces three exclusive film-style filters:
Negative Film: A softer look with cooler tones and lower saturation inspired by classic negative film.
Positive Film: A bold style with stronger contrast and saturation reminiscent of slide film.
Sticker Filter: Inspired by pre-exposed film, this filter adds a choice of three retro-style patterns and film-like colors to photos, creating playful sticker-like overlays.
GO 3S also features 11 built-in color profiles, including five new film-inspired styles introduced with the Retro Bundle: NC, CC, GR-F, Mono and Vintage Vacation. These profiles allow creators to capture stylized photos straight out of the camera without post-processing.
The Insta360 app takes on the role of the Action Pod, allowing users to switch shooting modes, adjust settings, and apply filters directly from their phone, while also providing the app's built-in editing tools. Both iOS and Android users can also make use of Live Activities, which provides quick recording controls and camera status updates directly from the phone's lock screen.
A tiny camera for everyday creativity.
While the Retro Bundle focuses on photography and spontaneous everyday capture, it retains the core capabilities of Insta360 GO 3S.
Weighing just 39g, the tiny camera can be worn, mounted or placed almost anywhere to capture immersive first-person perspectives, completely hands-free. The built-in magnetic mounting system allows users to quickly attach the camera to clothing, metal surfaces or creative positions that would be impossible with larger cameras.
The camera can shoot stunning 4K video with leading FlowState Stabilization, ensuring smooth footage even during movement. When inspiration strikes, QuickCapture allows recording to start instantly with a single button press. GO 3S is also waterproof up to 33ft (10m), making it easy to capture everything from city exploration to underwater moments.
After shooting, creators can take advantage of FreeFrame Video, which allows footage to be exported in any aspect ratio for social media. The Insta360 app also includes tools like Auto Editing, which automatically finds highlights and edits them together to music, and the Stats Dashboard, which overlays real-time data from Apple, Garmin, COROS, or iGPSPORT devices to turn everyday clips into shareable content.
By pairing GO 3S with the Retro Viewfinder, the bundle delivers a distinctive shooting experience that blends nostalgic camera design with the creative flexibility of a tiny POV camera, perfect for creative photography, spontaneity and everyday storytelling.
Available now.
The Insta360 GO 3S Retro Bundle is available today from the Insta360 store in Canvas White and Classic Red. It includes the standalone camera, Retro Viewfinder, Battery Pack, NFC Custom Skin, a Strap, Magnet Pendant, Lens Guard (pre-installed) and a USB-C to A Cable. Two storage options are available: 64GB and 128GB, priced at US$249.99 and US$269.99, respectively.
SPINN.DESIGN is a Germany-based company in Offenbach specializing in innovative, high-quality camera accessories for protecting photography gear. Rooted in German engineering and design heritage, the company positions itself as a long-time product designer and manufacturer focused on premium, precision-crafted solutions for DSLR and mirrorless cameras, emphasizing durability, comfort, and thoughtful functionality over mass-market alternatives. Their flagship products include the SWIFT-LOCK and CP/CP.02 camera-carrying systems, along with the CW.01 and ProWrapp series of self-adhesive, weatherproof, and shock-resistant protective gear wrappers for cameras and lenses.
You can use the coupon code SPINN-RUMORSon their website to get a discount.
Here are the other active photography-related Kickstarter crowdfunding projects (some are still available as late pledges).:
Canon apparently thought that a camera, a lens and a list of accessories weren't enough for one week. The company has also released firmware updates for the EOS R5 II and EOS R1, bringing the first major update to their Action Priority mode, as well as other quality-of-life features and improvements. It also recently announced that it's rolling out a system that will allow news organizations to certify images taken with the camera using the C2PA content authenticity standard.
Action Priority mode, introduced with the two cameras, is designed to recognize key moments in specific sports and ensure that the autofocus tracking follows the correct player. When it launched, it supported football (soccer), basketball and volleyball. Now, the company has added support for American football, which it says will "optimize human subject detection for individuals wearing helmets and shoulder pads."
"Now, the company has added support for American Football"
The release notes for the updates also say that performance is improved for the cameras' Register People Priority mode, which lets you take a picture of a specific person or people that you'd like the camera to pick out first when in human subject detection mode. The company says it should now work better "in challenging conditions-including profile views, blurred or partially obscured faces, small subjects in the frame, and children." This is good news, as when we tested it on the EOS R6 III, we found that it wasn't always the best at recognizing a person if their appearance had changed since you took the reference photo.
Both cameras gain the ability to have the pre-burst shooting mode assigned to a custom button, solving what's been an annoyance since the cameras' launch. There were ways to work around not being able to turn it on or off with a single button press, but there were downsides to those methods, so it's good to see it addressed.
Video updates
The cameras also gain some video improvements, including features introduced with the EOS R6 V, a vlogging-focused camera. These include four custom white balance slots, which you can switch between using a custom button. It also adds the product demo mode as a menu option, letting you tell the camera to override face detection if you're clearly holding something up to the camera.
There are several other quality-of-life improvements for video shooters, too, including the ability to show the electronic level or gridline overlay while recording, and to use the false color overlay to check exposure even when using the Log assist view.
You can see all the other changes coming to the EOS R1 and EOS R5 II at the respective support pages on Canon's website.
Content authenticity
Graphic: Canon
In addition to the firmware updates, Canon announced that it is rolling out its Authenticity Imaging System, which uses the C2PA content authenticity standard. The system provides provenance data showing that images were captured with a supported camera, helping news organizations combat generative AI and image manipulation.
The announcement said that it will initially be available for news organizations in Europe, the Middle East and Africa. Canon says it partnered with Reuters for initial testing, and the news organization "found that authenticated provenance data could be generated reliably." It will also only be available on supported models for the time being, with Canon specifying the EOS R1 and EOS R5 II.
Bridging the gap between content creators and pro filmmakers, the Canon EOS R6 V is a full-frame camera delivering high-end video performance in a body optimized for on-the-fly shooting. It packs a 32.5MP sensor, dual-gain ISO that produces clean, clear footage across a range of lighting conditions, and 7K Open Gate Raw video at up to 60p. Canon’s class-leading Dual Pixel CMOS autofocus, intelligent subject-tracking, and a 6.5-stop in-body stabilization make this a fantastic handheld run-and-gun camera.
32.5MP imaging sensor
7K Open Gate RAW video
Base ISO values at 800 and 6400
15+ stops of dynamic range
C-Log2 and C-Log3 colour profiles
Fully articulating touchscreen, vertical mounting thread, tally-style front record button
Connexion
