Check out the latest used gear at B&H Photo:

• Photo | Video | Lighting | Audio | Drones + action cams
• The store inside the SuperStore: the B&H Used Department
• You can also sell your used camera gear to B&H Photo
• All B&H used items come with a 90-day warranty
• The returns are now extended until January 31st, 2026
• Here is the B&H used equipment rating system:

Check out the used Leica cameras and lenses at B&H Photo

Check out the latest used Pentax and Ricoh gear at B&H Photo

Check out the latest used Nikon gear at B&H Photo

Check out the latest used Micro Four Thirds cameras and lenses at B&H Photo

The post Check out the latest used gear at B&H Photo appeared first on Photo Rumors.

The previously reported Viltrox front lens converters designed for Fuji X100 cameras will be officially announced on December 10th (see the original Fuji conversion lenses; more X100VI accessories can be found here):

• Viltrox WCL-X100VI 0.8x front lens converter
• Viltrox TCL-X100VI 1.4x front lens converter

Additional pictures of the new lens converters can be found here:

First pictures of the Viltrox conversion lens designed for Fuji X100 cameras

What’s coming next from Viltrox?

The post The new Viltrox front lens converters for Fuji X100 cameras will be officially announced on December 10th appeared first on Photo Rumors.

The new 249g Antigravity A1 drone by Insta360 with 8K 360 video is now officially released (see previous coverage), just weeks before DJI drones are banned in the US (December 23rd):

DJI drones will be banned in the US next month – here is your last chance to get one (DJI Black Friday deals)

The new Antigravity A1 drone is priced between $1,600 – $2,000 in the US.

Additional pictures, information, and complete specifications (see also this page):

Immersive Flight Like No Other

A1 defines a new class of drone: the 360 Drone. Unlike traditional quadcopters, A1 relies on a headset-first configuration. where the Vision Goggles are a vital component of the experience, rather than just being an accessory.

This system is designed to be intuitive from the first takeoff. The Grip controller’s FreeMotion Mode translates hand movements into precise flight paths, allowing users to steer simply by pointing the controller.

This “point-to-fly” simplicity makes A1 significantly easier to master than traditional dual-stick drones, removing the steep learning curve that often prevents people from experiencing flight. However, A1 grows with you; FPV Mode remains fully accessible for pilots who demand classic control dynamics.

The experience is fully realized when the Grip is paired with the Vision Goggles. Powered by industry-leading Pancake optics and dual 1-inch Micro-OLED (2560×2560) displays, the goggles mirror the pilot’s head movements in real-time. Together, these three elements combine to create a seamless interface that allows users to have a truly immersive experience of the sensation of flight, rather than simply piloting a drone.

8K 360 Capture Made Simple

At the heart of A1 lies a dual-lens 1/1.28-inch sensor system capable of recording 8K30fps, 5.2K60fps, or 4K100fps in full 360 degrees. Every flight captures the entire environment in one pass. No gimbal adjustments, no missed angles. The “fly first, frame later” workflow lets users choose perspectives in post, from cinematic pans to creative effects like Tiny Planets or deep subject tracking. FlowState Stabilization ensures the footage remains smooth and steady, even in windy conditions.

Compact, Compliant, and Ready for Travel

Weighing just 249g with the standard included battery, A1 fits in the palm of your hand and complies with EU C0 class and similar sub-250 g regulations worldwide. It offers up to 24 minutes of flight time, or up to an extended 39 minutes of flight time via an optional high-capacity battery, combining portability with performance.

A retractable landing gear system protects the bottom lens during takeoff while maintaining an unobstructed view for invisible-drone shots.

Share the Adventure with Sky Path

The new Sky Path system gives you ultimate control over your flight. It allows pilots to design, save, and automate complex flight routes. Once you’ve configured the perfect path, you can let A1 fly itself. This frees you to sit back and simply enjoy the immersive journey without touching the controls, or focus purely on creative direction. Creators can execute precise, repeatable flight paths to stitch together the same route at different times for stunning transitions and effects.

Sky Path also transforms the A1 into something that can be shared. As the drone flies its route autonomously, hand over the Vision goggles to friends or family. It allows anyone, regardless of skill level, to instantly access the joy and immersion of 360 drone flight, turning a solo passion into a group adventure.

Intelligent Flight, Limitless Creativity

A1 comes packed with intelligent tools that make professional results accessible to everyone.

• Sky Genie: Sky Genie takes what professional pilots usually master in years, and offers it in seconds. With a single tap, A1 executes complex 360 maneuvers like Orbit, Spiral, and Comet, delivering instant, cinematic results.
• Deep Track: Powered by Insta360’s renowned tracking technology, Deep Track locks onto your subject with unwavering precision, handling framing of your shot, keeping a target centered with superior accuracy.
• Virtual Cockpit: Flight meets fantasy. Through an immersive overlay, take flight in real-time with a dragon, turning a standard flight into a mythical journey. Expect more skins over the coming weeks as A1 releases.

Built for Longevity and Responsibility

A1’s user-replaceable lenses and propellers make the drone easy to repair, cutting down on return shipping and material waste. For added peace of mind, Antigravity Care offers affordable replacement and flyaway protection, keeping everyone flying with confidence.

A core part of this design is the payload detection system, a first for consumer drones in this class. This smart safeguard actively detects excess weight or unsafe modifications, preventing the drone from being used for purposes it was not designed for. This technology ensures the A1 remains a force for fun, creativity, and exploration, never the opposite.

A Creative Ecosystem Across Mobile and Desktop

A1 integrates seamlessly with the Antigravity app and Antigravity Studio desktop software. The software supports quick transfers, automatic reframing, color correction, and auto editing tools. From instant social-ready clips to professional-grade exports, creators can manage their 360 workflow in one connected ecosystem.

The editing process is designed to be powerful yet easy to use. The software’s automatic highlight editing finds the best moments from your flight, allowing creators to get polished, ready-to-share videos with just a single tap.

Recognized Worldwide

Since its unveiling, Antigravity A1 has received some of the industry’s highest honors, including the Red Dot Award: Design Concept 2025, TIME’s Best Inventions 2025, the Good Design Award 2025, and the ‘Best of Innovation’ title in the CES Innovation Awards 2026. A1 was also the recipient of 20 awards from top media outlets at the recent IFA 2025.

Specifications

The post Antigravity A1 drone officially released with 8K 360 video, just weeks before DJI drones are banned in the US appeared first on Photo Rumors.

The previously rumored Leica M Safari lenses are now officially announced, together with a new Glossy Black version of the Leica Summilux-M 50 f/1.4 lens:

• Pre-orders: B&H Photo + Glossy Black | Calumet Photo | WEX Photo
• Additional information
• Additional pictures:

Leica released four new M-mount lenses with different design variants (Safari & Glossy Black)

The new Leica Summilux-M 50mm f/1.4 ASPH Glossy Black lens

Via LeicaRumors

The post Leica released four new Safari & Glossy Black M-mount lenses appeared first on Photo Rumors.

Image: Leica

Leica has introduced new color variants of select lenses in its lineup, bringing its popular olive green colorway to three M-mount primes. The company has also announced a glossy black 50mm lens in its Classic lineup.

The new Safari lineup of lenses includes the Summilux‑M 35mm F1.4 ASPH., Summilux‑M 50mm F1.4 ASPH. and Summicron‑M 28mm F2 ASPH. All three lenses feature a silver-chrome brass focus tab, the feet scale in red and the meter scale in white. Otherwise, the lenses keep the same optical design and features as the standard black and silver versions, but with the matte olive green finish found on Safari edition camera bodies.

Image: Leica

Leica is also offering a glossy black finish of the Summilux‑M 50mm F1.4 Classic. The glossy finish is meant to wear through to brass over time, giving a vintage look to the lens with use. As with the Safari edition lenses, the finish is the only change on the Summilux‑M 50mm F1.4 Classic.

In addition to unveiling the Safari and glossy black lenses, Leica also announced that the M EV1 is now available for purchase in the US. The camera was already available elsewhere, but a delay in FCC approval meant it was not cleared for sale in the US at the time of launch in October.

The Leica Summilux‑M 35mm F1.4 ASPH. Safari is available now for $6795, the Summilux‑M 50mm F1.4 ASPH. for $5495 and the Summilux‑M 50mm F1.4 Classic in glossy black for $4595. Those interested in the Leica Summicron‑M 28mm F2 ASPH. Safari will have to wait a bit longer; it will be available on February 12, 2026, for $5995.

Buy now:

Product photos: Mitchell Clark

This week, Sony announced the a7 V, the latest enthusiast-class mirrorless camera to use a 'partially stacked' sensor to achieve the fast readout speeds required for high-speed bursts and video. It's entering a market segment with stiff competition, both from other cameras using similar sensor technology and ones that achieve pretty similar performance even without it.

To see how it competes, we'll compare it to similarly positioned cameras – the Canon EOS R6 III, Panasonic S1II and Nikon Z6III – in a variety of categories. We'll largely leave out comparisons with the a7 IV for now, as we'll be discussing it in more depth in an upcoming article.

Price

As this segment of the market has become more capable (and as inflation and, in the US, tariffs have continued to raise costs), the price tags on the cameras have also risen. The a7 V is in the same ballpark as competitors like the Canon EOS R6 III and Nikon Z6III, though it's the most expensive among the three. And not just because it's the most recent release.

It is, however, still a fair bit cheaper than the Panasonic S1II, at least in the US. In the UK and EU, the prices for all four cameras are more evenly matched, with the Z6III being the only one that really stands out as considerably cheaper.

Resolution and speed

Like its predecessor, the a7 V has a 33MP sensor, which provides 16% more linear resolution than the 24MP models used by Panasonic and Nikon. Sony has joined those companies in using a "partially stacked" sensor, though, which uses more complex circuitry to increase readout speeds.

Canon's sensor in the EOS R6 III provides a similar level of resolution and, at first glance, speed, despite the company using an FSI design. However, it's worth noting that in e-shutter mode, it drops to a 12-bit readout rather than a 14-bit one, which is a concession the other models don't have to make in most circumstances.

It's hard to say whether that difference will end up being mostly academic, though. The Canon's lower bitrate readout hurts dynamic range, resulting in more noise in the deepest shadows. But while the specs make it seem like the a7 V will maintain more dynamic range during continuous shooting, we've also seen that partially stacked sensors can have less dynamic range in their e-shutter modes, which may make the difference in bit depth less consequential in practice.

The issue is most prevalent on the Z6III, as it happens in all of its shooting modes, whereas the Panasonic S1II can achieve better dynamic range when using its mechanical shutter. However, it can't maintain that performance while using its electronic shutter because of the impact it would have on its rolling shutter rates. Sony says the a7 V will also be able to get great dynamic range when using its mechanical shutter, but early reports indicate that its DR drops in e-shutter mode, suggesting there'll be a price to pay there, too.

Viewfinder and screen

The tilting/articulating mechanism on the a7 V and Panasonic S1II also gives you plenty of clearance for microphone, headphone and HDMI plugs when shooting video.

The a7 V hasn't made any big strides with its viewfinder, which, like the Canon's, is starting to feel a little dated, but its rear display is among the best in class. Not only is it larger and higher resolution than the ones Canon and Panasonic use, but it features a mechanism that lets you tilt it in line with the sensor, while also being able to fully articulate it for shooting at odd angles, or taking video of yourself, all without fouling the ports on the side of the camera.

All four companies give you the option to run the EVFs at a very responsive 120fps. Panasonic and Nikon's are higher resolution, which can be nice when reviewing photos, and the Z6III's can reach up to 4000 nits peak brightness, making it more visible even in harsh sunlight. Sony advertises that the a7 V has "blackout-free" shooting, though we'll have to test whether it truly continues to live refresh the preview as you're pressing the shutter, or if it's achieving the blackout-free effect by displaying the previously shot frame, as competitors like the Z6III and EOS R6 III do.

Autofocus

The a7 V gains Sony's latest autofocus system, which we've found to be one of the most capable around when it comes to tracking and overall reliability. It offers a wide array of autofocus selection points, for both tracking and non-tracking, and like with Canon and Nikon, its general tracking system works in conjunction with its subject recognition one. If the camera recognizes a subject under or around your selection point, it'll track it using the dedicated algorithms for it; otherwise, it'll attempt to track whatever is there. Panasonic takes a different approach, requiring you to switch between generic tracking and subject recognition.

Speaking of, like all the cameras in this comparison, the a7 V can recognize several subject types: humans, animals, birds, vehicles and planes, and is alone in offering a dedicated insect mode. It also has part recognition, narrowing in on a person, animal, or bird's eye, or the nose of an airplane.

Sony also offers an "Auto" mode, like Nikon and Canon, and allows you to select which subject types you'd like to be included in it.

Continuous shooting and pre-capture

The a7 V can shoot at a very respectable 30fps with its electronic shutter and, like most of its peers, has an option for pre-burst capture, where the camera will start saving images to the buffer when you initiate autofocus, and then write them to the card once you've fully pressed the shutter button, which can help you capture a moment even if you're a bit late to the draw. Its framerates aren't quite as high as those from Canon and Panasonic (though again, see the discussion about the EOS R6 III's 12-bit readout in burst rate, and the Sony's potentially reduced DR despite its 14-bit readout), but they should still be sufficient for all but the quickest action.

Sony's edge is in its pre-capture configurability. Panasonic only lets you use pre-capture with its "SH" burst rates (so 30, 60, or 70fps), and Canon is even more restrictive, with its pre-burst capture setting only usable with its 40fps mode. Sony, meanwhile, lets you use it in each of its e-shutter burst modes, and lets you fine-tune how far back you want it to save, from a mere 0.03 seconds (1 frame at 30fps) before you fully pressed the shutter to a whole second. Both options make it easier to avoid having to sort through dozens of pictures taken before the most important moment.

Battery

When it comes to battery life ratings, Sony is clearly the standout. The a7 V is rated to get over double the number of shots using the EVF compared to the EOS R6 and S1II, and has a 75% lead over the Nikon Z6III. We're looking forward to testing it more to see if it has to make compromises, such as dimming the screen after a very short period of inactivity, to get such a high rating, but we're used to Sony squeezing a lot from its large NP-FZ100 batteries.

While the CIPA ratings aren't typically reflective of the literal number of shots you'll get out of a charge, they work as an indicator of what kind of experience the camera will provide, and it seems like the a7 V will let you go a long time without having to use a charger...

Ports, storage and connectivity

The a7 V is the only camera in this comparison to lack a dedicated remote trigger terminal... though theoretically you could use the second USB-C socket as one, provided Sony updates its remote to use the more modern cable type, instead of the microUSB / Multi terminal one that this replaces.

... which is funny, since it has double the number of charging ports as its competitors. The a7 V features two USB-C ports, one mainly meant for data, which supports speeds up to 10Gbps, and one for power delivery, which tops out at 480Mbps. This setup will let you charge the camera while tethering, without draining your computer's battery, or let you plug in potential USB-C accessories while also charging the camera or transferring data from it.

Canon, Panasonic and Nikon's cameras each only have a single USB-C port; the EOS R6 III and S1II's at least run at the same 10Gbps, while the Z6III's is 5Gbps.

The a7 V is also the first mirrorless camera we've seen to support the Wi-Fi 6E standard, which should let you transfer images off your camera wirelessly using the faster (and less crowded) 6Ghz spectrum, provided the standard is certified in your country. The rest of the cameras can only use the 2.4 and 5Ghz bands.

Outside of these two standout specs, the a7 V has the same set of ports that's become standard on this class of camera: 3.5mm jacks for microphones and headphones, and a full-size HDMI port.

HDR shooting

Like the rest of its competitors, the Sony a7 V has the option of shooting 10-bit HEIF files encoded with a high dynamic range tone curve, which will look more vibrant and capable of more realistic highlights when shown on a display capable of HDR playback*. However, you can't capture HDR output files and Raws at the same time on the Sony; it's one or the other. Neither Canon, Nikon, nor Panasonic require this same trade-off, so you don't have to give up editing flexibility for straight-out-of-camera HDR.

* - which may be easier said than done, as HEIF files don't enjoy nearly as broad compatibility as JPEGs do.

Video - resolution, framerates and workflow

The list of video modes in the a7 V is spartan compared to the ones on other cameras, but the ones it has are well-executed.

The Sony a7 V can record full-width UHD 4K footage oversampled from 7K capture at up to 60p, and can do 120fps at 4K with a 1.5x crop. Unlike its competitors, there's no option to natively record the higher-resolution capture, nor is there an open gate recording mode or internal Raw recording (or, indeed, external Raw recording via HDMI), if your shooting requires these arguably niche features.

What will likely matter to everyone shooting video is overheating performance. The a7 V has an apparently very impressive heatsink, with Sony saying you can expect to be able to record 4K/60 footage for up to 90 minutes, while Canon only quotes 23 minutes for the EOS R6 III (though you can get more out of it if you switch out of the oversampled mode). Panasonic promises essentially no limit for 4K/60 recording on the S1II following its most recent firmware update, though that camera has an internal fan to keep things cool, while the Sony does not.

The a7 V lacks the variety of assistance tools that some of its competitors have; shutter angle and waveform monitoring feel like particularly notable omissions, as they make it easier to avoid mistakes in fast-paced shooting environments.

A feature Sony includes that others don't is its "AI Auto Framing" mode, which lets you set up the camera on a tripod and have it crop in on you or another recognized subject, following it around the scene. This can automatically give you a more dynamic shot where you would've had a static one if you're shooting without a camera operator. There are also several controls for it, letting you choose how tight you want it to punch in and how quickly you want it to follow you.

Video - rolling shutter

Given the a7 V's fast sensor, it's no surprise that its rolling shutter is very well-controlled, despite the fact that its 4K modes are derived from higher-resolution capture.

We consider rates below 15ms to be excellent, so we wouldn't expect to see jello-like artifacts in anything but the whipiest of pans, or on the fastest of moving subjects, from any of these cameras. As such, it's unlikely the differences between these cameras will matter for almost all shooting.

The extras

We wouldn't have minded a customizable front-plate button or two.

While Sony has tweaked the ergonomics of the a7 V, those of us at DPReview who've had the chance to hold it still don't find it to be quite as comfortable as the other cameras in this comparison or Sony's high-end models like the a1 II or a9 III. And while you won't find yourself starved for control points, most of the other cameras in this category do have an extra customizable button or two compared to the a7 V.

Sony has implemented a multi-shot high-resolution mode in the a7 V, which promises to capture more detail with less noise. However, as with the similar mode on the Z6III, you have to combine the photos after the fact using desktop software. The Panasonic S1II has a similar feature, but it works both handheld and with a tripod, and is combined in-camera, making it much more versatile. None of these systems will work that well with moving subjects – Sony's and Panasonic's have some level of motion correction, but you lose the benefits in areas of movement – but with the S1II's, it's easier to just try it to see if it works; if not, you'll still capture the image, just without the bump in image quality. Canon doesn't have a comparable mode on the EOS R6 III.

Summary

It's clear that the a7 V is a much better competitor to the latest crop of enthusiast cameras than its predecessor was, and is a strong hybrid offering. And while it's not the most versatile video camera out there, for those without very specific requirements, it looks to be a hugely competent all-rounder, and one that can last all day on a single charge at that. It'd be hard to pick the wrong camera in this category (or, by the same token, to declare one as head and shoulders above the rest).

We'll have to put it through more testing to see if it delivers on its promises of excellent image quality despite its speed, and to see if its autofocus meets our expectations for what Sony is capable of. If it does, it'll be a very strong contender in the market.

Image: Panasonic

Many of Panasonic's lens names can look downright intimidating. Case in point, the Panasonic Lumix G X Vario PZ 45-175mm F4-5.6 ASPH POWER O.I.S. lens. It's certainly a mouthful, and can be a head-scratcher in terms of what everything means. In this article, we'll be breaking down Panasonic's lens terminology to help you read its lens names with confidence.

Mounts, lens class and collaboration branding

Like many other companies, Panasonic starts its lens names with letters or terms that indicate the mount, lens class or any collaborative branding.

Lumix G and S

Panasonic makes cameras with two different mounts: Micro Four Thirds (MFT) and L-mount. The Lumix G lineup consists of lenses specifically designed for its MFT mirrorless cameras, and therefore, they utilize the MFT mount and are not compatible with L-mount cameras. Lumix S lenses are L-mount lenses made for the company's full-frame mirrorless cameras.

Pro and X

The Lumix S Series Pro 70-200mm F4 is an L-mount full-frame lens that's part of Panasonic's Pro lineup. Image: Panasonic

After the letter identifying the mount may come an 'X' or 'Pro' designation, such as in Lumix G X Vario PZ 14-42mm F3.5-5.6 Power O.I.S and Lumix S PRO 24-70mm F2.8. The 'X' series of lenses is exclusive to the MFT system, so you will only see that designation on Lumix G lenses. They sit at the top of Panasonic's MFT lens lineup, offering better build and image quality than those not in the X series.

The Pro series also encompasses top-tier lenses, though Pro lenses are designed for full-frame L-mount cameras. As the name suggests, they are meant for professionals. As a result, they promise more advanced optics with improved weather-sealing and autofocus compared to non-Pro lenses.

Leica DG, Summilux, Vario-Elmarit and Nocticron

The Leica DG Summilux 9mm F1.7 ASPH lens features Leica's Summilux branding. Image: Panasonic

Lastly, some lenses will have Leica-related branding that references collaboration between Panasonic and Leica. The two companies began collaborating in 2000 and have renewed their partnership multiple times since then.

If you see 'Leica DG' on a Panasonic lens, that indicates it was designed and manufactured by Panasonic to Leica's quality standards. Leica DG lenses are designed specifically for MFT systems. In addition to the Leica DG designation, you may see other Leica terms on Panasonic lenses that reference specific features.

Summilux is a Leica name that combines the Latin words 'summi' (maximum) and 'lux' (light). Lenses with 'Summilux' in their name offer a wide maximum aperture, typically ranging from F1.4 to F1.7 on MFT lenses.

Vario-Elmarit combines Leica's 'Vario' (meaning zoom) prefix with 'Elmarit,' which refers to lenses with a maximum aperture of F2.8. Lenses with this phrasing are Panasonic Leica DG zoom lenses for MFT cameras that offer a maximum aperture of F2.8 or F2.8-4 in the case of the Leica DG Vario‑Elmarit 12–60mm F2.8–4 ASPH Power O.I.S. lens.

Lastly, some Panasonic lenses feature the Nocticron branding, which is a Leica trademark that refers to premium lenses with a fast F1.2 maximum aperture.

Lens technology

The Lumix G X Vario PZ 45-175mm F4-5.6 ASPH Power O.I.S. offers power zoom capabilities (PZ), aspherical elements (ASPH) and Panasonic's enhanced stabilization (Power O.I.S.). Image: Panasonic

Panasonic also includes various lens technology features in its lens names, when applicable. These can refer to zoom, stabilization or optical design features.

PZ

PZ is a brand-agnostic term that stands for Power Zoom. These lenses offer an electronic, variable-speed zoom that's designed for video use.

O.I.S and Power O.I.S

O.I.S. stands for Optical Image Stabilizer, which is Panasonic's stabilization system that aims to reduce blur that results from camera movement. The company also offers lenses with Power O.I.S., an enhanced version of O.I.S. for even better stabilization.

ASPH and Nano Surface Coating

Some lenses feature 'ASPH' in the name, which refers to the fact that the lens uses aspherical elements to correct optical aberrations for improved image quality. Aspherical lens elements are a general optical technology used across manufacturers, but Panasonic sometimes calls attention to the feature in the lens name. If you don't see it in the lens name, that doesn't mean aspherical lens elements aren't in use; some lenses simply don't feature the term in their name.

Finally, Panasonic's 'Nano Surface Coating' is a multi-layer anti-glare coating that it applies to lens elements to reduce ghosting and flaring for improved light transmission and color rendition.

My favorite photo I took this year is a reminder that being in the right place at the right time can make all the difference between a good shot and a great one. Sony a7R V | Sony FE 50-150mm F2 GM | 150mm | F2 | 1/320 sec | ISO 800

Picking out your favorite photo that you took in a given year can be a difficult prospect, especially if you're then trying to write something meaningful about it. Which will make for the best article? The one with the best story? The one that taught me something? Or maybe the most aesthetically pleasing?

Thankfully, the choice was relatively easy this year, since there was one that had all three. Our studio in Seattle is only a few train stops away from Pike Place Market, so often when I'm testing a camera or lens, I'll leave for work a bit early so I can walk through it to get some pictures.

Another photo I took that morning. These hallways would usually be packed shoulder-to-shoulder with people during normal hours. Sony a7R V | Sony 50-150mm F2 | 110mm | F2 | 1/250 sec | ISO 2500

I must've woken up extremely early this particular morning, though, because I was there at 7:30, well before the crowds arrived and before most shops even opened. At first, I thought that would make things more difficult; if no one's here, what is there to take pictures of? I was wrong on two counts, though; one, there were at least a few people out and about, and two, being relatively alone in a place usually packed wall-to-wall with people lets you see things that you wouldn't normally see.

This brings us to the fruit stand in question. Normally, the hall behind them would be bustling with people, making it difficult for anyone in particular to stand out, and blocking many of the beautiful neon signs from most angles. This time, though, there was none of that, so I was able to spot the two people standing at the stall, their faces lit by its warm lighting, contrasting the cool dawn light that was just starting to creep into the market.

being in the right place at the right time doesn't do much for you if you don't have the right tool to capture it

Of course, being in the right place at the right time doesn't do much for you if you don't have the right tool to capture it. Thankfully, this time around, I was testing out Sony's 50-150mm F2 GM lens, which is still one of my favorite pieces of photography gear released this year (spoiler alert?). Shooting at 150mm let me really isolate the shoppers from the background, and the fast aperture works wonders with all the artificial lights, melting them away as swirls of beautiful, vibrant color. If someone asked me to sell them on this lens, this picture would be one of my opening arguments.

Of course, it would then have to be followed by some more extremely strong points, since this lens is bonkers expensive. This picture also reminds me how lucky I am that getting to test high-end photography equipment is part of my job; I absolutely could've captured something similar with a much cheaper (not to mention less bulky) setup, but I'm not sure it would've had all of the magic. That means there's almost no chance I would've gotten this picture without this job, so it's hard not to feel at least a little thankful when I look at it.

Not that it's entirely luck. That lens and the a7R V it was attached to would've done me no good if I just spent the morning sleeping in and watching YouTube on the couch. I was only able to get the photo because I made the effort to wake up early and go to a photogenic place. It's an obvious lesson, but one I'll remember going into the new year; the pictures or videos that only exist in my head won't become real unless I go out and make them real. And once I'm out, I may find things I hadn't expected that also make for a great photo.

Honorable mentions

While it was relatively easy to pick a favorite this year, there were a few other shots I took that I feel are worth highlighting. You can check them out in the gallery below.

Canon is rumored to be registering a new high-end EOS camera with dual-band Wi-Fi 6. The camera is currently undergoing wireless certification in Asia (China). This wireless system was previously used in the Canon EOS R1 and Canon R5 II (now $500 off). The following are some possibilities of what this new came may be:

• The new device could be a flagship-level model like the EOS R1 or R5 Mark II, but it might be the EOS R5C Mark II. Perhaps they’ll bring back the 8K oversampling to 4K 60p capability that was present in the original R5C?
• A lower-end model with newer wireless specifications. After all, Wi-Fi 6 (or even Wi-Fi 6E/7) isn’t particularly groundbreaking anymore. Given the recent release of the EOS R6 Mark III, it’s hard to predict which body will get the upgrade next – the R6C successor, R7 Mark II, or R8 Mark II.
• A video-specialized EOS R3C? The LC1720 sensor has a wide range of potential applications. They could combine it with the C80’s card-slot layout and encoding options while putting it in a C500/C300-style cinema body.

Source: E8M_8888

The post Canon is rumored to register a new high-end EOS camera appeared first on Photo Rumors.