Hasselblad launched Phocus Mobile 2 in 2019, as an iOS-only app for editing Raw files from its medium format cameras on phones and tablets. Now, the company has announced Phocus Mobile v1.0.0 for Android, finally bringing the mobile workflow to Android users with the X2D II 100C, X2D 100C and 907X + CFV 100C.

Like the iOS version, Phocus Mobile for Android includes a robust set of editing tools, including exposure, curves, white balance, sharpening, cropping, lens correction and more. It also supports batch adjustments and basic asset management with the ability to add ratings and mark favorites. Images can be imported over Wi‑Fi or, for those using the X2D II 100C (with firmware version 1.3.16.1 or later), via USB‑C. Files can then be exported as Ultra HDR JPEG, HDR TIFF, as well as standard JPEG, TIFF, HEIF or 3FR Raw.

Hasselblad says that the Android app brings its end-to-end Natural Color Solution (HNCS) to mobile, allowing for a consistent look whether editing on desktop or mobile. The app supports HDR viewing and editing for X2D II 100C files on compatible HDR devices. It also features the company’s AI-powered Raw noise reduction, which it says is tuned for its 100MP sensors. The noise reduction tool offers two modes, allowing users to prioritize either cleaner files or better micro-contrast.

There are some hardware caveats, though. The app requires an Android device with at least 12 GB of RAM and Android 12 or later. That said, Hasselblad recommends Android 16 or later and devices powered by Snapdragon 8 Gen 3 or newer for the best experience. Given that the phone needs to handle 100MB files, that shouldn’t come as much of a surprise.

Hasselblad’s Phocus Mobile for Android is now available on the Google Play Store for free.

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After more than a month of drama, the 2026 FIFA World Cup is finally heading into its finale, with the last games set for this weekend. Over the course of the tournament, a small army of photographers has been crisscrossing stadiums to keep pace with the matches and the stories unfolding around them.

One of them is Maddie Meyer, a Getty Images staff photographer who has spent this World Cup on the touchline and in the stands, documenting everything from tunnel nerves to wild celebrations. Meyer took the time to speak with me between matches, sharing insights into what it’s like to cover such an event and how she stays on top of her game.

Finding her way

Getty Images

While Meyer was always interested in photography, she didn’t start out wanting to be a sports photographer. She grew up in Washington, D.C., playing soccer and thinking she would follow the path of Doug Mills, a prominent New York Times photographer she’d known since childhood. “I’ve known him since I was 8, and I looked up to him so much,” she said. “I remember his pictures from the Torino Olympics and thinking this might be the coolest thing I’ve ever seen.”

Meyer recognizes that having Mills to look up to early on was quite important for her path. “It was so cool to have somebody in my life so early to show me this is a job you can have,” she told me. “He was super encouraging; he said the only difference between me and you is I’ve worked hard at this for 40 more years.” Meyer kept shooting through middle and high school and went on to study photojournalism at Ohio University.

She still thought she wanted to be a White House photographer until she started working with her college athletics department and realized how much she loved traveling with teams and being outside. That led her to apply for a Getty Sport internship in New York City, which quickly felt like the right fit. “I loved the pace and the scale and the intensity of it. After I graduated from college, I got hired in Boston in 2015. I have been here ever since, and I still love it,” she said.

Managing the chaos

Maddie Meyer – FIFA/FIFA via Getty Images

At this point in her career, Meyer is no stranger to long days and constant travel, but this World Cup has been especially demanding, with matches held in 16 cities across 3 countries. Group play was the most intense stretch, with 50 Getty editorial photographers bouncing between host cities to cover 72 group‑stage matches. “We were traveling the day of sometimes, so it was like, wake up, take a flight, check into the hotel, head to the stadium,” said Meyer.

Once she’s at the venue, the workday around a single match stretches to roughly 10 hours. Meyer said that the Getty team at a game (generally two to three photographers during group play) typically arrives about five hours before kickoff. They start by setting up remote cameras behind the goals and photographing the dressing rooms. When the teams arrive, the atmosphere shifts quickly. “Some of the African teams come and actually sing down the tunnels and the hallways with drums, which is really cool,” she described. “So I love that right off the bat, sometimes you get a really interesting cultural taste right away.”

From there, Meyer follows the team as they walk the pitch and go through their warmups, then moves into one of her favorite moments: the tunnel. “What I really like is getting access into the tunnel, where there aren’t other photographers, so to me, those are some of the more genuine moments that we see of these athletes before they step out and see these tens of thousands of people,” she said.

After the final whistle, one member of the crew typically goes out on the pitch with a steadicam. “I really love getting closer to those players, whether it’s the celebration, the dejection, it feels a little bit more intimate than using those really long lenses to photograph the action,” she said. They wrap up the day by capturing the press conferences and packing up before heading to the next city.

The long hours and frequent travel can wear anyone down, so Meyer leans on small rituals to keep herself steady. including bringing small things from home and making time for movement. She likes to bring a few comforts from home and find regularity where she can. “I love having my good-smelling soaps in the shower, little things that make me feel like I’m not just sitting in the rain in my raincoat all the time,” she explained. “I also always try to get some sort of exercise in, either walking or in the gym, just kind of moving my body, because most of the time, we’re kind of curled up in these weird positions.”

She also explained that sleep is non-negotiable. “I really believe I can do anything in the world if I have 8 hours of sleep,” she said. “I tell my colleagues, too, listen, if we’re not sleeping and we’re running between places, let’s be really gentle with each other the best we can, because we’re running on fumes sometimes.”

What goes on behind-the-scenes

Maddie Meyer – FIFA/FIFA via Getty Images

Meyer and her teammates certainly have their hands full during an event. She told me that she typically has four cameras in action during World Cup matches: one remote camera behind the goal, and three on her. She usually fits those handheld cameras with a 400mm lens, a 70-200mm, and, depending on her placement, something wide-angle to catch close action. Across the team, there are multiple remotes behind each net, all positioned to cover key moments around the goals.

Before kickoff, Meyer sets up the remote camera’s exposure and focus, making sure it’s ready for action near the net. She explained that the remote cameras behind the goals are hardwired, as there’s far too much interference to rely on wireless connections during matches. It is still manually triggered, either by remote editors or by someone nearby using a foot pedal.

From the opening match on June 11 to the final on July 19, the Getty Images team will have shot more than 2.6 million images. Thankfully, the photographers aren’t working alone. The Getty Images FIFA World Cup team consists of 115 people, including 20 editors in New York who help oversee operations and are ready to receive images as they come in.

“They have a diagram of where everybody is. So after a goal is scored, they’ll say, ‘Oh, that’s in Maddie’s corner, take a look at what she’s sending us.’ So they’re able to prioritize whose work they want to look at to get those pictures out quickest,” Meyer explained. She works under a “tag and send workflow,” meaning she looks through and sends pictures that she wants the editors to see, often within seconds of something happening.

The remote cameras are handled differently. Those are set to send all of the images to New York as soon as the cameras fire. Once the editors have the photos, they crop, tone, caption and send the pictures out for use. A Getty Images representative told me that they can have photos ready within 30 seconds of capture, often before television replays are available.

Meyer explained that the current process is vastly improved from when she first started. “In 2015, I photographed the Women’s World Cup, and it was self-edit, so I had my laptop out on the sideline, and it was super challenging,” she explained. “Versus now, it’s just such a win for everybody. The editing team does a way better job than me out in the sun, squinting into my laptop. And also, I’m able to shoot more and really focus on the game.”

Staying prepared

Maddie Meyer – FIFA/FIFA via Getty Images

With so much happening around each match, Meyer tries to go in as prepared as possible. “I think it’s always great to understand the key players and some of the storylines,” she said, noting that her European colleagues have been especially helpful since they see many of these players regularly and can flag people to keep an eye on.

More than scouting, though, Meyer focuses on her particular location for the match. “We’re assigned where we’re shooting, and so I really think about the backgrounds, how the game is gonna kinda flow,” she said. She went on to explain that she’s also very intentional about which moments are hers to photograph, versus ones that are better for her colleagues to capture. “I really think this is my little piece of the pie, this portion of the field,” Meyer said. “I’m gonna really think about what lenses show off what’s going on here.”

Meyer said she also thinks about her mom a lot when photographing. “She’s a big Maddie fan, but not a big sports fan,” she said. “And I always think, what would I tell her about today? What makes this different? What makes this interesting? What makes this special?” She uses that mindset to make sure she’s telling the bigger story, making it interesting for more than just die-hard soccer fans.

Another challenge Meyer faces is making her pictures feel distinctive. “Sometimes the photos do end up looking the same as the person sitting next to you,” she explained. “I try to think about lens choices – can I shoot really wide to show atmosphere? Tight to show details or faces? A very shallow depth of field to highlight the action? That can be where the difference comes into play when our position can’t be unique.”

A favorite moment on the world stage

Maddie Meyer – FIFA/FIFA via Getty Images

As the 2026 World Cup nears its end, Meyer doesn’t hesitate when asked about a favorite moment from the tournament: the Egypt–Argentina match. She was roaming rather than in an assigned spot on the touchline, which she said presents a fun challenge, since she can go anywhere and doesn’t have set compositions and backgrounds in mind as she does otherwise.

There had been lots of back and forth, but Egypt was up towards the end. She got a message saying they would have access to the Egypt locker room, asking whether she would go in with them if they won. “I was like, okay, do I leave before the match is over to wait outside their locker room, or do I stay up a little bit longer?” she recalled. Then, Argentina scored, and she decided to go with the Argentina fans and figure out how to get to the locker room later if she had to.

“The Argentina fans are incredible,” she said. “These people are so passionate. They travel so well. They have the instruments. They’re just out of their minds in the best way that you want to see.” She also told me that she loves how much they want everyone involved, and they are not shy about having a photographer in their midst.

“They ended up winning, crying, shirts off, screaming, and I have all these pictures with a 15mm, and all these people, it’s like, babies, old men, young people, and that was super memorable to me, of just kind of being in that chaos,” she said. “Being on the pitch, it feels pretty high pressure as a photographer, but up there, I was like, I’m in this. And they’re like, ‘Get in here, sister!’ I’m like, okay, I’m not celebrating. I’m gonna photograph you celebrating. One of the guys took my phone and was like, ‘I’m taking pictures of you!’ It was just, like, the rails have come off up here.”

For Meyer, that moment captures a lot of what makes the World Cup special. “What I think is so fun about the World Cup is just how passionate these people are, and getting to be maybe a little bit too close to them even was great,” she told me.

Beyond the World Cup: why the small games matter

Maddie Meyer – FIFA/FIFA via Getty Images

While Meyer is photographing on the big stage these days, she is quick to stress that professional events aren’t the end-all, be-all. “Even though I love being at the World Cup, it’s not all about the World Cup,” she said. “There’s so much joy, and sometimes, frankly, better pictures in the smaller events, in the high school, in the college, in the MLS, NWSL, all those types of things.”

It’s a good reminder that although big events like this get most of the spotlight, smaller events are important, too. “As much as I love it, and I love talking about it, I never want people to leave talking with me, thinking it’s this or nothing, because there’s a picture to be made at every single level,” Meyer said.

You can see more of Meyer’s work on her Instagram or through Getty Images.

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