Tamron has released a firmware update for its 25-200mm F2.8-5.6 Di III VXD G2 lens that actually makes a noticeable change to its performance. The company says that now, when you’re shooting at focal lengths between 25-70mm, the lens’ maximum magnification ratio is greatly improved, letting you get much closer to your subject.

When the lens launch, Tamron said it could achieve approximately half-macro, or 1:2, reproduction at its widest end. However, as lens reviewer Dustin Abbot points out, shooting so close at 25mm has practical challenges, and can make it very difficult to get a well-lit photo. By the time you were shooting at 50mm, where you had a more reasonable working distance, the maximum reproduction ratio dropped to 1:3.1, or around 0.32x magnification.

Tamron

This is where the firmware update comes in. At 35-50mm, the lens can now manage a ratio of 1:1.7, or 0.58x, which is a substantial improvement. Tamron also says that it will achieve at least 1:2 reproduction throughout the 25-70mm range. For those that like to get close to their subject, this makes and already versatile lens a lot more flexible.

It’s rather unusual to see a lens firmware update that noticeably changes how you can use the lens. It’s not entirely unique – we’ve seen Laowa launch a macro lens that couldn’t autofocus in its macro range, only to enable that functionality later via software – but it still remains among the more interesting bits of lens firmware news. Tamron’s press release doesn’t include any technical details on how the company was able to achieve this, but we’ve reached out to see if it can share any. We’ll update this story if we hear back.

The V3 firmware is available to download for free via Tamron’s Lens Utility software.

It’s undeniable that, in terms of the tech and experience around its sensor, the Sony RX10 V is an excellent example of how far the camera industry has come in the last 10-ish years when compared to the Sony RX10 IV from 2017. But during that time, we’ve also seen a lot of discussion around how image quality has stagnated, and there’s no obvious difference between the V’s 20MP Type 1 (116mm²) stacked CMOS sensor and the IV’s.

There’s some truth to the idea that gains in image quality are coming slower these days, as much of the past decade’s progress has been more focused on performance in aspects like autofocus and readout speeds. That’s not to say there have been no advancements in image quality, but Sony hasn’t bragged about including them in the RX10 V. The only real way to find out, though, is to put it in front of our test scene.

Studio test scene

Our test scene is designed to simulate a variety of textures, colors, and detail types you’ll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Unsurprisingly, the RX10 V performs very similarly to the RX10 IV when looking at its Raw images at base ISO, which is a good thing. It captures a good amount of detail, and at 88mm equiv., its lens actually holds up quite well compared to other cameras with Type 1 sensors and lenses with much less ambitious focal lengths. It also provides more detail with less noise than the Nikon P1000, which offers much more reach but uses a lower-res and much smaller 16MP 1/2.3″ (28mm²) sensor.

The RX10 V’s JPEGs are where the decade of progress becomes apparent. The colors are much more pleasing than those of the IV, with more natural skin tones, and the vibrancy of colors turned up where they were lacking, and turned down where they were overbearing. We also found this to be the case in the sample photos we shot with the V. Sony’s progress on this front has been slow and steady, but with so much time between the two models, it’s much more noticeable.

This class of cameras has never been the best pick for low light photography, the RX10 V’s Raws again look as we’d expect. Switch over to JPEG and it’s clear that Sony has upgraded the camera’s noise reduction to some extent, but in higher-contrast, more detailed areas, we’d be hard-pressed to tell its performance apart from its predecessor’s. However, it does outperform Panasonic’s similarly-specced (and now discontinued) FZ-1000 II from 2020 in this regard, and is significantly better at low light than the P1000.

Summary

The RX10 V doesn’t represent a massive shift in terms of image quality from its predecessor, nor, indeed, the RX10 III and RX10 II before it, which both used similarly-specced sensors. When those cameras were released, we called their image quality excellent*, and even these days it’s hard to argue that the pictures the RX10 V produces aren’t very good.

However, it’s hard to ignore that images from smartphones, armed with increasingly sophisticated computational photography tricks, have been getting better and better. Some models even include Type 1 sensors, too, edging in on even the highest-end enthusiast compacts, if only in terms of image quality and not shooting experience. Arguably, the RX10 V, with its massive focal range, is one of the compacts most insulated from this, as phones’ telephotos are often paired with much smaller sensors, and don’t offer anywhere near the level of reach. But it does raise questions about how the next versions of cameras like the RX100 will differentiate themselves.

Going back to the camera at hand, though, regardless of how much the RX10 V has or hasn’t improved when it comes to imaging, it’s still the best in its class… even if it is the only pupil remaining.

* – as long as you set aside their JPEG colors, which the RX10 V has thankfully greatly improved on.

By now, you’re probably familiar with the DJI Osmo Pocket 4P, despite the fact that it hasn’t officially launched outside of China. It’s the company’s vlogging camera with an integrated gimbal, featuring a Type 1 (116mm²) sensor with a 20mm equiv. lens and, new to the series, a secondary Type 1/1.28 (75mm²) sensor with a 60mm equiv. lens.

Earlier this summer, DJI invited our Director of Video and Social, Mykim Dang, to an event in Toronto to let her get some time with it, but made the choice to let influencers and creators share their footage before traditional media outlets were allowed to do so. However, ahead of the official regional launch, we’re now able to share some of the footage we shot on that trip, including shots with both cameras, and ones that use D-Log2, the profile making its debut on the series (if only on the main camera).

DJI boasts that the new Log profile, combined with the main sensor’s use of LOFIC technology to capture additional information in the highlights, allows the camera to provide up to 17 stops of dynamic range when shooting with its 20mm equiv. camera. While this number, like most manufacturer-provided DR figures, should be taken with a massive grain of salt, it helps show the ambitions the company has for the Pocket 4P. It was initially teased at the famous Cannes Film Festival as a “a bold evolution of the Pocket series from a creator tool into a cinematic imaging device capable of professional-grade storytelling.”

We’ll be sharing more on the camera soon, so stay tuned.

As we push on with our Leica SL3-P review, we’ve run it through our standard studio tests. To a large extent, we already have a pretty good idea what to expect, given we’ve seen this sensor / processor combination before. But it’s always worth testing these things, just to be certain.

Studio test scene

Our test scene is designed to simulate a variety of textures, colors, and detail types you’ll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

As you might expect, there’s no meaningful difference between the Leica and the Panasonic in terms of detail capture (the very slight difference shows how good the comparison tool is at highlighting the smallest of differences in focus), or for that matter, the Nikon Z8. However, the 66MP Sony a7R VI clearly captures finer detail than its rivals.

A quick check in JPEG mode shows that the default color rendering of the SL3-P is distinct from that of the Panasonic, though, with differences appearing in the blues and caucasian skintone patch, in particular.

Beyond this, there aren’t any real surprises: noise performance is solid in Raw, very closely matching the performance of its peers. JPEG noise reduction looks similar to that of the Panasonic, with what appears to be more sharpening added, by default, to pull out detail. The Auto white balance also looks to be working harder to neutralize the tungsten light used for our low-light mode.

We’re just over halfway through 2026, and it’s already been a very strange year for cameras. It kicked off with a months-long drought that saw no major releases, which was finally broken by the surprise announcement of the Panasonic L10. Since then, a few new cameras have crossed our desks, but if this pace continues, 2026 is set to be a low-water mark for releases.

Which is not to say that it’s been boring. Unlike in 2025, which saw three full-frame enthusiast cameras released, all jockeying for the same position, each of this year’s crop has been almost entirely unlike the rest. Every release tells a story about a different facet of the camera industry as a whole, and, if we listen, we may just get a feel for which way the winds are blowing.

Ricoh GR IV Monochrome – Drill into the niche

Richard Butler

The Ricoh GR IV, with its prime 28mm equiv. lens, pocketability-above-all-else design philosophy, laser-focus on a specific shooting experience, and relatively high price point is already a relatively niche proposition. And a version of it that literally can’t shoot color, and which costs hundreds of dollars more, appeals to an even more limited market.

And yet it’s a camera that really, really works. Yes, every decision limits the potential audience, but it also makes the camera more and more unlike the rest of the market, which, in general, is full of other cameras that overlap substantially. You could have an extensive collection of cameras, and still have nothing like the GR IV Monochrome.

From the outside, it’s hard to tell if this approach has been a financial success for Ricoh. But it’s clearly a continuation of the trend we saw in 2025, where several camera makers opted to produce something that breaks the mold, rather than trying to compete in an increasingly crowded market.

The Panasonic L10 – Is this what you wanted?

Mitchell Clark

Technically, the L10 is not the first compact Panasonic released in 2026. That honor belongs to the DC-ZS300. It’s a very minor refresh, updating an older model with USB-C and removing the EVF. Its story is simple, not warranting an entire section, as it likely exists solely thanks to EU regulations about charging ports, supply chain constraints and consumers that are willing to buy anything that looks like an old compact camera.

Conversely, the L10 is something we don’t see that often anymore: an enthusiast compact with a zoom lens. Prime-lens compacts have been having a moment, with the continued viral success of Fujifilm’s X100 series, and last year seeing the release of the Ricoh GR IV, Sony RX1R III, Fujifilm GFX100RF and more. While there’s obviously a market for those, there’s also always a contingent commenting, “Why can’t we get something like this with a zoom lens?” And Panasonic, apparently, saw fit to grant their wishes, producing a camera with a Four Thirds sensor, EVF and plenty of tactile controls.

Of course, there were some who found plenty to not like about it, from its lack of weather sealing to its size. But even if those things really bother you, surely we can agree that it’s a good sign that someone is releasing a large-sensor compact with an ambitious zoom and modern internals, features and connectivity, at a time when the competitors that have managed to stick around are both from 2019. Even if this particular one isn’t your cup of tea, it could be a sign that manufacturers are starting to take an interest in this category again.

Canon EOS R6 V – Power to the creators

There’s a reason every storyteller worth their salt is familiar with the rule of three. Once you’ve seen something thrice-over, it becomes obvious there’s a pattern. On that note, the EOS R6 V is the latest entry into a market that an increasing number of companies seem to be paying attention to: enthusiast-tier video cameras designed for creators and owner-operators, based around hardware from hybrid mirrorless cameras. Think the Nikon ZR, Panasonic S9 (or, further back, the S1H), or Sony ZV-E1.

It’s tempting to call these vlogging cameras, and some of them fit that moniker better than others, but with features like open gate recording, internal Raw, and a variety of assist tools and features that you’d have had to buy Hollywood-grade gear to get just a few years ago, they’re clearly designed for a bit more than that. They’re for the age where “creator” is a job, not just a hobby, and where people with that title might want to stretch to full-on production (or, at least, think they might and therefore want a camera that conceivably could).

Canon throwing its hat into the ring with this kind of camera confirms that it, too, sees room between an entry level video camera like the EOS R50 V, and a professional workhorse like the EOS C50. There’s no longer a question of whether there’s a market for this sort of thing, and it has instead become a search for what really matters to the people buying them. Will the ZR’s big screen, Red-inspired Raw codec and internal 32-bit float audio sway people, or will they flock to the EOS R6 V with its button-heavy UI, high-resolution open gate and well-judged (if pricy) kit lens? Only time will tell, and we’ll be interested to see which cameras get follow-ups*, and how that next generation will be different as camera companies take users’ feedback into consideration.

* – And whether Panasonic will release a more fully-featured entry into the market that it arguably helped invent.

Sony a7R VI – There’s room for a stills powerhouse

Richard Butler

Beyond the fact that it’s exceptionally good, one of the most interesting things about the a7R VI is its bucking of a trend we’ve noticed in mirrorless cameras. We’ve seen video capabilities become an increasing driver of technological developments, both because gains there help camera manufacturers address a new (and, by all accounts, growing) market, and because the technology for photography is so mature and good that it’s frankly just plain harder to make noticeable improvements to the stills experience. But while Sony absolutely has improved the video capabilities of the a7R VI, I get the sense that the reasoning is flipped; it had to include a faster sensor to improve the photographic experience, and already built many of the features for other, more video-focused models, so the upgrades were a relatively low-lift.

My evidence that the improvements were done with photographers in mind? The a7R VI’s increased speed doesn’t turn it into a great video camera, but it does reap rewards when it comes to stills. The much faster sensor means it’s actually usable when shooting with e-shutter, unlocking features like pre-capture and 30fps bursts in stills, greatly expanding what you can do with the camera compared to its predecessor. Its autofocus is better, its photos are a little higher resolution, and its dynamic range is some of the best we’ve seen thanks to its ability to combine both its low and high gain steps in modes where the mechanical shutter ends the exposure.

While plenty of lower-end cameras have similar features, the a7R VI shows that there’s still room for improvement at the pinnacle of image quality, and that cutting-edge tech doesn’t just benefit videographers. Just wait until someone uses this tech in a medium format camera.

Leica SL3-P – It’s not just what’s on the inside that counts

The Leica SL3-P has the same bones as a Panasonic S1RII. They share a sensor, a processor, a viewfinder, lens mount and many other core technologies and capabilities. With the hefty price difference between the two cameras, it’s easy to dismiss the Leica as little more than a frivolous remake with a different UI.

Unless you’ve actually used them both. The SL3-P is the latest in a series of Leicas that lay bare something other cameras hide a bit better: there’s a lot more to a camera than the hardware it’s made of. Realistically, there are only a few companies making sensors, viewfinders, rear display panels, and so on, so most companies are picking from the same parts bins and differentiating themselves based on their selection of lenses and software.

But it turns out that the differences in how you actually use the camera are some of the most significant ones, something the SL3-P highlights incredibly well. Its controls and operating system are utterly unlike Panasonic’s, and, consequently, it feels like an entirely different camera, despite all its shared DNA. That’s a lesson worth remembering.

Sony RX10 V – A return to form

Richard Butler

Who would’ve guessed that we’d see a new high-end bridge camera? Clearly not me, if you read my lamentation of an introduction to our compact camera buying guide, where I say that the golden age is over and that manufacturers have seemingly given up on large swathes of the market. (Don’t worry, I’ll update it.) Some of them may have, but it seems like Sony was just biding its time.

The RX10 V focuses on the types of photography that a phone can’t replicate. At the wide angle, the latest flagships may be able to provide similar or better image quality via computational photography, despite having sensors much smaller than the Type-1 model found in the Sony, but their measly 5 or 10x telephoto lenses (which often use smaller still sensors) can’t hope to compete with a 24-600mm equivalent zoom lens. The camera also has much improved ergonomics and controls, alongside modern autofocus that’s some of the best in the business.

Both this and the L10 raise the question: what other camera models are stuck languishing, waiting to be revived with a decade’s improvement in technology? We wouldn’t have expected the RX10 series to get that treatment, yet here we are. The smaller RX100 series feels like a shoo-in for what’s next, but beyond that, it feels like Sony may have opened the door for even further experimentation and revival.

Sony FX5 – It’s what you do with it

James Tirado

I’ll keep this section brief, but one of the stories quietly in the background last year was the one of manufacturers being able to pull more out of sensors; see the difference in dynamic range performance between what appear to be very similar models in the Nikon Z6 III and the Panasonic S1II, and the use of partial stacking tech to make the a7 V’s sensor more capable than the otherwise very similar one in its predecessor. With the FX5, Sony appears to have taken this a step further, seemingly adapting the photo-first 66.8MP sensor from the a7R VI into a more video-friendly 16.6MP model.

The ability to tweak existing tech to suit a specific need, rather than having to build something new from the ground up, has always been an important part of building specialized gear. (See also: astro-editions of cameras.) It’ll be exciting to see if we see more cameras in a similar vein.

What’s next?

As a camera reviewer, it’s been refreshing to see such a variety of releases this year. Don’t get me wrong, it’s great to be spoiled for choice; it’s just not the most exciting thing ever to write a conclusion that says “yep, this camera is really, really good, just like the two others just like it that came out this year.” But beyond the excitement of any single release, it’s the trend lines that make me look forward to what we’ll see in the back half of this year and beyond the most. I still think there’s more wide-open blue sky for manufacturers to explore, if they want to continue this trend of releasing different and exciting cameras.

Or maybe everyone’s had their fun and will go back to simply producing more exceptionally capable all-rounder cameras. That’s fine too.

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The term ISO invariance is being used increasingly widely in camera technology circles, but the comments we’ve seen suggest it’s often misused and misunderstood.

This is partly our fault: ISO invariance is the term we chose to describe a phenomenon that was already being discussed, and our usage and tests have helped popularize the term. So we thought it made sense to make clear what it is, what it isn’t, and why it matters.

Sensor performance, not camera behavior

ISO invariance is an assessment of how much or little improvement in noise you get by increasing gain.

It’s an assessment of a sensor‘s performance, not a description of how a camera delivers its ISO settings.

Why add gain?

The best way to understand it is probably to take a look at why gain / amplification is used in cameras in the first place. If you take a photo in low light, your sensor has less light to work with and will generate a smaller signal from your exposure. Amplifying this signal before it’s digitized has two potential benefits:

• It helps match the signal voltage to voltage range that your analog to digital converter (ADC) is designed to digitize. (In other words, you make sure that the signal is captured using lots of your available Raw values)
• It reduces the impact of any noise that might be introduced after amplification (if you double the scale of the signal, then any noise introduced later has half the impact).

It also has a major cost:

• If you take the signal coming off the sensor and amplify it 2x (ie: add one stop of gain), then the brightest stop of highlights will be represented by a voltage that’s too great for your ADC, and those values will be recorded as its maximum value: they’ll be clipped.

In the early days of digital cameras, cameras would add more amplification every time you increased the ISO setting. This link between ISO and gain is no longer as rigid as it was, but in very broad terms, it’s still usually the case that most cameras typically apply more gain when you increase the ISO setting. How’s that for definitive?

Modern sensors are excellent

Photons-to-photos

However, in recent years, sensor and electronics designs have improved to the point that there isn’t much post-amplification electronic noise to overcome. And, after a certain point, it’s worth questioning how much of a shadow improvement am I getting in return for the highlight information I’m throwing away?

And that’s what ISO invariance assesses: are there circumstances in which it would be better to keep the ISO down, and save the highlights, if there’s not much improvement in noise performance?

Mitchell Clark

We opted to call this ISO invariance because the existing term “ISO less” sounded like an binary: something sensors either were or weren’t. We hoped the term “invariance” would make it clearer that sensors would have a degree of variance or, as it turns out, ranges over which they are less or more ISO variant.

In hindsight, ISO invariance isn’t the best possible term for this phenomenon, not least because it’s an assessment of the impact of analog gain, and ISO doesn’t necessarily depend on analog gain. But also because it got interpreted by some people as a binary position anyway.

ISO invariance does not tell you how a camera delivers its ISO settings

Another common misunderstanding of the term is that it means the camera doesn’t change gain when you change ISO. This is not the case

Delivering multiple ISO from the same gain level would be a method of exploiting a sensor’s high degree of ISO invariance, but it’s extremely unusual for a camera to do this. There are lots of cameras that deliver some of their ISO settings without changing gain, or have modes that change ISO value without changing gain, but the majority of cameras do change gain when you change the ISO setting.

It doesn’t mean you don’t have to worry about what ISO setting you use

ISO invariance also doesn’t mean it no longer matters which ISO setting you use on your camera. If you’re in a mode with any degree of automation (Program, Shutter Priority or Aperture Priority), your ISO setting will change the exposure your camera tries to achieve. Setting ISO higher than you need will result in capturing less light than you might others, and this reduction in light leaves the image looking noisier.

But also, because most cameras increase gain as you increase ISO, some amount of highlight information is pushed to clipping unnecessarily and this can’t be recovered, later.

Why don’t cameras exploit this?

Richard Butler

So far, we’ve not encountered a stills camera that exploits ISO invariance performance by separating exposure and image lightness from gain. There are modes that take some advantage of it, though: many cameras’ DR modes work by intentionally giving lower-than-normal exposure to a given gain level so that the camera captures and retains an extra stop or two of highlight information, then apply a different tone curve that accommodates these extra highlights.

But generally, though, exploiting an ISO invariant sensor is a bit messy: you have to set an appropriate exposure in a low light scene and then lower your ISO setting without changing this exposure, to prevent the highlights in that scene from being amplified into clipping. This usually results in preview that’s multiple stops darker than you want the final image to be. Or, if you turn off exposure preview, fewer cues for assessing exposure. It’s a pretty clumsy, Raw-only way of working.

There is hope, though

Mitchell Clark

Interestingly, it’s becoming more common on the video side of things. Sony’s FX series cameras (many of which share their core hardware with Alpha models), offer an ‘Exposure Index’ mode, where the camera always operates at the low or high conversion gain states of its sensor, then records ‘ISO’ as a metadata tag that’s interpreted when editing. Increasing the ISO setting doen’t increase gain, so you don’t lose highlight data.

Similarly, the biggest distinction between NRaw and R3D raw video modes on the Nikon ZR is the way ISO is handled. NRaw works like stills mode: adding gain each time you increase the ISO setting, but in R3D mode it sticks to the two native conversion gain states of its sensor. This means that you don’t push data to clipping when you increase ISO, you just change a metadata tag indicating how light or dark the footage should be rendered. This is what makes it possible to adjust the apparent “ISO” after the fact in editing software.

But, for now, we’ve seen no such mode in a stills camera. In part this is because it would require a fundamental rethinking of how exposure, gain and image lightness should be handled. And, for now at least, the industry seems happier to tinker with the increasingly strained-looking ‘it’s just like film speed’ metaphor that is ISO, than to think about how best to make use of modern sensor performance.

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Compact cameras used to dominate the market. Every manufacturer made tens of new models each year, typically differentiated by pixel count, zoom range and screen size. Plus, usually, a single model with a tunnel viewfinder for the “no viewfinder, no sale” faction, which almost nobody bought.

They were a huge part of the camera market: twenty years ago, compact cameras made up 88% of Canon’s unit sales.

You might have noticed that this is no longer the case. Smartphones obliterated the mass-market compact camera, initially through convenience and then increasingly by combining multiple exposures to surpass small-sensor compacts in terms of image quality, too.

But there’s been an unexpected consequence of the death of the mainstream compact: the remaining models are the ones that aren’t compact.

Mitchell Clark

This has left us in an awkward position. We always used the term ‘compact’ to mean any camera on which you couldn’t change lenses because, with very few exceptions, they were the small ones. But, now that the mainstream compact has died, we’re instead left with the more ambitious models, the ones whose larger sensors and longer lenses continue to offer things that smartphones don’t. The Panasonic L10 isn’t especially compact, the Sony RX10 V won’t fit in most pockets, the Fujifilm X100 series is almost as large as the rangefinder cameras it mimics and then there’s the Fujifilm GFX100RF.

All of them ‘compacts’ by our standard. None of them particularly compact.

We can’t call them point-and-shoots, because the models that survived are precisely the ones that you do more than simply frame and click with. We can’t call them fixed-lens cameras, partly because it’s just not a phrase we’ve ever heard anybody use, and also because it can be misunderstood as meaning ‘camera with a fixed focal-length lens.’

So what do we do? Is it really worth trying to come up with a new term, to describe what it ultimately a handful of niche products? For now I think we just have to accept that progress has caught us out again, and that most attempts to arrange cameras (or the world) are imperfect, and prone to their original meaning being outpaced by history.

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We recently wrote about the experience of using Canon’s latest RF 20-50mm F4 L IS USM PZ lens for photography, focusing on what it was like to use its manual zoom mode which provides a more satisfying and tactile experience than the typical powerzoom. As usual, the process of writing that article involved – what else – taking lots of pictures in a variety of situations.

You can now see those images in the gallery below, and download the Raws yourself if you want to really dig into its performance. While we were relatively pleased with the images we got out of it, it’s also still clear that this is a hybrid lens that leans towards video use, rather than being a dedicated photo lens. The edges and corners aren’t the sharpest ever, even when stopped down, and it has just okay vignetting performance, with there still being a noticeable improvement going from F5.6 to F8.

Neither of these is likely to be a dealbreaker for photography, and may not even be noticeable in most videos, and it’s worth keeping in perspective just how compact this lens is for something that goes as wide as 20mm, while also being a constant aperture power zoom.

Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don’t abuse it.

Thanks to Canon for the loan of an EOS R5 II to shoot this gallery. All images were processed using our standard lens workflow in Capture One, with the manufacturer’s distortion correction applied but no correction of vignetting. The profile is an essential part of the lens design, especially when shooting at the wide end of its range.

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