Image: Sony

Sony has released an update for its ZV-E10 II that unlocks better slow-motion capabilities from the tiny vlogging-focused camera. While the addition of 4K120p recording is free, it isn’t delivered as a standard firmware‑only update.

Instead of being able to install new firmware, the typical way releases like these are disseminated, ZV-E10 II users will instead need to install a free license file. To do so, users can go to the Sony Creators' Cloud website and sign in with their account to obtain the license. Alternatively, you can generate a license without an account by entering your camera's serial number.

The upgrade also adds support for shooting Full HD footage at 240 fps.

In addition to the 4K/120 mode, the upgrade also adds support for shooting Full HD footage at 240 fps. There are some limitations with both additions, however. First, proxy recording isn't supported with either of the new frame rates. Additionally, Smart Zoom, Clear Image Zoom and Digital Zoom are also restricted when 4K120 recording or "slow and quick*" frame rates of 120 fps or higher.

The higher frame rate also comes with a more substantial crop. At 4K60, the ZV-E10 II uses a 1.1x crop (with stabilization off), while the updated 4K120 mode results in a 1.6x crop, which is a relatively substantial change in your field of view.

While the upgrade license required to unlock the new recording modes requires some extra steps compared to a typical firmware update, it being free makes that a bit easier to swallow. It also makes the ZV-E10 II an even more capable and versatile vlogging camera.

You can learn more about the 4K120 Upgrade License in Sony's help guide or head to the Creators' Cloud to upgrade.

* Sony's term for footage that's slowed down or sped up in camera.

The Kickstarter project for the world’s first  Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses for E/Z/L mount is ending tomorrow with  over $537k raised. Here are the details:

• Three focal lengths — 50mm, 75mm, 100mm
• Fast, accurate AF
• Weighing only around 620g
• Unified 136° focus throw with dual-scale markings (imperial & metric)
• 1.33× constant squeeze for authentic 2.35:1 widescreen look
• Smooth, creamy bokeh with distinctive cinematic character
• Two flare styles – Blue (futuristic) / Neutral (natural)
• Consistent color tone across focal lengths
• Professional control with AF/MF switch, aperture lock & de-click, customization
• Weather-sealed build · 3-year replacement + lifetime service

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The post Ending tomorrow: the world’s first Sirui Astra 50mm/75mm/100mm 1.33X full-frame autofocus anamorphic cine lenses on Kickstarter (E/Z/L) appeared first on Photo Rumors.

Images: Sony / Mitchell Clark

It's not terribly often that I get to test something that's unlike any other piece of equipment I've used before, but from the moment I laid hands on it, I knew the Sony FE 50-150mm F2 GM would provide one of those rare occasions. I'd used both Sony's and Canon's 28-70mm F2s before, but was excited to have that same speed and level of versatility in a telephoto zoom. All the lens had to do was have decent image quality, and I'd have been delighted.

Given that this is a Gear of the Year article, you probably won't be surprised to hear that it surpassed that benchmark. Even wide-open, I was impressed by how sharp it was, capturing as much detail as I wanted (at least, in the razor-thin silver of the scene that was in focus). I was also impressed at how well it handled chromatic aberration, even in relatively harsh conditions. Sure, there's a touch of color fringing in this image, but given that it was taken with a zoom, wide open in direct sunlight, it's more than acceptable in my book.

Beyond any technical aspects, though, there was just something about this lens that I really enjoyed. Perhaps I simply really enjoy this focal range. Or maybe it was the amount of subject separation I could achieve at the long end, the quality of the bokeh at F2, or the fact that I could be taking environmental portraits at one moment, spot an animal in the distance, and get a decent picture of it without having to change lenses or get too close to it.

Realistically, I suspect it's actually that this lens offers all of that, without being impossible to lug around and shoot with. Make no mistake, this lens is definitely a commitment to take with you; it's just not an undue one. In fact, it weighs less than Sony's original 70-200mm F2.8 GM OSS, though the newer version of that lens is 30% lighter than the 50-150. I'm not exactly known for packing light, so take this assessment with a grain of salt, but I never hesitated to take it out with me on a photo walk while I was testing it, which hasn't always been the case with other F2 telephotos I've tested (not that those lenses are particularly comparable).

The elephant in the room is the price. At $4000, most of the people buying this lens are likely to be professional sports or wedding photographers, rather than enthusiasts. But having had the opportunity to use it as the latter, I find myself envying those who can justify getting one. While I'll always preach the gospel of finding ways to be creative with what you already have, I'll also acknowledge that sometimes a piece of gear – especially lenses – can just catch you in a certain way, meshing with your creative instinct in a way that others don't.

I got that feeling shooting with the 50-150mm F2; if I had the means, I would definitely be picking one up. The engaging experience of using it made it my favorite example from what's been an impressive run of lenses from Sony: the 16mm F1.8, 100mm F2.8 Macro GM and the 28-70mm F2 from late last year. I'm left wondering what their optical division will come out with next... and impatiently waiting to get to shoot with it.

Sample gallery

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My favorite photo from this past year was of my favorite season, in one of my favorite places and taken with my current favorite camera. Mamiya RB67 | Kodak Portra 400

I am a notoriously indecisive person and rather hate making decisions in most situations. So, when tasked with choosing my favorite photograph from the past year, I immediately started agonizing. How on earth is one to select only a single photo that, theoretically, represents an entire year?

With that in mind, I started combing through the thousands and thousands of images I've created this year. I've documented hikes, vacations, work trips, family time and quiet moments at home. I've also participated in numerous local photography club photo walks. The end result is an overwhelming number of images across a diverse set of subjects and genres to choose from. As I scanned through all of them, one kept popping back into my head.

If you aren't familiar with the Mamiya RB67, here I am using it at the beach. This wasn't where I took the image at the top of the article, or immediately below, but it is where I took the image of the stilt house in the gallery at the bottom. Photo: Anthony Verdi

I took the image while I was home in Minnesota, where I grew up. I try to make a pilgrimage there every fall, since I've lived in tropical environments for the past six years and desperately miss dramatic seasons. This year, I lugged home my Mamiya RB67, which my husband gave me for Christmas last year and is my new prized possession.

While I've taken plenty of images that I really like with that camera over the course of the year (some of which you can see in the gallery below), this one stands out to me as a favorite. There's no grand story behind it; the light was simply nice on my last evening at home, and I wanted to finish the rolls of film in my cameras before my flight the next day. So I wandered down to the pond in my parents' backyard with my mom and took some images (admittedly with three separate cameras, as any sane photographer would do).

I remember when I got scans back, it stopped me in my tracks. It's an image that I'm very proud of, especially since I managed it on a camera with no built-in light meter and no autofocus. The colors, the light and the subject tick a lot of boxes for me. That it was taken with my beloved film camera in one of my favorite places makes it even better for me. Add to all that the fact that my mom was standing next to me, watching me do my thing, and it's hard to imagine not choosing this image.

Another image that I took on the same roll of film that evening, which others have said is their favorite.

At the risk of rambling about far more than a single photograph – which is the point of this article – let me address the potential elephant in the room: yes, I'm highlighting a film photo at Digital Photography Review. But, you see, 2025 was a year of returning to film (which is how I learned photography) in earnest for the first time since I earned my Master of Fine Arts a decade ago. Some may see that as a foolish or even pointless decision, but I love using film for many reasons. I still use digital cameras constantly (I do work at DPReview, after all), but there were plenty of times this year that I left the digital camera at home in favor of my trusty Pentax K1000, or that I turned to my Mamiya instead of my Sony.

As a result, my list of favorite photos from the past year is a mix of both digital and film (both 35mm film and medium-format). And since I am so indecisive, here are some of those that nearly made the cut of my top image.

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