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.
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.
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.
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.
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 rage of Weston's works, including portraits and nudes, to landscapes and still lifes. It's available for purchase now through Aperture's website.
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.
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.
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.
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!
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.
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.
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.
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.
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).
Firmware Friday is back, and there are a few minor, but necessary, updates for Nikon's Z30, especially if you're a blogger or content creator on the go. Lenses from Viltrox and TTArtisan also received some updates, though the actual fixes for the former are pretty vague. A reader also tipped us off to the Hasselblad X2D 100C update, released early this morning (thank you). 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.
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.
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!
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.
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.
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.
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.
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.
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.
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.
Video and broadcast are a fair way ahead of the photo industry with increasingly widespread support for HDR display. At present, YouTube is the most reliable way of us sharing HDR content.
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.
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.
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.
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).
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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.
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 2.5 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).
Tamron recently built a second factory in Vietnam.
Photo: Tamron
Quarterly financial results for brands are trickling out, and a common theme so far is the impact of the US tariffs on production and pricing. Last week, Canon publicly discussed that it would be raising prices, likely only in the US, because of the tariffs. Now, Tamron has released its Q1 financial results, with the release detailing changes to production in response to the tariffs.
While Tamron's materials for its Q1 financial results don't share as much as Canon's, they do provide some insight into what the brand is doing in response to the US tariffs that went into effect at the beginning of April. In the materials, Tamron calls out that it is looking to "strengthen the global tripolar (Japan, China, Vietnam) production system." As part of that, the company began production at its new factory in Vietnam in February, citing "geopolitical risks, along with rising tariffs on Chinese imports" as reasons for building the second factory in the country.
Production at its second Vietnam factory began in February this year.
Photo: Tamron
According to Tamron's financials, it currently produces approximately 25% of its products in Vietnam, 65% in China and 10% in Japan. However, it is aiming to adjust that by 2028, reducing the amount produced in China to 45% while increasing the amount produced in Vietnam to 45%. Additionally, Tamron says it will reduce its parts procurement from China to 20% this year, down 10% from the current amount.
Tamron didn't specify any plans for shifting production specifically for its Photographic Products category. However, roughly 15% of that segment is produced in China, with approximately 60% coming from Vietnam and 25% from Japan. That could be good news for US consumers, since most of its lenses come from countries with lower tariffs for US imports than China. However, it isn't clear how many parts for those lenses come from China.
Tamron thinks that further cost reductions could help absorb the impact of tariffs
Even with the uncertainty surrounding the tariffs, Tamron hasn't changed its initial forecast for the year in light of its progress in Q1, saying that it exceeded its plan. That's despite a slump in sales in the US market as well as a "reactionary decline in China market," since it says gross profit increased as a result of "cost reductions and productivity improvements." Tamron thinks that further cost reductions could help absorb the impact of tariffs, but added that the tariff situation is fluid and it will "consider possible measures to minimize the impact." It didn't specify if some of those measures could mean increased prices in the US.
Tamron added, "From the 2nd quarter, uncertainty and economic slowdown are expected to increase further due to the expanding impact of US tariffs, rekindling of trade friction, and the continuing weakening of the USD and strengthening of the JPY." The US tariff situation continues to be a constantly evolving situation, so only time will tell what the actual impact will be.
The company has already announced one lens this year – the 18-300mm F3.5-6.3 Di III-A VC VXD lens to RF mount and Z mount – and says five more are coming.
Image: Tamron
The financial results presentation also contained some more exciting news: Tamron plans to release six new models in 2025, up from the company's typical five lenses per year. That includes the already announced Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD, which is Tamron's seventh model for Nikon Z-mount and the second model for Canon RF mount. Even better, it says that it will have 10 new models (including variants for different mounts) per year starting in 2026.
Interchangeable lens cameras, or cameras that let you swap out lenses, can unlock a lot of opportunities and new creative control for your photography. That's because different focal lengths (offering different fields of view) result in unique views of a scene, allowing you to create dramatically different images based on which lens you select. However, choosing a lens for a given situation can be overwhelming when you're starting out. Below, you'll find some of the more common lens types in terms of focal length and the situations photographers typically use them for to help you identify which may be best for you.
Before jumping in, it's important to note that a lens’s angle of view (its view of the world) changes depending on the camera’s sensor size. A holdover from the film era is that the angle of view provided by a focal length on a 135/full-frame camera tends to be used as the reference point. As a result, it's common to discuss equivalent focal lengths, i.e., the full-frame lens that would give the same view of the world as the one you're actually using. For example, a 50mm lens on a full-frame camera gives a normal view, but on an APS-C camera it offers a more zoomed-in view, equivalent to the one a 75mm lens would give on full-frame. In this article, when we talk about the effect of a specific focal length, we're referring to its impact on a full-frame camera, and by extension, the effect a lens with an equivalent focal length would have on other systems.
Normal lenses
A normal lens is a popular choice for many situations, including some styles of portrait.
Photo: Richard Butler
Normal lenses, or lenses with a focal length between 40 and 55mm, have a name that hints at their function. These lenses produce a natural-looking view of the world. As a result, they are often seen as one of the more versatile focal lengths, ideal for portraits, travel, still life and more. It's a fantastic focal length for beginners, but it's also a lens that most photographers, even seasoned pros, like to have in their kit.
Many beginner cameras come with a lens, called a kit lens, which covers the normal range and a little bit on either side. While kit lenses are a good starting point, that range makes them fairly limiting as you expand your skills and creativity. As a result, you may find yourself wanting to invest in something else that provides focal lengths outside of the typical kit range.
Wide-angle lenses
This image was taken with a 16mm lens, providing a sweeping view of the Palace of Versailles.
Photo: Mitchell Clark
As the name suggests, wide-angle lenses provide a wide view of the world, described as a wide angle of view. These lenses have focal lengths of less than 43mm, though once they get shorter than 22mm, they are referred to as ultra-wide-angle. Put simply, the lower the number, the wider the angle of view.
Because of their broad coverage, wide-angle (and ultra-wide-angle) lenses are ideal for capturing a large portion of a scene at once. They are a go-to for landscape photographers who want to capture sweeping landscapes. They are also essential for real estate photographers looking to capture an entire room. Finally, wide-angle lenses are standard in wedding or event photographer kits, as they make it possible to capture large groups.
Telephoto lenses
A 150mm focal length provides a tight view.
Photo: Mitchell Clark
Lastly, telephoto lenses offer a narrower angle of view. By focusing optically on a small arc of the scene and expanding it to fill your photo, a telephoto lens effectively zooms in. These lenses have focal lengths greater than 70mm, with anything over 300mm considered a super telephoto lens. The higher the number, the narrower the field of view and the greater "zoom" power a lens has.
Because telephoto lenses make subjects appear closer than they actually are, they are a must for wildlife and sport photographers. That way, they can stay on the sidelines or at a safe distance from wildlife while still producing a strong photograph of the subject. They also allow you to isolate your subject more easily, which is why moderate telephoto lenses (like the 85mm) are a go-to option for portrait photographers.
Final thoughts on selecting a lens
Deciphering focal length and its impacts can be complicated, and there's more to it than what's covered here (such as magnification, distortion, depth of field and equivalent focal lengths). However, this should give you a good starting point as you think about what you need in your kit. You can get more detailed information on choosing a lens in our buying guide.
Bikers rounding the corner during a bike race in the Seattle summer. The evening provided some excellent lighting and a chance to test a camera's autofocus tracking skills. Photo: Richard Butler
The theme for our May Editors' challenge is human-powered travel.
We're looking for photos that show people propelling themselves in fun or interesting ways. That could be walking, hiking, skateboarding, biking, roller-blading or even more exotic means of transportation, as long as they're not motorized. Our favorites will be featured on the DPReview homepage at the end of the month.
This challenge is open to photos taken at any time.
You can submit photos to the competition starting Sunday, May 11th. The last day for entry will be Saturday, May 17th (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!
Walk, run, pedal or paddle to the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
Another week down, another chance to check out some new accessories. This time around, we've got some massive printers, a wildly fast SD card, cages for new cameras and more. But first, as always, the deals.
Deals of the week
Image: Nikon
The Nikon Z7 II has been included in our Best Cameras for Landscapes buying guide because it provides a lot of image quality at a very reasonable price. This week, it's even cheaper, selling for $500 under MSRP.
Chimera, a lightning company that prides itself on building quality modifiers that it says will be "durable and long lasting," is giving users even more mounting options. Its new Chimera Pro series light modifiers are compatible with Bowens mount rings, which many users may already have, given the widespread use of the mount by several of the biggest names in lighting.
There are several different modifiers in the Pro series, including a 30" lantern and four sizes of its "LightBank" softboxes. Pricing will depend on what option you're going with, but they're currently available to preorder at B&H and Chimera's website.
An SD card that reaches new heights
Image: Adata
SD Express has been around for a few years now, but Adata says its latest card is the first to support the SD 8.0 Express specification. That means it has write speeds of up to 1200MBps and read speeds up to 1600MBps. Adata says that's 12 times faster than standard UHS-1 cards and four times faster than what UHS-II cards are capable of. It even trades blows with some relatively high-end CFExpress cards despite being the same tiny SD form factor we're all familiar with.
Of course, the elephant in the room with SD Express is that there currently aren't any cameras that support the standard; they'll work in a standard SD card slot, but only at UHS-1 speeds, which sort of defeats the purpose. But if a camera manufacturer ever does decide to support the standard, it seems like there will be cards ready to go for it.
Currently, there's no word on pricing or availability for Adata's SD8.0 Express card, but the company says it'll come in a 512GB capacity.
Kitting out the Canon EOS R50 V...
The cage lets you attach accessories like the sold-separately handle, as well as various coldshoe-compatible add-ons. Photo: SmallRig
Canon's latest camera is the video-focused EOS R50 V, which seems like it's designed specifically to fit into a cage or a gimbal. It's no surprise, then, that SmallRig has already stepped in to make a cage for it, which adds a deeper grip and a plethora of mounting points. It also has a built-in Arca-Swiss quick-release plate, which could be a big upgrade since, by default, some larger tripod plates will block the EOS R50 V's battery/SD card compartment. If you don't need all the mounting points, SmallRig is also selling an L-shaped mounting plate that adds the grip and tripod plate but doesn't go all the way around the camera.
Also available from SmallRig: a furry windscreen that attaches to the camera's hotshoe and covers the microphone to cut down wind noise. Thankfully, its design includes a coldshoe mount as well, so you can still mount a microphone, monitor, light or other accessory on top of your camera.
The EOS R50 V isn't the only camera getting a cage this week. PGYTech has designed one that locks on to Insta360's latest 360 camera, the X5. The X5 is a bit of a blank slate camera, so the cage adds some attachment points for coldshoe accessories, as well as a bit of protection in the form of silicone lens covers.
Recently, Epson announced two new large-format printers: the SureColor P7370 and the SureColor P9370. At 24" and 44" respectively, the printers are aimed more towards commercial use than home use, but they're also designed to be a bit less expensive than higher-end models. While the company's site doesn't currently have pricing info, PetaPixel reports that they're around $1000 cheaper than their higher-end counterparts. That's because they use a 10-ink system instead of a 12-ink one, though Epson says they're still capable of "accurate color reproduction and industry-leading print permanence."
The two models will be available in "summer 2025."
Connexion
