85%

Overall score

Jump to conclusion

The Sigma BF is a minimalist 24MP full-frame mirrorless camera that offers distinctive design and an unconventional user interface.

Key specifications

• 24MP full-frame CMOS sensor
• Phase detection AF with human and animal detection
• Full-time HDR capture embedded in JPEGs
• No mechanical shutter
• 3.2" 2.1M dot rear touchscreen
• Pressure-sensitive buttons with haptic feedback
• 6K video up to 30p, 4K up to 30p
• 1080 up to 120p
• Leica L-Log profile
• Zebras and False Color exposure displays
• 230GB of internal memory
• 10Gbps USB-C port, external mic compatible

The Sigma BF is available in Black or Silver at a cost of $2000. Sigma has also made versions of all its i-series primes to match the silver version of the camera.

Index:

• What is it?
• Body and controls
• Initial impressions
• Shooting experience
• Image quality
• Autofocus
• Video
• Sample gallery
• Specifications

What is it?

The Sigma BF is explicitly not trying to be a do-everything, Swiss Army Knife of a camera. Sony's a7C II already exists, bringing an EVF, multiple dials, a mechanical second-curtain shutter mechanism and in-body image stabilization, for a list price just 10% higher than the BF's.

But if Sigma was trying to go head-to-head with Sony in the mass market, it probably wouldn't be spending seven hours milling each camera out of blocks of aluminium, nor doing so in Japan: neither of which is the approach you take if you're primarily driven to hit a specific price point.

Similarly, just looking at the specs, the BF might be mistaken for an unstabilized Panasonic S9 in a fancier body, but despite sharing a sensor, the two cameras couldn't be more different.

Instead Sigma explicitly says the BF is designed for 'everyday' photography. An elegant object designed to be carried with you, rather than a utilitarian device you take when you're taking photos. It's absolutely not optimized for rapid operation, it's not teeming with clever features. Instead it includes only the bare essentials for photography (or, arguably, slightly less than that, given its lack of mechanical shutter).

Think of it like a Moleskine notebook: in many respects it's not as practical for taking notes and recording ideas as the smartphone you're already carrying, but the very process of carrying it with you acts as a prompt to look at the world and capture the thoughts you were having. The BF is trying to do the same.

It's the difference between a camera that you'd grab when you want to go and take photos of something, vs a tool that encourages you to look for things to photograph.

Body and controls

User interface

The best way to understand the BF is to note the dedicated settings display towards the top right-hand corner on the back of the camera. This displays one of ten parameters:

These are also the ten parameters that appear on the main screen if you press the center button on the back of the camera, in the pattern shown in the table above.

You can navigate between them by pressing the cardinal points on the rear dial, then scroll the dial to change the current setting.

Pressing the center button lets you see and edit the camera's core ten parameters, but the chosen setting is also shown in the dedicated settings display to the top right of the screen. In this instance the aperture value is shown in dark grey because it's being controlled from the lens.

But you don't have to press the center button and bring them up on the main screen: once you've learned their relative positions (and chances are it's the ones in the bottom row you'll change regularly), you can navigate around them just using the settings display. And, for me, that's the key to understanding the BF: it's designed so that the core settings can be adjusted without looking at the main screen. You can set the camera to show all the settings on the main screen,

In keeping with this idea, the touchscreen is almost solely used for positioning the AF point or selecting a subject to track: even if you summon-up the settings on the main screen, you can't tap to change settings, just choose what to focus on.

Exposure modes

The BF has no mode dial, so exposure mode is set by selecting which parameters you want to be controlled by the camera. This is done via the main screen. Press the center button to bring up the settings then press it again to edit them, and the ISO, aperture value and shutter speed indicators show 'Auto' options above them, letting you engage and disengage automated control of each parameter.

Any of the exposure parameters that can't be changed by spinning the dial, either because they're set to Auto or because aperture value is being set by an aperture ring, is rendered in darker grey, both in the settings display and on the main screen display.

Other settings

Ten further settings, including the level gauge and options to display information such as focal length and focus distance are accessed via the three-dot button. Navigating down to the word 'System' takes you to the menu where fundamental settings such as date and time are edited.

Another ten settings, six of which relate to how much detail appears on the main screen (exposure parameters, guides, virtual horizon, etc), can be accessed by pressing the 'three dots' settings button. At the bottom of this settings menu is the word 'System' which gives you access to a ten-option-long list of fundamental camera settings, including firmware information, copyright information, menu language and date/time.

That's the extent of the BF's interface: ten top-level parameters, ten settings and ten menu options. But what this doesn't fully convey is the degree to which it's a camera in which Shutter speed, Aperture value, Exposure compensation and ISO can all be set using just the settings display, leaving the monitor solely for focus and composition.

Handling

The BF is a very solid-feeling camera, as you might expect from something hewn from a solid block of metal. The body itself is relatively light but the weight adds up as soon as you mount a lens of any appreciable size on it.

Despite it's minimalist appearance, it's quite easy to hold. The textured front-plate and raised thumb rest at the back mean you can get a pretty solid grip on the camera, and you can cradle the weight of the lens in your left hand if you're working with anything larger than one of the compact primes offered by Sigma or Panasonic.

However, we found that it was common for our ring finger to wrap around to the base of the camera as we held it, which quickly makes apparent how sharply angled the edge of the BF is. It's not hard to imagine users adding a little tape to the lower edge of the camera or being tempted to chamfer the edge with a fine file, once they come to live with the camera.

I've primarily used it with the Sigma 35mm F2 prime and the Panasonic 20-60mm F3.5-5.6 lenses, both of which are small and light enough that it's been comfortable to use.

Electronic shutter

The BF has no mechanical shutter and a sensor that takes 24.8ms to read out. Having seen this sensor in other cameras, this suggests its stills are being captured with 12-bit precision, which will slightly blunt the dynamic range at base ISO.

This readout speed (corresponding to 1/40 sec) also means the camera couldn't sync with a flash at shutter speeds faster than this rate. It also introduces the possibility of rolling shutter distortion of fast-moving subjects and means you're likely to encounter banding when shooting under artificial lights.

It's better news on the video side of things, where a rolling shutter rate of 20.9ms for its 24, 25 and 30p modes (6K, 4K or 1080) isn't too terrible. Things speed up to deliver the 1080/60 mode (10.4ms) and 1080/120 modes (7.8ms), suggesting line-skipping is being used.

Battery

The BF uses a new 11.88Wh BP-81 battery. This will power the camera to a CIPA rating of 260 shots per charge. As always, the CIPA figure will tend to under-represent how many shots you're likely to get, and we found it's the camera's propensity to show its charge percentage on its settings display that caused us to worry a little disproportionately.

Still, a rating of 260 is pretty low and means you may want to consider carrying a power bank if you plan to do more than occasional shots each day. Putting it on to charge overnight, just as you might do with your phone will probably be sufficient for everyday casual use, though.

A gentle press of the power button puts the camera into standby mode, but the battery will continue to drain at an appreciable rate. The BF starts up from cold quickly enough that this is usually a better approach.

Initial impressions

By Richard Butler

Even the body cap is an over-engineered delight.

The Sigma BF is one of the most unusual cameras we've ever encountered. On paper it looks like an under-specced rival to the Panasonic DC-S9 or even the Sony a7C II. Or, perhaps even a slightly re-purposed Sigma fp. But, even though it shares components and a small rectangular body, the BF is quite unlike any of these cameras.

Sigma's CEO, Kazuto Yamaki talked about completely re-thinking the camera's interface to pare it back to the fundamental things a camera needs to offer, in an attempt to make it simple to use, with the aim of making a camera for everyday use. And the more I use the BF, the more I think I understand this intent.

The idea of a dedicated settings display, leaving the main screen as a means of composing your image and positioning the focus point is a refreshingly simple one, undermined only by the challenge of viewing a fixed LCD in bright light. The decision to display only one setting, rather than a full array of settings and icons makes it very quick to interpret and I did find it made me consider what changes I wanted to make, shot-to-shot, in a way I don't on a more conventional twin-dial camera.

Playback mode has three levels of information that can be displayed, this is the most detailed, but you can also opt just to see the top two rows of information, or just the first. Touching, rather than pressing, the playback button lets you review the last image you shot, without entering the full playback mode, for as long as your finger remains on the button.

This really hit home when I realized I prefer to set aperture from the camera, rather than using an aperture ring; I think the camera works best with everything controlled from the settings display, rather than trying to increase the number of control points.

Another surprise was how good the BF's autofocus appears to be. Its subject tracking is very simple to use and impressively tenacious, while its eye detection works well and can be left turned on without minimal risk of the camera prioritizing nearby faces ahead of a different subject you've selected.

There are distinct downsides, though. The lack of mechanical shutter not only means there's a risk of rolling shutter and that the camera can't be used with flash, it also means it's quite prone to banding caused by the inherent flicker of artificial lights. This can be fairly subtle at longer shutter speeds but becomes increasingly apparent in short exposures, limiting its use as an indoor camera, despite a sensor that works well in low light.

Sigma 35mm F2.0 | F4.0 | 1/500 sec | ISO 400 Photo: Richard Butler

Sigma's sometimes quite dramatic color modes may not be to everyone's tastes, and I'm not wholly convinced by the 'Light Source Priority' auto white balance mode, that tries to maintain some of the character of the detected light source. But even when the results are unexpected, they're often interesting.

The BF's battery life is also quite short. An external charger is available, if you want to keep a second battery topped-up, but mainly it's a case of remembering to put the camera on to charge regularly, just as you might for your smartphone.

Other than a slight concern about the sharp lower front edge, I'm really looking forward to spending more time with the BF. It's not a camera that lets you respond quickly to the unexpected; instead it's one that makes you slow down and look for the photos you might otherwise not notice.

Shooting experience

We took the time to spend a couple of weeks shooting with the BF the way it was designed to be used: as a daily companion whose presence would hopefully encourage us to look for photographic opportunities we might not otherwise recognize.

It constantly asked "what are you trying to photograph, and how do you want to capture it?"

It turns out to be surprisingly capable, if seen and used this way, with its unusual but highly focused interface making us think about what we were trying to achieve, with each shot. Find out more in our shooting experience article:

What's the Sigma BF really like to live with?

Image quality

We'll be conducting our full studio tests soon. We'll be testing a series of cameras alongside one another and will add the images to this review and revisit the score as necessary.

In our general use we've found the camera's standard color mode to be pretty good and its slightly more idiosyncratic 'Rich' color mode gives distinctive, and often attractive, results. We've encountered this sensor often enough that we're confident in the Raw results.

Base ISO and HDR

The JPEGs do contain a surprise though: the BF has a base ISO of 320 and an Auto ISO system that likes to use ISO 400 as its lowest setting. This is done to prompt lower exposure levels, capturing more highlight information. This extra highlight information is then used to give highlights with a more gentle roll-off and to allow the camera's undocumented HDR capabilities.

The JPEGs look normal on most displays but they also include a gain map that can be used by devices with high dynamic range displays to make the very bright highlights glow brighter. You don't have to do anything, an HDR version of your image is created within the standard JPEGs.

The downside of this is that, unless you override it by setting the camera to a lower ISO, all your shots with be a bit noisier than they could be, because you're capturing less light for your midtones and shadows, in order to capture more highlights.

There are a few odd quirks beyond this: at present DNGs shot below ISO 320 can sometimes be rendered at the wrong lightness if you try to re-process in-camera, and minor adjustments of the 'Look Effect' of each mode can have an unexpectedly large and unpredictable impact. But generally, we found the Sigma produces interesting-looking images and gives you a good amount of scope to adjust them in-camera.

Autofocus

The BF's autofocus system is very simple: you can either select all-area or specify a single point. You can decide whether subject detection is engaged and whether it is looking for people, animals or both.

The BF's AF is simple but effective, and its eye detection is very reliable. Sigma 35mm F2 DG | F2.8 | 1/100 sec | ISO 100 Photo: Richard Butler

There's also a choice about whether manual focus for fine-tuning is available any time you turn the focus ring or just when the shutter is half-pressed. With focus precision in mind, there's a focus peaking option, with a choice of color and intensity and, in AF-S mode, the option for the camera to show you a zoomed-in view of the selected AF point when focus is achieved.

Generally we'd leave the camera in AF-C mode and all-area focus with subject detection engaged. This way the camera would focus on people's eyes if there's a human in the frame but leaving the option to tap on the screen if there's a specific point we wanted to focus on instead. For the kinds of photos the BF is designed for, this worked 99% of the time (with one instance of having to use manual focus override for a very backlit shot).

The camera's eye detection proved very fast and precise, letting us focus on composition and capturing a good expression, in social situations. It's not a complex system that would be well suited for sports or wildlife shooting, but for casual and social photography, it does exactly what you want, without you really having to think about it.

Video

The Sigma BF has a surprisingly strong video feature set, can accept external mics via USB and is easy to balance on a gimbal.

The Sigma BF has a surprisingly extensive video feature set for such a seemingly minimalist camera. But perhaps it shouldn't be a surprise, given the same sensor underpinned Panasonic's S1H video flagship.

You have the option to shoot 6K (or UHD 4K derived from that same capture) at up to 30fps. Alternatively it can capture 1080 video at up to 120p. Unlike the fp, though, the BF can happily save 10-bit footage as H.265 files, and gains the ability to shoot Log footage using Leica's Log profile (meaning conversion LUTs are available).

The Sigma includes video features that are still relatively unusual on hybrid cameras, including a false color display that applies a colored tint to different brightness regions, to let you quickly assess exposure even when working in hard-to-interpret color modes. It can also let you adjust exposure time in terms of shutter angle, making it easy to maintain correct exposure when switching frame rates.

"Its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work"

It can accept external mics or headphones via its USB socket. We weren't able to test whether its 'Headset' mode, that expects both a mic and headphone connection works with a USB splitter/adapter. The BF is also compatible with the UVC/UAC standards, so can be used as a webcam.

Its lack of stabilization weighs heavily against it for handheld use, but its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work. The single dial interface is likely to be a little fiddly to adjust, once mounted, but if you set the shutter speed (or shutter angle, that's an option) to your chosen value, use a lens with an aperture ring and either leave ISO locked or on Auto, you shouldn't need to change too many settings.

Conclusion

On paper the Sigma BF sounds worryingly like a rebodied Sigma fp: the company's modular hybrid camera that was received as much more of a video rig than they'd intended. Encountered in-person and it risks looking like a design exercise, with all the attendant concerns that it might be style over substance. Actually using the camera dismisses both concerns.

The BF's user interface is perhaps its strongest feature, giving a refreshingly uncluttered shooting experience. There aren't indecipherable icons or pages of menus, just a settings display for your shooting parameters and a rear LCD for composition. It's about as back-to-basics as you can get but, critically, without its minimalism making things awkward.

The Sigma BF doesn't have a large, protruding grip, but the textured metal front means it's easy enough to grip, fairly comfortably (unless your fingers extend around the sharp lower edge of the camera).

It's not an all-rounder by any means. Its lack of viewfinder limits its usability in bright light, its lack of mechanical shutter rules out the use of flash and means you have to pay attention to artificial lighting. Its interface and operation prioritizes considered shooting ahead of the ability to respond quickly. If you're looking for a camera that can do a bit of everything, there are plenty of better alternatives.

However, as a device for capturing moments, and encouraging you to capture moments, it's really rather good. Its interface is genuinely radical and well thought out and I was constantly surprised by how simple but effective its autofocus is.

The Sigma is a lovely device for capturing the world around you. Sigma 35mm F2.0 DG | F7.1 | 1/160 sec | ISO 125 Photo: Richard Butler

Overall I've enjoyed my time with the BF tremendously, and I suspect plenty of other people will, too. I found the experience both fascinating and refreshing: paring photography back to its very essence. It was this focus and simplicity – which shouldn't be mistaken for minimalism for its own sake – that makes the BF so unfamiliar and so compelling. The allegation that it's style over substance is misguided, I believe, as it's the substance, rather than the style that I found most enjoyable. It certainly has some style to it – I don't remember the last time so many friends and strangers asked me what I was shooting with – but it's not something that evoked much of a response, personally.

That's probably too niche a prospect for us to be able to give the BF one of our awards. Those are framed in terms of whether a camera should be on your shortlist. And if there's any other camera on your shortlist, then the BF shouldn't be there, because it's a dreadful substitute for anything else. But that's not its intent and that's not its appeal.

I don't feel we can give it an award, but it's going to take a lot for it not to be my Gear of the Year.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Compared to its peers

As I've tried to argue throughout most of this review, the Sigma BF doesn't really have any direct peers, because it's not really trying to be the same thing as other cameras. If judged on their terms, it's limited and limiting. You can look at the list of what it lacks, by comparison, and write it off. And if you're considering other cameras, then you'd probably be right to do so.

It's barely appropriate to even think of it as a camera. At the most fundamental level a car and a bicycle are both devices to get you from A to B, and yet thinking of a bike as a car that's missing an engine and two of its wheels would be to completely miss the point. The BF and most other cameras are both devices for capturing images, but the way they do it and the experience that you get from them means direct comparison doesn't necessarily make sense.

The BF costs more than Panasonic's S9 because it features much more solid (and expensive) construction and is made in Japan by a company that can't compete with the economies-of-scale larger camera companies can achieve. There's little sign of any significant Leica-esque 'luxury goods' markup, though.

If you want to be needlessly reductive, you could compare it to Panasonic's vlogging-focused Lumix DC-S9. They're both small, single dial cameras with no viewfinders, based around the same sensor and same lens mount. The Panasonic has a flip-out screen, in-body image stabilization and a list price $500 lower. For taking photos I'd choose the Sigma every time.

The S9 has a single control dial but uses the same interface as Panasonic's three-dial S-series cameras. This isn't necessarily a drawback for the vlogging for which it's designed, but having used both for photography, the BF feels pleasantly focused, while the S9 feels maddeningly lacking. If you've never used either, it might look like the S9 lets you get just as much camera, plus IBIS and a lens for the same money. That's a cynical assumption, duly evoking Wilde's line about knowing "the price of everything and the value of nothing".

Sigma BF sample gallery

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One photo a day with the Sigma BF

A photo day in London

Canon EOS R50 vs R50 V

Canon recently announced the EOS R50 V, a camera aimed at creators looking to shoot high-quality video without spending a ton of money. However, it made similar claims about the original EOS R50, which – unsurprisingly, given the name – the EOS R50 V shares a lot of DNA with. They have the same 24MP APS-C sensor and many of the same features.

So what are the differences between the two, and which one should you buy? We'll aim to break it down in this comparison.

Design

Even at a glance, it's easy to tell that these cameras are aimed at different audiences. The EOS R50 looks like a small stills camera, with a relatively deep front grip and a prominent hump at the top for the electronic viewfinder and pop-up flash. On the top is a relatively standard stereo microphone.

The EOS R50 V does away with the viewfinder and flash, giving it a much boxier and slightly larger design. Its grip is less prominent, though this has the effect of making it more comfortable to hold when it's facing toward you. There's also a record button on the front, along with a tally light to make it obvious when you're recording, both of which can be quite useful when you're trying to film yourself. It has an upgraded internal microphone, which Canon says has three capsules to help make audio clearer and to reduce noise. We've found it provides decent audio for vlogging, as long as there's no wind.

The EOS R50 V has an extra tripod mount for vertical shooting.

Both cameras have tripod sockets on the bottom, but the EOS R50 V has an additional one on its right side, making it easy to mount it vertically.

Handling / Controls

The EOS R50 has a shutter button towards the front of its grip, right around where your index finger would fall, and its main control dial behind it.

Looking at the back, it has a stills-focused control layout, with a multi-directional controller and buttons for choosing your autofocus area, setting exposure compensation and locking your exposure. The mode select dial lets you choose from the various exposure modes like manual, shutter priority, aperture priority and auto, and has a setting for video. There's also a separate record button on the top plate.

The EOS R50 V, meanwhile, has a decidedly more video-focused layout. The top plate control dial is towards the back of the camera, and the shutter button has been replaced by a record button, which is surrounded by a zoom toggle switch. The mode dial, meanwhile, flips the script from the EOS R50's: stills are relegated to a single position, while the rest of the modes are for video.

The buttons continue the video focus; while some are the same as the EOS R50's, it swaps some photo functions for quick access to white balance, color options and livestreaming modes. The multi-directional controller is swapped out for a spinning dial, though you can still press up, down, left or right to access specific functions. While we typically prefer two top-plate control dials, this rear-mounted one is better than nothing, especially when taking stills. There's also a button on the top that sets the camera to ignore input from the control dials, so you don't accidentally change your settings while vlogging.

Stills capabilities

The two cameras have very similar stills-taking capabilities. Both can shoot Raws and use electronic-first curtain shutter and a mechanical shutter to end the exposure, which eliminates concerns about rolling shutter in stills and gives you more flexibility if you're shooting with flash.

EOS R50 V | RF-S 14-30mm F4-6.3 IS STM PZ | 21mm | F5.6 | 1/1250 | ISO 100

However, the lack of an EVF on the EOS R50 V can make it difficult to judge your exposure and composition in bright sunlight. You also don't have that pop-up flash to help add some light if you need a bit of fill on your subject or are shooting in a darker environment. The default button layout for the EOS R50 is definitely more suited to shooting stills – you don't have to rely on the touchscreen as much – though spending some time to customize your button layout can alleviate that on the EOS R50 V; you can have separate settings for photo and video modes.

Video capabilities

The EOS R50 has a fair number of video capabilities. Its 4K footage is derived from 6K capture, giving it a bit of extra detail, and it has a microphone jack that'll let you record better audio. It can also shoot 10-bit HDR video, though only in the more obscure PQ response curve.

The EOS R50 V builds on top of that, with some pretty substantial additions: instead of topping out at 30fps for 4K, it can shoot at up to 60fps*, though with a substantial 1.56x crop. It also adds the ability to record C-Log 3, which gives you more flexibility to adjust color, lightness and contrast in post, and a headphone jack, so you can monitor the audio you're recording. If that wasn't enough, it includes false color assistance, which helps you nail your exposure by providing an overlay that makes it clear where your image clips and where your skin tones should be.

While both cameras have a microphone port, the EOS R50 V has subtle tweaks that make it easier to use with one. Unlike with the EOS R50, the screen won't run into the cable when you're trying to flip it out and articulate it. The actual display panel has also been moved over, so the microphone jack will mostly block your bezel rather than your preview.

* The 4K modes above 30p aren't based on 6K capture

User Interface

The EOS R50 and R50 V have similar user interfaces, though the latter has some definite upgrades regarding video. It has an updated menu system for selecting your resolution and framerate. Rather than listing all the possible combinations of framerate, resolution, and codec, it allows you to set all three independently. This takes some getting used to, but gives you more control over what codec you want to record in, which can be especially helpful if you want to edit your footage on a less powerful device.

The EOS R50's Q menu for video mode has the same layout as it does for photo mode.	The EOS R50 V's Q menu for video is a scrolling list that's a bit easier to use when you're in front of the camera.

The EOS R50 V also has an updated Q menu for video mode, giving you slightly easier access to all your settings, as well as the vlogging-specific features it has. We've found that it's a fair bit nicer for switching your most important settings during a shoot, especially if you're shooting vertically: the on-screen display gains the ability to rotate with the camera. The addition of three custom video modes also makes it particularly easy to quickly switch between resolutions, framerates and other settings without having to dive into the menus.

Ports and Connectivity

The EOS R50 has a USB-C port, microHDMI port, and a 3.5mm socket for attaching an external microphone.

The EOS R50 V has all that and more: it gains a single-pole remote terminal that lets you control the camera from afar and has a faster USB-C port. The EOS R50's USB port runs at USB 2 speeds, while the EOS R50 V's can transfer data at 10Gbps; over 20 times faster. That helps when you're offloading footage, but also has the benefit of making it a more capable webcam: while both can be used to stream video to your computer using the UVC protocol, the EOS R50 tops out at 1080p 30fps, while the EOS R50 V can deliver 4K 30fps*.

The EOS R50 V may also wirelessly transfer photos to your phone faster since it supports 5 GHz Wi-Fi as well as 2.4 GHz. The EOS R50, meanwhile, can only use 2.5 GHz.

* The camera can't draw power from the computer when shooting at 4K, only 1080p, so you will be limited by battery life.

Price and Kit options

Body-only, the EOS R50 V costs $649, $30 less than the EOS R50. If you're looking at the kit options, though, the vlogging-focused model is more expensive; you can get it with the new RF-S 14-30mm F4-6.3 IS STM PZ lens for $849. The EOS R50, meanwhile, comes with the collapsable RF-S 18-45mm F4.5-6.3 IS STM for $799.

While the 18-45mm's wider range makes it a better pick if you're shooting a wide variety of subjects, if you mainly intend to vlog, you'll appreciate the wider field-of-view on the 14-30mm. That's especially true if you plan on features that add crops, such as 60 fps or electronic stabilization; the lens is still wide enough to produce a reasonable frame while vlogging. The powerzoom is also nice to have, especially since it's quiet enough that the camera's internal microphones don't pick it up, and you never have to worry about having to extend it when you're trying to capture a moment quickly.

Conclusion

If you're looking for a camera to mostly shoot stills or mostly shoot video, it's pretty easy to pick between the EOS R50 and EOS R50 V. It's a little trickier if you want to do both; while the latter has a compelling list of video features that aren't available on the former, they do come at the cost of a viewfinder, which can also be useful for videographers (providing they're filming something other than themselves).

EOS R50:

However, if you think you'll end up shooting a lot of video, the EOS R50 V has more features and capabilities that will likely come in handy.

EOS R50 V:

Early this morning, DJI released a teaser announcement on its social media channels. The video clip titled "Spin Your World" clocks in at less than 10 seconds. It opens with an aerial landscape shot of snowy mountains and a slight rolling gimbal movement. Coupled with the closing shot of two arms at the forefront and a tri-camera system with the word "Hasselblad" inscribed on top, it appears that DJI is releasing a follow-up to its Mavic 3 series drone.

Leaks of DJI's products and their rumored specs flood online sites and forums months before release. If an overwhelming amount of speculation turns out to be correct, the Mavic 4 Pro will launch next week. As you can tell from the video, DJI has moved away from its traditional boxy camera system for a more spherical design. While it looks odd, the gimbal is rumored to allow more flexibility by enabling the camera to roll up to 175º while tilting in a range of -90º to +70º.

DJI will reveal all the details surrounding its highly anticipated latest release on Tuesday, May 13th, starting at 12:00 PM, GMT (8:00 AM, EST/5:00 AM, PST).

Image: Sigma

Sigma, a Japanese company that designs and manufactures lenses and accessories for a wide range of camera systems, including Sony, Fujifilm, Canon, Nikon and its own cameras is the latest to announce US pricing adjustments due to government-imposed tariffs. The news was delivered via an apologetic letter from Sigma America's president, Mark Amir-Hamzeh. Price increases on its products will take effect on Monday, June 2nd.

"Due to the recent implementation of government-imposed tariffs, our costs at Sigma America have increased substantially. We have made every effort to absorb these added expenses, but the sustained impact of the tariffs now necessitates a price increase to ensure we can continue delivering the quality and service you expect," Amir-Hamzeh stresses.

Orders placed between now and May 31st won't be impacted, and current pricing will still apply. Sigma hasn't specified how much prices will increase, simply saying there will be a "pricing adjustment." The new tariff-adjusted pricing will take effect on June 2nd and will apply to any new or unfulfilled US orders from then onward. Sigma joins Tamron, Canon and a growing list of camera manufacturers whose bottom line is being impacted on the growing cost of conducting business in the US.

Photo: Abby Ferguson

As you start to shop for lenses, you'll come across the terms "prime" and "zoom." But as with most gear decisions, understanding what those are, what their impact is and what you should choose isn't always so straightforward. Each type has pros and cons, so it isn't a simple answer of one is better than the other. Below is a simple outline of what these terms mean and why you might choose one over the other.

What is a prime lens?

Both of these lenses are prime lenses, even though they are vastly different focal lengths. Photo: Abby Ferguson

Prime lenses are camera lenses with only a single, fixed focal length. You can't zoom in or out, and instead will need to move yourself to change your composition. Since there is no zoom mechanism, you can't simply twist a ring on the lens to change what's included in the frame. Instead, your feet become your only way to change what's in the frame, which also changes perspective.

Prime lenses are available in a wide range of focal lengths (how lenses are measured). There are ultra-wide-angle primes, telephoto primes and everything in between. Because of this, you can find a suitable prime lens for nearly any focal length you need.

What is a zoom lens?

Both of these lenses are zoom lenses, with the one on the left covering from 12-24mm and the one on the right covering 24-70mm. Photo: Abby Ferguson

Zoom lenses offer a range of focal lengths in one single lens body. They allow you to zoom in or out without physically moving. Instead, a twist of the lens can change what is included in your composition.

Like prime lenses, zoom lenses come in focal lengths across the entire range. It’s also important to know that zoom lenses can cover multiple focal length categories in a single lens. For example, a classic 24-70mm lens offers a bit of wide-angle, normal and telephoto coverage all in one lens. Some zoom lenses are even more dramatic than that, covering from ultra-wide all the way to super telephoto, though such a range often comes at the cost of image quality.

Zoom lenses can also be limited to just one focal length category. A 70-200mm lens offers exclusively telephoto range, while a 14-24mm lens (on a full-frame camera) only provides a wide-angle point of view. A lens is considered a zoom lens as long as it offers adjustable focal length, regardless of which focal lengths are covered.

Are prime or zoom lenses better?

Photo: Abby Ferguson

For a long time, prime lenses offered superior image quality to zoom lenses, making them the best choice for those wanting the best image quality. While this is still typically true for budget-friendly options, lens development has advanced to the point where zoom lenses are often nearly as good, or even as good as prime lenses. As a result, the conversation comes down to different factors.

Zoom lenses, thanks to their range of focal lengths, are a versatile choice. There are times when physically changing your position or changing your lens (especially quickly) are not options, so being able to zoom with the lens you have on your camera is crucial. Weddings, events and sports photography are great examples of this. If you’re on the sidelines of a football game, you won't be able to back up if a player rushes toward you and gets too close for your telephoto lens to capture. A zoom lens could make the difference between getting the shot or not.

Prime lenses, on the other hand, offer simplicity and can promote a more intentional, thoughtful approach to photography. Because there is only one focal length, it is easier to focus on composition without getting caught up or distracted by changing focal lengths. Since you have to move around to change your composition, you'll likely think more about what's in the frame. Their simplicity means they are often recommended (or even required) for beginner photography classes.

Many prime lenses can be quite compact, making them ideal for travel. Photo: Abby Ferguson

Outside of intentionality and versatility, there are a few other things to consider. While some prime lenses certainly are quite bulky and heavy (like the 135mm at the top of the story), those are typically either high-end lenses or telephoto lenses. Budget primes, especially wide-angle and normal ones, are generally much smaller and lighter than zoom lenses. The more diminutive size makes them ideal for street and travel photography or any other situation where size and weight are essential.

Prime lenses can also offer wider apertures than most zoom lenses, though there are some (quite expensive) exceptions. So, if you need a lens to create a shallow depth of field or will be working in low-light conditions, then a prime lens will be ideal unless you have a large budget for a pricier zoom.

How to choose between a prime or zoom lens

When it comes to choosing between prime and zoom lens, it comes down to your needs, preferences and budget. If versatility is key, either because you can't or don't want to change lenses frequently, then a zoom is the way to go. However, if you're more interested in focusing on composition, need a small, lightweight lens or want something with a fast aperture without spending a fortune, then a prime lens will be your best bet.

Download this image and open on a recent iPhone, Google Pixel or in Preview in MacOS 15 (Sequoia) and the bright edges of the petals should glow. Sigma BF | Sigma 35mm F2 DN | F2.0 | 1/500sec | ISO 200 Photo: Richard Butler

Modern displays in the latest phones, TVs and laptops can show a much wider brightness range and a broader array of colors than before, allowing more lifelike images in a way that could revolutionize photography. But a lack of movement toward a format with widespread support has stifled the progress of true HDR photography.

Now, just as it looks like the industry might be closing in on a standard, Sigma has quietly delivered an intermediate step that gives more impressive images with full backward compatibility.

True HDR

The term 'HDR' has been undermined by its association with wide dynamic range captures crudely tone-mapped for standard DR (SDR) displays. The results were often overdone, frequently looking off-putting and gimmicky.

True HDR is an attempt to convey more of what your camera captured (even in a single, conventional exposure), by taking full advantage of the greater brightness and color capabilities of modern displays. Instead of looking gimmicky, true HDR can present a more lifelike representation of the world that was possible in print or on SDR displays.

It's becoming increasingly common in the video world and on devices such as iPhones to be able to share and view HDR content, but the photo world and camera industry have lagged behind. True HDR imagery really needs more space than the elderly, 8-bit JPEG format can cope with, but nothing else comes close to being as well supported.

What's Sigma's middle ground?

Embedded in the image at the top of the page is this image, a 1/4 resolution 'gain map' that tells HDR displays where to boost the brightness. The result isn't quite as impressive as full 10-bit images encoded with high dynamic range response curves, but they're an interesting stepping stone on the way and can be viewed as normal on SDR displays.

As we were finalising our review of the Sigma BF, we noticed that the JPEGs produced by the Sigma BF look much more punchy and vibrant when viewed on Mitchell's laptop. A little digging revealed that the files include a gain map, which the newer version of Mac OS he was running could interpret.

It's an interesting intermediate step: capturing the main image data in the universally-supported JPEG format but embedding an additional version of the image telling HDR displays which parts of the image should be made brighter.

If you view this image in a supported browser, the highlights on the ferry and snow should be noticeably dazzling. Sigma BF | Panasonic S 70-300mm F4.5-5.6 @ 300mm | F8 | 1/2000 sec | ISO 400 Photo: Mitchell Clark

The result isn't the best representation of HDR that we've seen, not maintaining the subtle and, crucially, saturated colors on the approach to clipping that can convey the bright 'glow' of evening sunshine or light passing through spring leaves that the best can. But it means that more people might be able to get a taste of what HDR photography can offer, while being certain that other people will be able to see at least an SDR version of their shots.

What's the next step?

For the full HDR experience, the industry will probably need to adopt a proper HDR response curve - with the Hybrid Log Gamma (HLG) curve developed by broadcasters NHK and BBC looking most likely - along with a file format that can include the 10-bit data required to encode the additional tonal and chromatic range.

As things stand, HDR broadcasting has been happening for more than a decade, iPhones are merrily creating HDR photos without their users necessarily knowing, YouTube is happy to support HDR video, but the camera industry is still pulling in different directions.

Adobe has finally introduced HDR editing tools to Adobe Camera Raw, but its output formats (AVIF, JPEG XL or 8-bit JPEGs with a gain map) are not the ones camera makers appear to be settling on.

Sony and Nikon have adopted the HLG curve and HEIF format for their cameras while Canon and Fujifilm can both output HEIF files and shoot video using HLG, but can't combine the two. Panasonic used to output HLG photos in a format that never took off, but there are hints that HEIF support is on the horizon.

Being lucky enough to use modern Macbook Pros and having access to Adobe Camera Raw means we're constantly reminded of how much more attractive and compelling HDR could make some of our photos, and frustrated at not having a reliable means of sharing them. While the rest of the industry dithers, Sigma is forging its own path.

Sony is teasing a new flagship device, though this time in the smartphone realm. The company posted a very short video on its YouTube channel to announce the May 13th launch date of the next Xperia 1 phone. The new model, which will likely be called the Xperia 1 VII, comes almost a year to the day after the launch of the Xperia 1 VI.

The 28-second video doesn't reveal much, but it does show off the Sony a1 camera, what looks to be the 70-200mm f/4 Macro G OSS II lens and the 50mm f/1.2 GM lens. It also includes the tagline "Powered by Alpha." Of course, that could mean a lot of things, referencing either software or hardware.

While the Sony Xperia 1 VI's camera system was good, it wasn't spectacular. It featured a 48MP main camera, 12MP ultrawide and 12MP telephoto with 3.5x-7.1x continuous optical zoom, all of which used Zeiss optics. What made the Xperia 1 VI unique was its expandable memory and headphone jack, which are rarities in current phones. Given all the camera references in the teaser, perhaps Sony will surprise us with something exciting camera-wise on the new version to bring back some excitement around its flagship phone.

The brief view of the phone's back reveals a design that looks very similar to the Xperia 1 VI. It keeps the three-camera array and standard rectangular build with flat edges. A graphic at the end features a colorful triangle with a TV, camera and music device at each corner, which likely suggests that the phone will borrow aspects from Sony's Bravia TVs, cameras and Walkman products.

When it was launched last year, the Xperia 1 VI cost roughly $1,300, which was quite pricey given what it offered. It also wasn't available in the US. There's no word yet on pricing or availability for the new phone, but leaked information suggests there won't be a US launch of the new model, either. We'll just have to wait until May 13 for details.

Image: Microsoft

Microsoft unveiled new Surface devices yesterday, along with some improvements to its AI-powered creative apps. The Photos, Paint and Snipping tools were given new features that aim to make editing easier and more intuitive. There is one catch, though: You'll need one of the company's new Copilot+ PCs to access them.

One of the more substantial additions is Relight in the Photos app. It lets users adjust lighting in photos by positioning up to three virtual light sources. Users can adjust each light's color, focus point, intensity and position. It was designed to correct poor lighting or add some artistic flair to an image.

Of course, how well the Relight tool actually works and how natural it looks remains to be seen. Still, it is interesting to see such a (potentially) powerful photo editing tool from Microsoft. The app already had Generative Erase and Background Blur tools, but otherwise, it was a very basic photo editing option. This new feature adds some functionality for those who want a bit more control over their photos without diving into a complicated platform like Photoshop.

In Paint, a new Sticker Generator creates custom digital stickers from simple text prompts. This is ideal for creators who want to generate quick, personal visuals. Object Select uses context-aware selection to detect and isolate elements on the canvas, streamlining detailed edits like moving or erasing parts of an image without manual tracing (like using the lasso tool).

The Snipping Tool features a new Perfect Screenshot option. It detects the most relevant on-screen content and automatically crops around it in a rectangular shape. Text Extractor lets users copy text directly from any image or screenshot and paste it elsewhere. This is useful for extracting quotes or data from infographics. Color Picker enables users to identify any color on their screen with its hex or RGB value.

All of these updates rely on a new, diffusion-based AI model Microsoft says is faster and more accurate. For the time being, they're limited to Copilot+ starting with the Snapdragon X PCs. Support for AMD and Intel-powered systems is promised "later this year," a fairly vague timeline. You can see all of the details at Microsoft's Windows Experience blog.

Pictured: Sony's FX3 camera in action. Due to the subtle updates, the FX3A should look and function essentially the same as the original. Image: Sony

Sony has quietly introduced the FX3A, a subtly revised version of its FX3 full-frame Cinema Line camera. Rather than offer up a next-generation upgrade, the FX3A replaces its predecessor with a small hardware change. The very minor upgrade aims to maintain compatibility with current manufacturing standards.

The only apparent update is a new rear LCD screen, which increases resolution from 1.44 million dots to approximately 2.36 million. The new screen enhances display clarity for monitoring and menu use. While it is a nice update, the swap is necessity-based since the screen found on the original FX3 is no longer manufactured.

The update mirrors Sony's minor, mid-life component revisions of cameras such as the RX100 VA and a7R IVA. While the FX3A isn't the leap some users anticipated with a potential FX3 II, it retains the camera's compact but dependable allure and S-Cinetone color response.

The Sony FX3A is available for pre-order from B&H for $3900, which is the same price that the original FX3 launched at. It's worth noting that, like other recent revisions, it may see a limited release dependent on regional regulations.

Canon's senior management team, left to right: Yasuhiko Shiomi, Go Tokura, Manabu Kato, Tetsushi Hibi Photo: Dale Baskin

"More and more users are using these cameras for video shooting. We have to accommodate this video shooting," says Go Tokura, Executive Vice President at Canon and head of its Imaging Group, when speaking to us at CP+ in Yokohama, in February.

He's describing the change in the kinds of users he's seeing. "I see this influx of video users who are dedicated professionals, and they are saying that mirrorless shooting will suffice for their work. Also at the entry level, we're seeing this prevalence of social media and everyone's doing vlogs now, so the shooting demand from the general public is very high."

But, he says, this doesn't come at the expense of stills capabilities. "We have a foundation as a still camera system. We have to accommodate video users and make it easier to operate." But, he says, "It's more like an add-on of video functionality.”

"We have a foundation as a still camera system."

It's a similar story with lenses, says Manabu Kato, Unit Executive of photo and video business unit: "I think we will stay true to focusing on lenses for still photographers: that presence will always remain for us. However, we do need to always keep in mind the video part of it and what they require in our lenses, so the development will always consider two facets. That means that we have to ensure quiet movement and maybe focus."

"If you try to achieve very good still and video functionality to begin with, this doesn't undermine the still factor," says Tokura. "There's no compromise," agrees Kato.

Upward trend after a difficult period

The need for this broadened appeal can be seen if you look at the market trends, Tokura suggests.

"We're seeing sound growth in the camera market overall. As I look at CIPA’s shipment data, I see an increase of over 10 percent," he says.

But this improvement comes from a low base. "At the peak of interchangeable camera systems, [sales were] about 18 million units, then during Covid and post-Covid, it came down to 5 million. I think we're already surpassed the 6 million threshold last year."

"In ILCs there's still room for growth," he says: "and demand for compacts is growing."

But this upswing comes from an even more diminished starting point, says Kato: "At their peak, digital compacts were selling about 120 million overall units. That has come down to one-fortieth. It has bottomed out but we're seeing a slight uptick these days," he says.

"When you look at the compact camera users today... these are a new generation of younger people, taking cameras in their hands for the first time"

He attributes this to the industry starting to attract a new audience.

"When you look at the compact camera users today, they're not what we call residual users from the past. These are a new generation of younger people, taking cameras in their hands for the first time," says Tokura: "we don't anticipate any great boost, like we saw in the past, but there's a stable healthy growth supported by these younger generations."

The PowerShot V10 and V1 are the first signs of addressing this audience, and won't be the last, he suggests:

"We launched the PowerShot V1 but we are also considering to make sure we cover different needs for these new users, so please look forward to future releases.”

PowerShot V1

Image: Canon

Does this focus on younger users who also shoot video explain the V1's lack of viewfinder, we asked.

'We had to accommodate still shooting," says Tokura. But also, he says: "video shooting for stress-free, long period of time. We considered all these functionalities and then balance it out against the cost. When we did that balancing, we had to say no viewfinder: there's no choice."

"We just made a bold decision. We just said 'let's do it,' see how it goes," he says.

We said we'd seen multiple requests for an optional, add-on EVF, but had heard these don't tend to sell well, and wondered about Canon's experience with accessory finders such as the one for the EOS M6 II.

"I'll be honest, it wasn't that well received," confirmed Tokura.

Developments for stills photographers

With all the advances being made in video, we wondered whether this had taken focus off improvements in stills. Yasuhiko Shiomi, Unit Executive of camera development, says it hasn't:

"We've always been working on the sensitivity, resolution and dynamic range: all of these contribute towards the best image quality possible, and that is going to drive growth for us. We will continue to do this."

"But it’s not just about the technology of image processing,” he says: "What we continue to do is work on capturing moments that could not be captured before."

“We're also looking into deep learning and utilizing AI to benefit us,” says Shiomi: “By integrating all these technologies, I think we can continue to be better.”

A future for HDR photography

We asked whether true HDR technology, that gives a more lifelike image from existing cameras could be a way for stills photos to advance.

Shiomi suggests it's possible "I do believe the current environment is not sufficient to have the public understand or accept it yet," he says: "I know they will, once it's readily available. We've been talking to some significant industry partners, requesting support for this. Once the environment is ready, I'm sure this is something people will find interesting."

Action Priority for everyone?

Go Tokura says he expects the company's context recognition 'Action Priority' autofocus modes to make its way down to lower-end models, in time. Canon EOS R1, RF 70-200mm F2.8 L IS USM Z @ 200mm | F2.8 | 1/1000 sec | ISO 1600 Photo: Mitchell Clark

We also asked what sorts of improvements AI could offer, and Tokura highlighted the Action Priority autofocus modes his company has developed.

"There's the action recognition system in place in the EOS R1. It's quite heavy because you have a CPU, the accelerator and all of this, which makes real-time autofocus possible."

He said the complexity of the processors, the amount of battery required and the cost of developing the feature made it difficult to include in lower-end models.

"Yesterday we were discussing this, I said, 'can't you put more of this in other cameras?'" Tokura says: "Shiomi-san got really upset because it's not that easy," he laughs.

"But, rest assured, I believe that we've always seen the cost and technology become more democratized after a while. It will come down to lower-end models.”

Third-party lenses

And, even with the risk of it becoming an act of theatre, with both sides knowing the role they have to play, we asked Tokura about their policy toward allowing third-party lenses for the RF mount.

"I think the basic philosophy behind it is that whatever makes our series more embraced and prevalent in the world would be my answer. Our strategy is formulated based on 'how happy can we make our customers,' so that would be the standard in selecting a partner."

"We were expecting this question, since it comes up every year,” he smiles.

But, just as we were about to pack up our recorders and notebooks, Tokura added an intriguing postscript to his statement:

"I think one day we're going to be sitting here again and saying the environment has changed and the situation has changed," he says. And, referencing the licensing of Sigma and Tamron's APS-C lenses: "So maybe it's just a slight sign we're starting to see."

This article is based on an interview by Dale Baskin and Richard Butler at CP+ 2025. It has been edited for clarity and flow.

Panasonic is teasing an upcoming product announcement with a scheduled YouTube Livestream. The brand is holding details close to its chest, with the placeholder only revealing the Lumix branding. The caption doesn't reveal any additional information, other than the time of the reveal, which is scheduled for May 13th at 2:00 pm UTC.

The company also posted on its Instagram page, which at least had some movement to the teaser. It shows swirling greens and purples on the black background, reminiscent of the aurora. Still, there's no shadowed camera like many teasers include (such as the recent Fujifilm teaser), so there's no trying to make out details to guess what it may be.

Panasonic's most recent release was the Lumix DC-S1RII, which came out in February this year. That camera was a high-resolution full-frame camera with 8K video capabilities. It seems unlikely, then, that it will be something in that same vein, but we'll have to wait and see.

If you want to be sure you don't miss the live stream, you can choose to get a notification from YouTube come the big day.

Photo: Capture One

Capture One, an editing software known for its Raw processing and tethered shooting features, has announced updates to its platform. The update brings a new retouching feature and a slightly updated workflow for managing folders. It also revealed a bit of a branding refresh in the form of a drastically different logo.

Retouching with Capture One

The new Retouch tool will automatically recognize faces and can select up to 20 per image. Image: Capture One

With this update, Capture One wanted to improve efficiency, allowing you to do more in the app. While the software already offered a healthy list of editing tools, most retouching needed to happen outside of Capture One, with programs like Photoshop. Now, though, it has added a Retouch toolbar with a Retouch Faces tool.

The Retouch Faces tool automatically detects faces to make retouching quick and easy. It can detect up to 20 faces, though with a group that big, you likely aren't seeing many facial details to justify retouching. Each face is assigned a number, allowing you to work through everyone simultaneously or adjust the retouching for each face separately.

The Retouch Faces feature has five main adjustments: Impact, Blemishes, Dark Circles, Even Skin and Contouring. The Blemishes option retains skin texture, beauty marks and scars while removing blemishes, resulting in a more natural-looking retouch than other methods. Capture One's demo showed the tool in action, which essentially looks like an automated version of Photoshop's Spot Healing brush.

The Blemish option has a sliding scale that lets you control what's appropriate for each image and subject: low numbers focus on larger blemishes, and larger numbers remove smaller ones. It looked quite effective during the demo, but we haven't had a chance to test it out ourselves.

The Retouch Faces tool offers multiple settings. Image: Capture One

When you do want to smooth out skin texture, you can use the Even Skin feature. Under this option are two sliders: Amount and Texture. The Amount option reduces contrast in certain areas. In the demo, it was extremely subtle, with a barely noticeable impact. David Grover, the Global Manager of Product Training at Capture One, said the team has discussed making the slider more aggressive come launch because of this, so you may see more obvious results in the actual release. The Texture slider, which is set to zero by default, is slightly more dramatic and can help you reduce skin texture by making contrast more uniform across the entire face.

The Dark Circles slider helps remove darkness under the eyes. Again, it keeps the skin texture and wrinkles to maintain a natural look. Grover described the Contouring option is essentially an auto dodge and burn tool, helping to create stronger contours on faces. It accounts for existing highlights, once again keeping things natural without making it look like a light source was added in post. Finally, the Impact slider changes the effect of all of the other sliders. So, if you think you went too far with everything, you can dial it all back at once without going into each individual option.

Given some of the automated tools in this retouching framework, it's reasonable to wonder about AI usage. When asked about this, Grover said the retouch feature only partially relies on AI. He explained that it uses AI to detect the face and create a mask (which is not editable or accessible outside of the retouch tool). However, the process for removing blemishes is a combination of what he described as traditional image editing techniques and AI. Capture One didn't specify if this is generative AI or machine learning. Based on how Grover described it, it seems like the latter, though it isn't entirely clear.

The Retouch tool will work during tethered sessions as well. Photo: Capture One

Capture One is often used by photographers who shoot tethered to a computer during sessions, so the company made sure that the Retouch features work while shooting tethered. It can even apply the retouch effects automatically as you shoot. Grover explained that it's especially ideal when working with people who are not very comfortable with having their photo taken, since they are able to see a more finished product while you are still shooting. Additionally, if you know you like certain settings for every photo, you can save your settings, just as you can with color grading options, making it faster to edit.

Workflow updates

The new Session Builder feature makes it easier to create sub-folders for each shoot. Image: Capture One

Capture One has also updated its workflow for the first time in 15 years. Users can now create sub-folders for Sessions using the new Session Builder tool, making it easier to keep files organized for shoots. Creating sub-folders was previously only possible outside of Capture One, meaning you'd have to drag them into the app to sync to the catalog. Plus, if you frequently use the same folder structure for shoots, you can save that as a preset, saving you time on future shoots.

The new workflow features and the retouching tools are available in open beta as of today. You can download the beta app from the Capture One website.

A new logo

Logo: Capture One

Finally, Capture One unveiled a new brand identity. The new logo moves away from the easily recognizable blue and purple circular form with a one in it. Instead, it's been simplified and is now devoid of color. Interestingly, it looks quite similar to the Creative Commons logo and copyright symbol.

Photo: Greggory DiSalvo / iStock / Getty Images Plus via Getty Images

Summer is nearly upon us for those in the Northern Hemisphere, and with that comes travel and holidays for many. You likely want to document those vacations at least somehow, which could mean bringing a camera along. If you're traveling by plane, that may raise some questions or concerns about whether you're allowed to bring your camera with you. As seasoned photographers and travelers, we've got the facts on what's possible for traveling with your cameras.

Are cameras TSA-approved?

Photo: Abby Ferguson

If you are in the US, the Transportation Security Administration (TSA) has plenty of rules about what you can and can't bring to the airport and on planes. Luckily, cameras are approved by the TSA in both carry-on and checked bags. Each country has its own version of the TSA, but the same is typically true for other countries' airport security agencies as well. However, it's always a good idea to check the regulations of the country you are traveling to and from, just to be safe.

Important things to know about flying with a camera

Spare batteries need to be kept in your carry-on. Photo: Abby Ferguson

While the TSA approves cameras in checked luggage, most cameras rely on lithium-ion batteries, which complicates things slightly. Official advice from the TSA is that batteries kept in cameras can go in checked bags. However, some airlines and staff may expect you to include them in your carry-on. When in doubt, check with your airline and keep them accessible. Also, if you are taking along spare batteries, those are always prohibited from checked bags, so they will need to be in your carry-on.

Also, while cameras and lenses are approved, they may get flagged for additional screening while going through security. That means security personnel may need to take the camera or lens out of your bag for a closer look or even swab the gear to test for explosives. This entirely depends on the airport and the individual security agent, but it is good to be aware of this possibility.

If you travel frequently from the same airport, you may be able to pick up on trends that can help you pack your gear more efficiently. For example, I know that my local airport will always flag my bag for additional screening if I carry spare lenses. As a result, I now ensure my lenses are easy to access, which speeds up the process for everyone.

Can you fly with film?

Photo: Abby Ferguson

Analog photographers have even more to consider when flying. While film cameras and film are TSA-approved for carry-on and checked bags, X-ray and CT machines at airports can damage undeveloped film. This is especially true of newer CT machines, as they are stronger than traditional X-ray machines. Because of this, the TSA suggests keeping your undeveloped film and cameras with undeveloped film in your carry-on and asking for a hand inspection at the security checkpoint.

Of course, security personnel may not always be willing to hand-inspect your film or camera. If they are too busy, they may require it to go through the scanners. However, it is always worth asking (just do so politely).

Images: © Andrew Wille

Meme culture thrives on exaggerated content, and depth or restraint is often an afterthought. The viral "What I See vs. What I Take" trend is different. It's recently filled Instagram feeds with before-and-after images. The trend showcases the cluttered, everyday scenes a photographer encounters, followed by the tightly framed, intentional image they ultimately create. When executed properly, it's a solid lesson in composition. To better understand the skill and decision-making that goes into crafting a compelling photo, we spoke with two creators, Andrew Wille (@andrewoptics) and Hux (@huxterized). Here's what we learned.

Start with a clear subject

For Wille, every image begins with identifying a focal point. "I like to start by choosing a clear subject – something I want the viewer’s attention to be drawn to first," he explains. "From there, I build the scene around that subject." This approach helps remove distractions and gives structure to the photo.

Images: © Hux

Locking in a subject helps you frame everything else in relation to it, especially in complex environments. Hux echoes this sentiment, though he focuses on the emotional pull of a scene. "It’s less about what’s in front of me and more about how it speaks to me. I’m drawn to simplicity – clean, minimal compositions where lines, shapes and colors quietly hold power."

Choose the tools you're most comfortable using

Andrew shoots with a Sony a7R II or a1 and his Sony 100–400mm GM lens. Telephoto lenses like this do more than bring subjects closer; they compress background elements and make it easier to isolate subjects to simplify a busy environment. "With a longer lens, you naturally have a narrower field of view," he says. "So I follow the light, texture or unique details and let those guide where I point my lens." Long lenses can also help keep you safe. If you want to capture an oncoming train or the painted lines of a highway, you're better off doing so from a distance.

Images: © Andrew Wille

While long telephoto lenses unlock different types of images, they aren't always the most practical. After all, they are very large and quite expensive. Hux's images are a great example of what you can do with what you have on you. His photographs are all shot on iPhone models ranging from the iPhone 8 to the 16 Pro Max. He likes to activate the phone's grid to help with composition when aligning elements.

Edit with intention

Both photographers stress the importance of editing with intention. Before adjusting brightness or contrast, they recommend asking two simple questions: Where should the viewer look? What should they feel? This means using light and color to guide the eye. Andrew's process involves brightening key areas and darkening distractions to subtly direct the viewer's attention. He also uses color to build emotion. Warm tones often feel energizing or triumphant, while cooler tones convey solitude or calmness.

For his architectural shots, Hux advises cropping for composition and keeping color enhancements minimal. "Avoid over-editing, especially with colors," he says. "Less is often more when it comes to a clean, timeless look." He uses tools like Snapseed and Lightroom’s Geometry panel to straighten lines and correct distortion. These subjects also thrive on symmetry, so some post-processing will make a profound difference in your overall composition. "I aim to keep all the lines straight – it creates a clean, pleasing look for the viewer," he explains.

Images: © Hux

Capturing several variations of a scene from different angles, then selecting and cropping with a critical eye gives you a better chance of creating something stellar. Take lots of shots, even if you aren't satisfied with them initially. Sometimes the best composition reveals itself in post-processing. Don’t be afraid to reframe your shot while editing, especially when using high-resolution cameras.

Conclusion

Stripping away distractions, isolating a subject, and using the right tools with purpose can help you transform an everyday scene into something extraordinary and visually compelling. Whether you’re shooting with a dedicated camera or a smartphone, the same core principle applies: strong composition is about what you choose to leave out as much as what you include.

Image: Leica

Firmware Friday is back, and there are a fair number of updates this week. The most significant comes from Leica, in the form of a massive change to video recording options on the SL3 and SL3-S. The latest version allows for internal ProRes 422 HQ video in Cine 6K or Cine 4K recording with a CFexpress card. That's a massive boost from the previous support for ProRes that maxed out at 1080p. Multiple other Leica cameras also saw smaller firmware updates. There were also small fixes for Nikon's Z30 and the Hasselblad X2D 100C, as well as new firmware for select TTArtisan and Viltrox lenses.

Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.

Leica

Image: Leica

SL3 and SL3-S update 3.1.1 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.
• New video formats for C4K and C6K.
• Access to the function Headphone Volume is now additionally available via the menu Audio in the Video section, and via the FN button.
• The function Magnification can now be activated and deactivated by pressing the joystick.
• When making changes to the icon assignments in the Control Center, the function assignment list will open with the currently assigned option presented in the list as the starting position.
• The former menus Film Style and Video Style (accessible via JPG Settings) were integrated into the Leica Looks menu, and their menu items will now be accessible via the Main Menu.
• The firmware update process was optimized. Following a firmware update, all previous settings will remain unchanged, and the dialogue “Do you want to save profiles on SD card?” will no longer be displayed. A battery charge level of around 25% will now suffice for starting the update process.
• Electronic shutter speed 1/16000 s will now be available for P/A mode.
• The function AF-ON can now be combined with the functions Eye/Face/Body Detection and Animal Detection.
• An icon with an asterisk will be displayed alongside the User Profiles icon in the Control Center and the sidebar if settings were modified after profile activation.
• In case of a joystick assignment, the function AF-ON will now be saved to the user profile.

Image: Leica

Q3 43 and Q3 update 3.1.1 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on
  ecodesign are supported.
• New menu section AF Settings, where AF Sensitivity and AF Speed can be adjusted individually.
• The menu item AF Tracking Start Position was moved to the menu area AF Settings.
• New setting option for continuous shooting with autofocus: 5 fps, 12 bit, AF.
• The function Toggle Focus Point is now accessible via the FN button.
• Electronic shutter speed 1/16000 s will now be available for P/A mode.

D-Lux 8 update 1.5.0 (iOS), (Android) or the camera's menu (instructions)

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.
• Bugfixes in the firmware.

M11, M11 Monochrom, M11-P and M11-D update 2.2.2 (iOS), (Android) or the camera's menu

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.

SL2 and SL2-S update 6.2.0 (iOS), (Android) or the camera's menu

• The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.

Nikon

Image: Nikon

Z30 update for Version 1.20 (Mac) and (Windows)

• Fixed an issue where, in rare circumstances, the camera would stop responding when the camera was turned on together with the monitor opened from its storage position with the screen facing inward while [Pairing (Bluetooth)] or [Wi-Fi connection] under [SETUP MENU] > [Connect to smart device] was set to ON.

Hasselblad

X2D 100C update 4.1.1 (Download and instructions)

• Fixed stability-related issues.

Lenses

Image: TTArtisan

TTArtisan AF 14mm F3.5 APS-C for Sony E-mount, Ver. 11

• Fixed a bug that caused the in-body image stabilization to not work.
• Optimized compatibility with some models.

Viltrox AF 25mm F1.7 Air XF v. 1.0.3 and Viltrox AF 35mm F1.7 XF v. 1.0.5 for (iOS) and (Android)

• Fixed known issues.

While Viltrox didn't elaborate on the issues on its download pages, reports from our forums suggest problems with autofocus. At the same time, other sites reveal unwanted vignetting and inconsistent performance in low-light environments. However, there isn't any confirmation that these specific bugs have been fixed.

That's all for this week. Make sure to check in every Friday for the latest firmware update news. Have a great weekend and happy shooting!

Images: DxO, Ilford, Aperture, SmallRig

Happy Saturday, everyone! We've officially made it to the weekend, which means it's time to take a look at new accessories that came out this week. This week was a quiet one gear-wise, but we saw some new film, software updates, a cage from SmallRig and a 60th anniversary photo book. First, though, let's get into the deals.

Deals of the week

Photo: Sony

The Sony a7 IV has earned many recommendations from the DPReview team since its launch. It's been picked as one of the best cameras for street photography and one of the best affordable cameras for sports. It's even more affordable right now, too, selling for $500 off.

If Nikon cameras are more your thing, you're also in luck. The Nikon Z8, which was picked as Richard Butler's Gear of the Year in 2023 and earned a DPReview Gold Award, is also $500 off right now.

Protect your investment

Image: SmallRig

Speaking of the Sony a7 IV, SmallRig released a new modular cage for the hybrid camera this week. It offers full protection on all sides, a genuine leather-wrapped handle and an integrated Arca-Swiss plate. It's currently available for purchase in all regions except for the US, where it won't be available until June 7th.

An updated way to edit

Image: DxO

DxO is celebrating its 30th anniversary this year and unveiled a new logo and tagline to celebrate. It also launched Nik Collection 8 this week. The Nik Collection is a series of seven plugins that work with various programs, but can also function as standalone apps, too. The update brought new masking tools, making it easier to go back and forth between Photoshop and Nik Collection while using masks.

The company also updated Nik Silver Efex, its black-and-white editor, with an updated workflow. You can see all of the updates, download a free trial or update your version at the DxO website.

Stock up on new stock

Images: Ilford and Hannah Gross

This week brought a new film stock for analog photographers. Ilford released Kentmere Pan 200, an ISO 200 black-and-white film. The company says it offers fine grain and enhanced contrast for shooting in most situations. It's available in 24 exposures, 36 exposures, 35mm bulk lengths and 120 format.

A new edition of a classic book

Finally, something a little different. Aperture, a non-profit photography publisher established in 1952, has released the Sixtieth Anniversary Edition of Edward Weston's The Flame of Recognition. The monograph was initially issued as a hardcover in 1965, though some of the work was included in a 1958 edition of Aperture magazine. It brings together sequences of Weston's images with excerpts from his writing to, in his own words, "present clearly my feeling for life with photographic beauty... without subterfuge or evasion in spirit or technique."

The Flame of Recognition covers the range of Weston's works, including portraits and nudes, to landscapes and still lifes. It's available for purchase now through Aperture's website.

Read last week's roundup

Photo: Mitchell Clark

Our May editor's challenge is now open for submissions. The theme this month is human-powered travel, so we're looking for photos of people moving through the world under their own power, using means of transportation mundane or exotic.

Some examples: people walking, hiking, skateboarding, biking, roller-blading hand pedaling – whatever gets them places without a motor.

The challenge is open to photos taken at any time. The last day for entry will be Saturday, 17th May (GMT).

IMPORTANT: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration. Please remember to include a caption or your submission will be deemed ineligible, and we'll ask you to resubmit it.

Visit the challenge page to read the rules and submit your photo

After you've submitted your photo to our editor's challenge, be sure to check out some other community-run challenges. You can vote for your favorites in RHES' "Simple subject" challenge and, starting Monday, Dr.Lex's "A Big Year 2025" challenge. You can also submit entries to RHES' "Look What I Have for You!" and Dr.Lex's "Fortnight 51" challenges.

Photo: Mongkol Chuewong / Moment via Getty Images

Travel can be stressful, and figuring out how to pack your cameras and lenses can certainly add to that stress. All that gear can take up a lot of space and add quite a bit of weight, which isn't always feasible to keep with you during a flight. So, what do you do when packing camera equipment in your carry-on isn't an option? You resort to checked luggage.

Can you put a camera in checked luggage?

The simple answer to whether or not you can put a camera in checked luggage is yes. Most countries and airlines allow cameras and lenses in checked baggage, provided they don't result in your bag exceeding the airline's size and weight limitations. The main potential restriction is lithium batteries.

Most countries' airport security rules say you can have a lithium battery in a device within your checked bag, provided the device can't power on. However, airlines (or even specific personnel) may have their own rules. It's always a good idea to check prior to catching your flight, and to keep your camera at least somewhat easily accessible in case you need to take the battery out at the last minute. If you're bringing spare batteries along, those must always be in carry-on, no matter what airline you're flying.

Should you put a camera in checked luggage?

Photo: Barney Britton

While you can put your camera in checked baggage, the bigger question is whether you should. Your bag will have quite a rough and tumble journey from getting checked in to being picked up at your destination. Luggage handlers aren't typically known for being all that careful with bags, so there is a risk of your camera and lenses getting damaged in transit. Plus, theft is another potential concern, as is your bag getting lost by the airline.

Of course, there are times when checking your camera may be unavoidable. If so, you'll want to ensure your gear is packed securely with plenty of padding and rigid structure. Don't simply toss your camera or lens at the top of your duffel bag and hope for the best. Something like a Pelican case or at least a hard suitcase would be best. An airport security-approved lock isn't a bad idea, and insurance for your gear certainly doesn't hurt, either. Also, small trackers like AirTags, Chipolos or Tiles could give you some peace of mind.

Image: General_4530 / Moment via Getty Images

Over the weekend, the United States and China agreed to a 90-day suspension of most tariffs imposed since April. This latest development could offer short-term relief in an ongoing trade dispute that has disrupted global shipping and raised prices for US consumers. Previously, the US had paused its tariffs for other countries, though it had excluded China from that pause.

In a joint statement released this morning, both governments said the pause would allow time for continued negotiations. US Treasury Secretary Scott Bessent confirmed the "90-day pause" agreement following talks with officials in Geneva, stating that "reciprocal" tariffs would be reduced by 115% on both sides. US tariffs on Chinese goods will drop to about 30%, while China will reduce its levies to 10% on American imports.

The previously proposed tariffs from early April involved US tariffs of up to 145% on Chinese imports and Chinese tariffs of 125% on US goods, which slowed trade significantly. Major ports reported sharp drops in traffic, and the international shipping and logistics firm DHL Express suspended shipments to the US with a declared value of over $800.

Sigma America, Canon and others have already announced their plans for increased prices as a result of the US-China tariff war. Tamron also announced that it was shifting where its lenses are manufactured based on the tariffs. What this pause means for those companies is unclear. Given that it's a temporary solution, it's unlikely we'll see any walkback on plans to increase prices.

Officials on both sides characterized the Geneva talks as productive. "It's important to understand how quickly we were able to come to an agreement," said Jamieson Greer, a senior US trade representative. For now, with tariffs temporarily eased and talks ongoing, all manufacturers and importers can do is watch and wait. Hopefully, the pause becomes a path toward resolution rather than a delay before the next disruption.

Image: DJI

DJI has announced the Mavic 4 Pro, the latest addition to its prosumer camera drone lineup. The successor to the Mavic 3 Pro introduces a new 100MP main camera with a redesigned spherical "Infinity Gimbal" that allows for full 360º rotation and 70º upward tilt. It also promises a longer battery life and an improved transmission system with a new pro-grade remote.

Image: DJI

The Mavic 4 Pro keeps the tri-camera system introduced with the Mavic 3 Pro. The main camera's 28mm (equiv.) focal length offers a slightly narrower perspective than its predecessor's 24mm (equiv.). It features a newly developed 100MP Type 4/3 (17.4 x 13 mm) CMOS sensor with an adjustable F2.0 to F11 aperture. It supports 6K/60p video, which is up from the Mavid 3 Pro's 5.1K/50p. The main camera also supports 4K/120p slow-motion recording and up to 16 stops of dynamic range. Additionally, the camera features Hasselblad's Natural Color Solution, promising realistic-looking, accurate colors.

The second camera features a 70mm (equiv.) telephoto lens equipped with a 48MP Type 1/1.3 (10 x 7.5mm) sensor, fixed F2.8 aperture and 14 stops of dynamic range. The third camera is a 168mm (equiv.) telephoto lens with a 50MP Type 1/1.5 ( 8.3 x 6.2mm) sensor, fixed F2.8 aperture and 13 stops of dynamic range. The medium telephoto camera supports 4K/120p slow motion recording, while the second telephoto camera offers a slightly lower 100fps at 4K.

All three cameras support HDR video recording at 4K/60fps (up to 6K/60fps for the main camera) with 10-bit D-Log, D-Log M and HLG color profiles for greater control when color grading. Additionally, DJI offers free Rec.709 LUTs (Look Up Tables) for all of its drone models.

A photo captured on the Mavic 4 Pro's 168mm camera. Image: DJI

The Mavic 4 Pro promises up to 51 minutes of flight time, five minutes longer than the last model. Equipped with DJI's OcuSync O4+ transmission system, it offers a 10-bit HDR transmission range of up to 30km (18.6 miles) and overall range of 41km (25.4 miles). While you would never fly such a long distance, the likelihood of disconnection in urban areas and environments with high interference is reduced.

DJI says its ActiveTrack 360º system can track a subject even in low-light scenarios and keep it in focus even if it disappears behind obstacles like bushes. Six fisheye sensors give it omnidirectional obstacle detection at speeds up to 18m/s (roughly 40 mph). That means obstacle avoidance will be deactivated at higher speeds, such as when operating the drone in Sport mode.

Image: DJI

The Mavic 4 Pro pairs with the new DJI RC Pro 2, a remote controller equipped with a 7-inch Mini-LED display. The display can rotate, which DJI says will instantly sync with the drone's gimbal to coordinate vertical shooting. It also offers HDMI output and 128GB of internal storage. The controller provides up to four hours of battery life and native audio recording with the built-in mic or when paired with DJI Mic series microphones.

Mavic 4 Pro Fly More combos include the Parallel Charging Hub. Image: DJI

The Mavic 4 Pro's standard version includes 64GB of internal storage, while the Creator Combo will give you 512GB and supports ALL-I 4:2:2 video encoding. QuickTransfer enables fast file transfers up to 80MB/s over Wi-Fi 6, and footage can be offloaded without powering on the drone via direct USB-C connection.

The DJI Mavic 4 Pro is available for purchase as of today for £1879 (with tax) and €2099 (excluding tax) for the drone only. The DJI Mavic 4 Pro Fly More Combo with DJI RC 2 costs £2459 / €2699, while the Fly More Combo with the new DJI RC Pro 2 costs a steeper £3209 / €3539. The DJI RC Pro 2 remote on its own is priced at £879 / €999.

You may notice there aren't any US prices listed above. That's because the Mavic 4 Pro isn't coming to the US. When asked about this, and if it was related to a potential ban on DJI drones, a DJI representative said, "The Mavic 4 Pro has obtained all necessary approvals and clearances, including FCC certification, for sale in the United States." That means DJI is allowed to sell the drone here, but is choosing not to, potentially as a result of the US tariffs. That may leave the option open for the drone to eventually make its way to the US, but only time will tell.